Review & Track Premiere: Five Horse Johnson, Jake Leg Boogie

Posted in audiObelisk, Reviews on May 25th, 2017 by JJ Koczan

five-horse-johnson-jake-leg-boogie

[Click play above to stream ‘Hard Times’ from Five Horse Johnson’s Jake Leg Boogie, out June 30 on Small Stone Records.]

The world in which Jake Leg Boogie takes place is one of grit, sneak-around-the-back-door blues, cheap hooch and the kind of swagger that can only result from the imbibing thereof. Issued via Small Stone, it is the eighth album from Toledo, Ohio’s Five Horse Johnson and the first since 2013’s The Taking of Black Heart (review here), and though that world might feel like a pipedream compared to some of the grim realities of modern existence, there are few acts who can sell the idea as well as the five-piece. They reunite here with original drummer Tim Gahagan, and after 22 years, their love of heavy rock and blues continues to be the core aspect that defines their work. With the rough-edged vocals of Eric Oblander out front, the riffing of Brad Coffin (also vocals) and Phil Dürr defining the course and the righteous classic rockery of bassist Steve Smith in the rhythm section alongside Gahagan‘s swing and push, Five Horse Johnson are as they should be throughout the 39-minute 10-tracker: Kicking ass, taking names, and fostering no regrets in the process.

Through cuts like “Magic Man,” “Little Lonely” and “Daddy was a Gun,” they weave tales of sleaze and professional-grade troublemaking, starting off with the Southern-style ruckus of the hook of the opening title-track, which is among the shorter songs at 2:40 but gets down to business almost immediately with a bouncing riff, room for a harp solo from Oblander and what sounds like a bit of slide on the guitar. One way or another, Five Horse Johnson are up to no good, and that sounds just about right. “Magic Man” brings together ’70s rock and blues in a fluid push that continues to build momentum from the opener, setting its place in Springfield, Missouri, and no doubt referring to a real-life incident involving some “bad company” that’s probably best not inquired after.

For a lot of what Jake Leg Boogie will do stylistically, the ground is already set. Five Horse Johnson aren’t a band known for nuance so much as getting drunk and still blowing everyone else off the stage, but the stomp and attitude they bring to the material here as “Cryin’ Shame” rears its riff back and lurches it forward again aren’t to be understated, and neither is the quality of songcraft that lies beneath them. Like both “Jake Leg Boogie” and “Magic Man” before it, “Cryin’ Shame” complements its boozery with a righteously and unabashedly welcoming chorus, and even as the opening salvo shifts into the slower-strummed, more-subdued “Ropes and Chains” — acoustics and electrics seeming to run side by side — Five Horse Johnson refresh their audience with an engaging verse/hook interplay before turning just past three minutes into a more boogie-laden instrumental finish to provide transition into the uptempo side A finale, “Hard Times.”

Thus far, the band has worked quickly and efficiently in offering true-to-their-nature heavy blues rock, but “Hard Times” is a standout for its craftsmanship and for the classically motoring riff at its center. It is very, very American. Chevys, whiskey spelled with the extra ‘e’, consciously ogling a lady standing right next to her dude — it’s all right there. “Hard Times” pushes through its four minutes so sure of itself and its place that one almost has trouble believing the lyrics, which of course are about hard times, but as it ends the first half of Jake Leg Boogie, it also marks the shift into the ultra-effective midsection of the album, which continues its up-jumped shuffle with “Smoke Show” before moving into the longest inclusion here, “Little Lonely.”

five horse johnson

It’s worth nothing that “longest” in this context means 4:53. No matter where Five Horse Johnson head on Jake Leg Boogie, they don’t lose sight of the album’s core mission in delivering sans-frills heavy blues. After the scorching leads on “Smoke Show,” “Little Lonely” draws back on the pace somewhat but makes up for it with a sing-along chorus and sleek groove, setting up the faster return of “Overload,” which offers more primo harp from Oblander, and the semi-finale of “Daddy was a Gun” — thereby making the speaker of the song a “son of a gun,” if it’s not obvious. Perhaps the clearest blues preach on offer, “Daddy was a Gun” also speaks to the closeness between Five Horse Johnson and Clutch, with whom Oblander has guested on tour and whose drummer Jean-Paul Gaster sat in on the last Five Horse record.

