Tomorrow’s Dream 2015: 90 of the Year’s Most Anticipated Releases

Posted in Features on January 21st, 2015 by H.P. Taskmaster

This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.

I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.

Thank you in advance for reading.

1. Acid King, Middle of Nowhere, Center of Everywhere

Acid King Middle of Nowhere, Center of Everywhere

If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.

2. All Them Witches, TBA

all them witches tba

The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.

3. Anthroprophh, U.F.O.

UFO Vinyl Sleeve.qxp

Guitarist/vocalist Paul Allen, formerly of The Heads, teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal FuzzAllen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.

4. Arenna, TBA

arenna cover

Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax

New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet – will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.

6. Black Cobra, TBA

black-cobra

Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.

7. Black Rainbows, Hawkdope

black rainbows hawkdope

There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.

8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth

brothers of the sonic cloth brothers of the sonic cloth

Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave FrenchBrothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.

9. Chiefs, Tomorrow’s Over

chiefs tomorrow's over

With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.

10. Clutch, TBA

clutch

Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.

11. Conan, TBA

conan

I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich LewisDavis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.

12. Colour Haze, To the Highest Gods We Know

CH_TTHGWK_BOOKLET 4&1

Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.

13. Corrections House, TBA

corrections-house-logo

Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.

14. Corsair, One Eyed Horse

corsair one eyed horse

Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.

15. Crypt Sermon, Out of the Garden

crypt-sermon-out-of-the-garden

Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.

16. Ecstatic Vision, TBA

ecstatic vision

Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.

17. Elder, Lore

elder-lore

What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder – the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto – do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of LoreElder on Thee Facebooks, Armageddon Shop, Stickman Records.

18. Enslaved, In Times

enslaved-in-times

I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.

19. Eye, TBA

eye

They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.

20. Freedom Hawk, TBA

freedom hawk

After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.

21. Glowsun, Glowsun

glowsun glowsun

In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.

22. Goatsnake, TBA

goatsnake

Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.

23. Gozu, TBA

gozu

Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small StoneThe Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike HubbardGrotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in GrottoHubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.

24. High on Fire, TBA

high on fire

I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.

25. Hollow Leg, TBA

hollow leg god-eater

My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.

26. Horsehunter, Caged in Flesh

horsehunter caged in flesh

Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.

27. Kind, TBA

kind (Photo by JJ Koczan)

I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black PyramidBlackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.

28. Kings Destroy, Kings Destroy

kings destroy

So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.

29. Lamprey, TBA

lamprey logo

The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.

30. Lord Dying, Poisoned Altars

lord dying poisoned altars

The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse RecordsPoisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.

31. Magic Circle, TBA

magic circle (Photo by JJ Koczan)

Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.

32. The Midnight Ghost Train, Cold was the Ground

Opmaak 1

Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.

33. Minsk, TBA

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A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.

34. Mondo Drag, Mondo Drag

mondo-drag-mondo-drag

This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.

35. Monolord, Vaenir

monolord vaenir

Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.

36. Neurosis, TBA

neurosis

Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.

37. Pentagram, TBA

pentagram

I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean SaleyPentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.

38. Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.

39. Saturnalia Temple, To the Other

saturnalia-temple-to-the-other

The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist PeterSaturnalia Temple on Thee Facebooks, The Ajna Offensive.

40. Six Organs of Admittance, Hexadic

six organs of admittance hexadic

I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City – seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.

41. Snail, Feral

snail

Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.

42. Sourvein, Aquatic Fanatic

sourvein-aquatic-occult

At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.

43. Spidergawd, II

spidergawd ii

Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.

44. Stoned Jesus, The Harvest

stoned jesus the harvest

Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1Stoned Jesus on Thee Facebooks, on Bandcamp.

45. Torche, Restarter

torche restarter

I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit  by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.

46. Ufomammut, Ecate

ufomammut (Photo by Andrea Tomas Prato)

Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.

47. Valkyrie, TBA

valkyrie

During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions – both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.

48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix

various artists the best of james marshall hendrix

Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (ElderEarthlessWo FatGozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.

49. Wino & Conny Ochs, Freedom Conspiracy

wino and conny ochs

When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny OchsFreedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.

50. Wizard Eye, TBA
wizard eye

Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.

51. Wretch, TBA

wretch

Listed as the “bastard spawn” of The Gates of SlumberWretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before SimonClark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.

52. Zun, TBA

zun

Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.

 

Going Into Overload…

So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.

Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:

 

53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.

 

54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.

 

55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.

 

56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.

 

57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.

 

58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.

 

59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.

 

60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.

 

61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.

 

62. EgyptEndless Flight – North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”

 

63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.

 

64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.

 

65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.

 

66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.

 

67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.

 

68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.

 

69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.

 

70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.

 

71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.

 

72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.

 

73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.

 

74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.

 

75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.

 

76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.

 

77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.

 

78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.

 

79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.

 

80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.

 

81. Pombagira, Flesh Throne Press – Their sixth album and Svart debut is due on March 23 as per this week’s announcement.

 

82