Still, they retain the consistency of their approach as they move toward the end of the record, which comes with the turn of the appropriately-named “Last Song,” a surprisingly quiet and sentimental short bookend to “Jake Leg Boogie” — the opener and the closer are the only cuts under the three-minute mark — that departs from some of the swagger in favor of an airier atmosphere, still soaked by Southern humidity but with an on-the-porch blues noodling guitar line and a tambourine as its only percussion, it’s a definite change nonetheless, and after all the brash crotchal thrust they’ve brought to bear across Jake Leg Boogie, they end on a note of understatement, as though to reaffirm we-didn’t-mean-no-harm sensibility that’s behind a string of nine liquor store robberies represented by the preceding tracks. “Boys will be boys,” said the cops.

More than two decades on, Five Horse Johnson have little to prove, and Jake Leg Boogie is accordingly less about taking over the world than about the band doing what they’ve always done well in affecting a controlled but still boozy tumult. With the return of Gahagan on drums, and consistency in presentation from working with longtime producer Al Sutton at Rustbelt Studios and cover artist Mark Dancey, the band are very much in form, and the world they create for and through these songs is as inviting as it is raucous.

Five Horse Johnson on Thee Facebooks

Five Horse Johnson website

Small Stone Records on Bandcamp

Small Stone Records on Thee Facebooks

Small Stone Records website

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The Cold Stares Premiere Title-Track of New Album Head Bent

Posted in audiObelisk, Reviews on May 17th, 2017 by JJ Koczan

THE COLD STARES

The Cold Stares make their label debut on Small Stone Records June 16 with their second album, Head Bent. It’s a title that evokes the notion of capitulation, and particularly in the context of Southern and blues tinges the Nashville-based two-piece bring to their brand of heavy rock, also of prayer. Vocalist/guitarist/etc.-ist Chris Tapp and drummer/percussionist Brian Mullins deliver a crisp 11 tracks in 37 minutes as they follow-up 2014’s A Cold Wet Night and a Howling Wind and a series of EPs and singles, and the clearheaded traditionalism of their taut songcraft becomes one of Head Bent‘s most defining aspects. It also rocks, and that certainly doesn’t hurt its cause either.

Along the circuitous but accessible path of songs like opener “John,” “Neighbor Blues,” “God and Country” and the later “Kings,” The Cold Stares offer swagger and groove in bulk, hooks a-plenty and subtle plays at religious themes that don’t so much make an attempt at overblown social comment as acknowledge something that always seems to be in the background of American culture to one degree or another. Even the Clutch-style starts and stops of “Price to Pay” and the righteous fuzz of the penultimate “One Way Outta Here” nod in that direction before subdued closer “Break My Fall” more directly takes on the issue. I won’t profess to know the band’s affiliation or lack thereof, but just going by what they bring to the table with Head Bent, it feels like a safe guess somebody made them go to services at some point in their life, whether they still do or not.

the cold stares head bentThat underlying theme isn’t at all a detriment to the album, and if anything, it works to tie the material together in a way that might otherwise find the songs standing apart, as moods vary between a sharp, uptempo motor-thruster like “Head Bent,” the subsequent, almost doomly roll of “Neighbor Blues” and the nestle-into-mid-paced-comfort of “Caught in the Weather” later on. The record has obviously been as meticulously arranged in terms of tracklisting as the songs have been constructed and recorded — but contrary to their moniker, The Cold Stares lack nothing for energy in their execution, and whatever kind of movement a given track might offer, there always seems to be a direction in mind as the band leads the way through Head Bent‘s tidy, efficient and unpretentious course.

And while we’re talking about themes, one would be remiss not to point out the sheer level of command Tapp and Mullins bring to the material here. “Stuck in a Rut” brings forth a hook worthy of fellow Tennesseans Dirty Streets, and the sweet side B ballad “Ball and Twine” toys with Southern rock convention before arriving at a late-cut blowout riff toward its end, having accomplished what would take many bands eight minutes in a span of three. Yet, as often would be the case with this kind of release, there’s no sense that The Cold Stares are looking to convince their audience of how brash they are, or how drunk, or how sexist, and among the various histories they play toward with Head Bent, one of the most engaging is a drive toward making the conventions of style their own via the quality of their craft and their ability to draw listeners in and hold attention while making that very, very difficult task sound practically effortless.

Small Stone has the aforementioned opener “John” streaming at its Bandcamp page, and I’ve included that here as well at the bottom of the post, but you can dig into the premiere of the title-track from Head Bent below, as well as a quote from Tapp about the song and the album, which comes courtesy of the PR wire.

Please enjoy:

Chris Tapp on “Head Bent”:

“Listening to a bit of Queen and always loved ‘Tie Your Mother Down,’ so started writing with that in mind. The music just sounds like bikes to me. I’ve always had hot rods and bikes and wanted to do a tribute song to all the good people in those communities. Big part of my cancer recovery was getting my mind right, and just riding, nothing like the focus and peace it brings. The bike and gear head community is so much about family and respect, and just love for the machine. Head Bent is that feeling of 80 mph wind twisting your neck down the highway.”

Releases June 16, 2017.

The Cold Stares is:
Chris Tapp: vocals, stringed instruments, keys
Brian Mullins: drums and percussion

The Cold Stares, “John”

The Cold Stares website

The Cold Stares on Thee Facebooks

Small Stone Records website

Small Stone on Thee Facebooks

Small Stone Records on Bandcamp

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Bison Machine Sign to Small Stone Records; New Album Due this Year

Posted in Whathaveyou on May 1st, 2017 by JJ Koczan

bison-machine-Photo-by-Rory-Rummings

Bison Machine have inked a deal to release their second album on Small Stone Records. The Michigan-based four-piece will hit Rustbelt Studios this summer to record the follow-up to 2015’s Hoarfrost (review here), and on June 3, they’ll host the Burnin’ Turf II fest with BoneHawk, Wild Savages, Dead Feathers and others at the Parisville Saloon in Ruth, MI. That event (more info here) is also presented by The Obelisk, and ticket presales are on now if you’re so inclined. It looks like a damn good time, what with all the motorcycle silliness and the rock and roll and whatnot.

Even if both entities weren’t Michigan natives, the pairing of Bison Machine and Small Stone strikes me as especially fitting given the band’s propensity for bringing a modern edge to classic boogie and the label being essentially the place where that method has been pioneered in the US over the last 15-plus years. Very much looking forward to the next Bison Machine album. Maybe a Fall release if they’re recording in the summer? I’ll take it whenever.

I wrote this press release, but you and I can just pretend it came through circled back from the PR wire. Our secret:

burnin turf ii

Bison Machine Sign to Small Stone; New Album Coming Soon; Burnin’ Turf II Fest to be Held June 3

Michigan heavy rockers Bison Machine have signed to American heavy rock institution Small Stone Records. The Hamtramck-based volume dealers have been on a this-time-it’s-personal quest to hand-deliver their riffs across the country since the 2015 release of their debut album, Hoarfrost, on Kozmik Artifactz, and with tours of the East Coast, West Coast, Midwest, North, South and in between under their belt, they’re ready to take their game to the next level.

Bison Machine are currently preparing a new album for release later this year as their Small Stone debut. They will enter Rustbelt Studios (Five Horse Johnson, Halfway to Gone, Novadriver) later this Summer to record.

“It’s amazing!” enthuses Bison Machine bassist Anthony Franchina about the signing. “Small Stone has released some of my favorite records, from Sasquatch to Greenleaf to Lo-Pan, and we couldn’t be more thrilled to work with Scott [Hamilton] on our next record, which is going to completely blow away everything we’ve done before. We’ll be hitting the road too, so keep an eye out!”

In addition to working on their next LP, the members of Bison Machine are involved in organizing the Burnin’ Turf festival, which is set for June 3 at the Parisville Saloon in Ruth, MI, with a lineup featuring Bison Machine, Wild Savages, Dead Feathers, BoneHawk, Red Stone Souls, Rip VanRipper, and Gear Jammer, as well as chopper games, raffle prizes, van and tank lettering by Zak Warmann of Detroit Sign Painters, camping, DJ Smoak (Loy Smoak Jr.) all the way from San Antonio, bonfires, and of course, plenty of beer. Ticket presales are available AT THIS LOCATION: http://burninturf2.brownpapertickets.com

“I can’t wait to hear what Bison Machine bring to this next record,” says Scott Hamilton of Small Stone Records. “They’ve been unstoppable on tour for the last couple years and I’m thrilled to welcome them into the Small Stone fold representing the next generation of great American heavy rock and roll.”

Bison Machine released their latest single, “Cloak and Bones,” last year. A video for the track is streaming now: https://www.youtube.com/watch?v=-mcL_NF1CO8

Stay tuned for more on Bison Machine, Burnin Turf II, and the new album in the months ahead.

Bison Machine is:
Casey O’Ryan – Guitar
Breck Crandell – Drums
Tom Stec – Vocals
Anthony Franchina – Bass

https://www.facebook.com/bisonmachinedetroit/
https://www.instagram.com/bisonmachine/
https://twitter.com/bisonmachine
bisonmachine.bandcamp.com
http://bisonmachine.bigcartel.com/
http://burninturf2.brownpapertickets.com
https://smallstone.bandcamp.com
https://www.facebook.com/smallstonerecords/
http://smallstone.com/

Bison Machine, “Cloak and Bones” official video

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Five Horse Johnson to Release Jake Leg Boogie June 30; New Song Streaming

Posted in Whathaveyou on April 28th, 2017 by JJ Koczan

Some bands, you just know they’re out to make trouble. That’s been Five Horse Johnson‘s game all along. The Midwestern heavy blues rock outfit haven’t had a record out since 2013’s The Taking of Black Heart (review here), and though four years isn’t the longest stretch in the world, it’s certainly been long enough. Jake Leg Boogie is set to hit June 30 via Small Stone, and with preorders up and a new song streaming now, it’s bound to land with some fervent anticipation. I’m not gonna say I’ve heard it yet or anything — actually, I guess I’ll say that I have because I wrote the bio on which the press release below is based — but it smokes. Dudes are long-since established as ace songwriters but they still sound they just bang out tunes for the hell of it to play in dive bars while they get loaded. Call it the best of both worlds.

With the hope that I’ll have more to come before the album’s actually out, here’s the announcement off the PR wire and the stream of the title-track:

five-horse-johnson-jake-leg-boogie

FIVE HORSE JOHNSON: Toledo Blues Riffers To Release Jake Leg Boogie This June Via Small Stone; New Track Streaming + Preorders Available

When FIVE HORSE JOHNSON formed back in 1995, referring to themselves as a “blues band,” a few brows might well have been furrowed. But this is a band that has always understood that the blues isn’t a formula – it’s a way of looking at the world. Their take on the “blooze” is as a dirty, sensual thing, enhanced with a healthy dose of humor.

Now some two decades and seven albums into their career – with eighth Jake Leg Boogie, set to drop late this June on Small Stone – FIVE HORSE JOHNSON has dug out a niche of their own, a genuine love and respect for traditional blues and classic rock leading them to likewise become one of the most loved and respected bands in the heavy rock underground. Always a freight train live, they’ve toured the US (with Clutch and Halfway To Gone) and Europe extensively (including the festival circuit), gathering fans, friends, and drinking partners all over the Western World.

Jake Leg Boogie sees FIVE HORSE JOHNSON going back to its recording roots. Original drummer Tim Gahagan has rejoined, and the results are powerful. Brad Coffin’s guitar has never sounded heavier, his voice never stronger. Eric Oblander’s harp, meanwhile, is as sharp as a tailfin, and his gravelly vocal delivery a growling, howlin’ counterpoint to Coffin’s gruff style. Steve Smith’s bass is a strong backbone, while Phil Dürr’s guitar complements that of Coffin, adding extra edge for good measure. From the slow, bluesy stomp of the title-track, to the dirge vibe of “Daddy Was A Gun” – a story of some weird goings-on in a strange parish – Jake Leg Boogie is pure old-school FIVE HORSE JOHNSON, recorded live, everyone in the same room, with as little overdubbing as possible. Accordingly, it feels lively and loud in the MC5-come-Hendrix vibe of “Hard Times,” the hard-rocking “Magic Man” (a tale of depravity set in the town of Springfield, Missouri), and the near-Texan boogie of “Smoke Show.”

Elaborates Oblander of the release, “Having original drummer Tim back in the band made writing Jake Leg Boogie so much damn fun. It feels like we’re back to Fat Black Pussycat form. This time around we channeled a little more Hendrix and Funkadelic as much as the usual bluesy Aerosmith insanity. All the songs are a bit more stripped down, and have a deep-pocket groove thanks in part to Tim locking it down. Brad had a lot to do with the overall creation of this record. He came up with the concept for the title, and sings more than half the songs this time around. We can’t wait to hit the road with thing and flex these new songs live!”

Jake Leg Boogie was recorded at Rustbelt Studios, with longtime producer Al Sutton (Big Chief, Novadriver, Halfway To Gone, Detroit Cobras) at the production helm, with a definitive nod to Dave Cobb (All Them Witches, Rival Sons). Artwork was provided by noted graphic artist and FIVE HORSE JOHNSON -collaborator Mark Dancey, keeping with a tradition established on 1999’s Fat Black Pussycat.

Jake Leg Boogie will see release via Small Stone Recordings June 30th on CD, limited LP, and digital formats. For preorders, visit the Small Stone Bandcamp page at THIS LOCATION where you can also sample the opening title track.

Jake Leg Boogie Track Listing:
1. Jake Leg Boogie
2. Magic Man
3. Cryin’ Shame
4. Ropes And Chains
5. Hard Times
6. Smoke Show
7. Little Lonely
8. Overload
9. Daddy Was A Gun
10. Last Song

FIVE HORSE JOHNSON is not a band that makes apologies, and compromise is not an option. The truth is, this is hard, heavy, dirty blues rock ‘n’ roll for people who like the sound of an engine roaring or the feeling obtained by following a cold beer with a shot of good whiskey. FIVE HORSE JOHNSON will gladly kick your ass, and then wait for you to say thank you and ask for another. Which you will.

Five Horse Johnson is:
Eric Oblander: vox & harp
Brad Coffin: vox & guitar
Steve Smith: bass
Phil Dürr: guitar
Tim Gahagan: drums & percussion

http://www.facebook.com/Five-Horse-Johnson-official-band-page
http://www.fivehorsejohnson.com
http://www.smallstone.com
http://www.facebook.com/smallstonerecords

Five Horse Johnson, Jake Leg Boogie (2017)

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The Obelisk Radio Adds: Tia Carrera, Humulus, King Buffalo, Telekinetic Yeti, High Plains

Posted in Radio on April 10th, 2017 by JJ Koczan

the obelisk radio cavum

You may or may not be overly concerned to find out, but we’re still running on the backup server for The Obelisk Radio while the data is transferred to the new hard drive. Judging by the number of listeners at any given point, you’re not. The numbers are still pretty good. Nonetheless, I cannot express the depth of my appreciation to Slevin for sorting out this mess. I had no idea when I hit him up on a Sunday to be like, “Uh, the stream is down” that it would be a project requiring more than a month of his valuable time. Dude is a godsend. I should send him a cheese basket.

Instead, he gets a zip file with the following releases to add to that temporary stream (they’ll go on the new server as well when that’s operational). Because I am a shitty friend, and because cheese baskets are expensive as hell. Let’s do this.

The Obelisk Radio Adds for April 10, 2017:

Tia Carrera, Laid Back (Frontside Rock ‘n’ Roll)

tia-carrera-laid-back-front-side-rock-and-roll

It’s been a hot minute since last we heard from Austin, Texas, three-piece instrumentalists Tia Carrera. The last offering the heavy psych jammers had out with a 2013 vinyl edition (review here) of their 2011 full-length, Cosmic Priestess (review here). So upwards of six years, if you want to go by the original release date of what was their second album for Small Stone Records. They reportedly have a new one coming this Fall, so one might think of the nine-and-half-minute single “Laid Back (Frontside Rock ‘n’ Roll),” which was recorded live this past January with the lineup of guitarist Jason Morales, bassist Curt Christiansen and drummer Erik Conn, as a lead-in for that. True, Tia Carrera haven’t been completely absent — they played Psycho Las Vegas in 2016 and one sees their name on various SXSW bills each year — but either way, it’s a welcome studio return from a band who were ahead of the post-Earthless curve that has swelled further out West, and who, despite a kind of raw, garage-style recording here, nonetheless showcase the chemistry and fluidity that separated them from the pack to start with. As the title promises, the jam is laid back, rife with swirling guitar, winding basslines and drumming that, while propulsive doesn’t take away from the languid overarching vibe. They’ve made the song a name-your-price download, so all the better should you be inclined to dig in. And you should be.

Tia Carrera on Thee Facebooks

Small Stone Records website

 

Humulus,Reverently Heading into Nowhere

humulus-reverently-heading-into-nowhere

With nodding groove, fuzzed tonality and, for good measure, flourish of psychedelia, Brescia, Italy, trio Humulus may be working amid familiar elements on their second long-player, Reverently Heading into Nowhere (on Taxi Driver and Oak Island Records), but the results are impeccably constructed. The album, which follows their 2015 Electric Warlrus EP (review here) and 2012 self-titled debut, offers six tracks that carefully balance atmosphere and heft, cuts like “Catskull” digging into classic desert rock sensibilities via the modern European approach of a band like 1000mods while longer pieces like opener “Distant Deeps or Skies,” “Anachronaut” and the 11-minute finale “Rama Kushna” save room for increasingly expansive jamming, the latter the most spacious of all with floating guitar over a satisfyingly warm bass in its midsection leading to an instrumental apex that, while predictable, is no less engaging for that upon its arrival. Even shorter pieces like “The Gold Rush” and “The Great Hunt” find a balance between rolling rhythm and broader psychedelic consciousness, and when guitarist/vocalist Andrea Van Cleef, bassist Giorgio Bonacorsi and drummer Massimiliano Boventi lock into a slowdown, as at the end of “The Great Hunt” or in the Snail-esque “Anachronaut” earlier, the effect is duly massive to fit with the rhinoceros on the album’s cover. Their reverence is palpable, and throughout the 43-minute outing, Humulus make it plain that wherever they’re actually heading, they welcome their audience to come along for the trip.

Humulus on Thee Facebooks

Taxi Driver Records webstore

Oak Island Records on Thee Facebooks

 

King Buffalo, Live at Wicked Squid Studios (6.16.16)

king-buffalo-live-at-wicked-squid-studios

It’s nothing more or less than a live set, but as King Buffalo have already wrapped a round of US touring and were recently announced as support for Stickman Records labelmates Elder on their next European run, it seems only fair to grab the name-your-price Live at Wicked Squid Studios (6.16.16) while the grabbing’s good and consider the four-track/29-minute release a document of their chemistry as a live band as they marked the release of their debut album, Orion (review here), last summer. Not everything they play comes from that record — “New Time” was featured on their 2015 STB Records split with Lé Betre (review here) — but in their tone, breadth and expanse, they represent the full-length all the same. The psychedelic wash of “New Time” leads the way out of opener “Orion” and into a one-two medley of “Kerosene / Goliath Pt. 2,” and they finish by setting the controls for the heart of a nine-minute rendition of “Drinking from the River Rising,” which also closed Orion and proves no less immersive in this setting than it did on the studio offering. I’ve made no secret of the potential that I think resides in the Rochester, NY, three-piece, and as they move further into becoming a touring band, they’re only doing the work of bringing that potential to life. It may be that at some point we’ll look back on Live at Wicked Squid Studios as a kind of primitive beginning — I don’t want to predict where they’ll go or how their sound will continue to develop — but even so, it’s fortunate that we’ll have it to look back on at all.

King Buffalo on Thee Facebooks

Stickman Records website

 

Telekinetic Yeti, Abominable

telekinetic yeti abominable

This shit is like catnip for riff-hounds. Iowan two-piece Telekinetic Yetstoner-march their way into the hearts and minds of the converted and onto the list of 2017’s best debuts with Abominable (on Sump Pump Records), a clean eight-track/41-minute long-player marked out by its tonal thickness and shifts between using it for Sleep-style roll and fuzzier fare, perhaps most directly and efficiently summarized on the single “Stoned and Feathered,” but in fluid proportion throughout cuts like the lumbering “Lightbearer” and the neo-stoner-delic chug of “Beneath the Black Sun” as well. Comprised just of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer — though I’ll be damned if somebody isn’t playing bass on “Electronaut” — Telekinetic Yeti seem to burst out of the gate with a solid idea of who their audience is and what their audience wants, and to their credit, they deliver just that and have been met with a flurry of hyperbole for their efforts. I can’t really argue with the heft or cohesion of the material on Abominable, and the willingness on the part of Baumann and Dreyer to inject some atmospheric depth into the aptly-named nine-minute tour de force “Colossus” and closer “Himalayan Hymn” bodes well for their chances of leaving a mark over the longer term, even if there’s growing to be done before they get there. Still, as their first time out, Telekinetic Yeti‘s Abominable signals a righteousness of intent and wholly succeeds in capturing the attention it plainly seeks. The next few years will write their story, but if these guys take this show on the road, they could indeed turn into a monster.

Telekinetic Yeti on Thee Facebooks

Sump Pump Records on Bandcamp

 

High Plains, Cinderland

high plains cinderland

The story goes that Cinderland was recorded in Wyoming in a refurbished schoolhouse by the duo of ambient multi-instrumentalist Scott Morgan and classical cellist Mark Bridges — working together under the moniker High Plains — and composed very much with that high-altitude, utterly empty landscape in mind. Represented in a pervasive minimalism that makes every swell of volume on “The Dusk Pines” stand out and shifts between piano, cello, guitar, drone and electronics cinematic in their drama like the soundtrack to one of those foreboding Westerns where nobody talks because they’re afraid that if the earth hears them speak it will open up and swallow them whole — which it might — it is an immersive, resolutely melancholy execution across nine tracks and 36 minutes that is likewise stark and beautiful. “A White Truck” and “Hypoxia” carry some nuance of the paranoid, but there’s resolution in “Blood that Ran the Rapids” and “Song for a Last Night” that, like the high desert itself, teems with life while giving the impression of being a void for the lack of human presence. Mood-affecting in its atmospherics, Cinderland draws the listener into this world that is both gorgeous and threatening, and fits itself to the narrative that birthed it with resonance and depth. One hopes it is not a one-off collaboration between the Canadian Morgan and Wisconsin-based Bridges and that wherever their next trip together takes them — go to New Mexico! — they’re able to likewise capture the setting in such evocative fashion.

High Plains on Thee Facebooks

Kranky Records on Bandcamp

 

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Sun Gods in Exile Announce 2017 Reunion Plans

Posted in Whathaveyou on January 24th, 2017 by JJ Koczan

Portland, Maine, heavy rockers Sun Gods in Exile will return to the stage in 2017. Last I heard from the classic-minded swagger-bearers was in 2013, when they hit the road alongside Small Stone labelmates Backwoods Payback, Supermachine and Lord Fowl for a quick run of the Northeast — four bands, four nights. Four years ago. Cool bill, all the same.

By that time, Sun Gods in Exile had two full-lengths out. They made their debut in 2009 with Black Light, White Lines (review here), followed it with 2012’s Thanks for the Silver (review here), and also took part in Ripple Music‘s Heavy Ripples Vol. 1 (review here) four-way split with Grifter, Stone Axe and Mighty High. The albums it’s probably fair to say were a couple years prescient in terms of how they updated ’70s vibes with modern production and songcraft, but Sun Gods in Exile always seemed to make an impact in terms of attitude as well, and they sounded like the kind of group who approached every show as a competition to kick as much ass on stage as possible.

Looks like they’ll get that opportunity again. The reunion plans are rather straightforward — play regional shows around New England and get to writing new material — but then, Sun Gods in Exile were never much for messing around. A lineup shift is still in the works, but guitarist Anthony D’Agostino sent confirmation this thing is happening, and he’d certainly know.

Here’s the latest:

sun gods in exile

Sun Gods in Exile reforming in 2017

Original Black Light White Lines lineup except new bass player to be announced soon.

After 4 years off due to family and career obligations we decided to start rolling out the rock again.

Sun Gods in Exile will be doing a handful of New England shows this spring and summer playing songs off the two Small Stone records, then plan to start writing new material to be released later in the year.

https://www.facebook.com/Sun-Gods-in-Exile-2017-411701842508372/
https://sungodsinexile1.bandcamp.com/
https://smallstone.bandcamp.com/

Sun Gods in Exile, Black Light, White Lines (2009)

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

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

tomorrow's dream 2017

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

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

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

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

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

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

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

2. All Them Witches, Sleeping Through the War

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

3. Alunah, Solennial

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

4. Arbouretum, TBA

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

5. Atavismo, Inerte

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

6. Bison Machine, TBA

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

7. Brothers of the Sonic Cloth, TBA

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

8. Cloud Catcher, Trails of Kosmic Dust

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

9. Colour Haze, TBA

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

10. Corrosion of Conformity, TBA

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

11. Elder, TBA

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

12. Electric Wizard, TBA

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

13. John Garcia, The Coyote Who Spoke in Tongues

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

14. Goya, Harvester of Bongloads

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

15. Ides of Gemini, TBA

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

16. Kind, TBA

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

17. Lo-Pan, In Tensions

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

18. The Midnight Ghost Train, TBA

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

19. Monster Magnet, TBA

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

20. Mothership, High Strangeness

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

21. The Obsessed, Sacred

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

22. Orange Goblin, TBA

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

23. Pallbearer, Heartless

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

24. Radio Moscow, TBA

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

25. Roadsaw, TBA

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

26. Rozamov, This Mortal Road

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

27. Samsara Blues Experiment, TBA

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

28. Seedy Jeezus, TBA

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

29. Shroud Eater, Strike the Sun

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

30. Sleep, TBA

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

31. Stoned Jesus, TBA

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

32. Stubb, TBA

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

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

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

34. Ufomammut, TBA

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

35. Vokonis, The Sunken Djinn

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

Gonna Happen and/or Likely Candidates

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

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

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

Definitely Could Happen

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

So, you know, life.

Dig it:

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

Would be Awfully Nice

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

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

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

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

All the best.

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Långfinger and Captain Crimson Announce Feb. Tour Dates

Posted in Whathaveyou on January 11th, 2017 by JJ Koczan

Långfinger and Captain Crimson both put out records this past autumn in a one-two punch of high-grade next-gen Swedish heavy rock. Next month, the Small Stone labelmates — from Gothenburg and Örebro, respectively — are pairing up for a round of mostly-German tour dates put together by Total Volume Booking that will find them supporting those new albums and continuing to bring their long-simmering underground reputations to turning more heads on the road. I would not expect this to be either band’s final announcement for 2017 in terms of shows and/or festivals — that’s just speculation, not insider info or anything — because it seems to me that the longer time goes on, it’s just more opportunity for Crossyears (review here) and Remind (review here) to catch on.

Dates come courtesy of Långfinger‘s social medias, other info from Small Stone. One likes to properly source these things:

langfinger captain crimson tour

We’ve teamed up with fellow swedes Captain Crimson for February’s central European tour. The earthquake starts on Feb 15. Prepare yourselves for swedish rock n roll deluxe, multiplied by two!

Feb 15 – Kiel (DE) @ Die Kieler Schaubude
Feb 16 – Berlin (DE) @ Jägerklause Berlin
Feb 17 – Den Helder (NL) @ Rockcafé de Engel
Feb 18 – Siegen (DE) @ Vortex Surfer Musikclub
Feb 19 – Antwerp (BE) @ AMC (Antwerp Music City)
Feb 21 – Cologne (DE) @ Limes Köln
Feb 23 – Mannheim (DE) @ Kurzbar
Feb 24 – Luzern (CH) @ The Bruch Brothers

Långfinger, from the fertile rock ‘n’ roll city of Gothenburg, are masters of the art. They’ve been playing together since they were in their early teens, and their third album, called ‘Crossyears’, is both the thrilling culmination of their collective endeavour, and a rumination on it – on how Time has shaped them and brought them to this point. Within its hard-hitting grooves, the interlocking of Långfinger’s three disparate characters – Kalle, the unflappable, precision axeman; Jesper, the athletic sticksman battering out physical revenge on his kit; and Victor, the intense, exploratory spirit, bridging thundering bass and howling exorcism – is a magical proposition.

Formed in 2010 by vocalist Stefan Lillhager, formerly of Blowback, Captain Crimson draws inspiration from the classic sounds of The Groundhogs, Blue Cheer, Emerson, Lake & Palmer, Jethro Tull and Cactus, meeting heavy boogie head-on with a modern swagger that has carried over to their latest and third album, Remind – their first for Small Stone Records. Make no mistake: Captain Crimson’s latest is nothing less than a testament to the timeless power of groove, of memorable choruses that take you back to when you felt such things deep in your soul, and indeed offer a reminder that you still can and that you still do.

https://www.facebook.com/Langfingerofficial/
https://www.facebook.com/CaptainCrimsonSwe/
https://www.facebook.com/totalvolumebackline/
https://www.facebook.com/smallstonerecords/
https://smallstone.bandcamp.com/

Långfinger, Crossyears (2016)

Captain Crimson, Remind (2016)

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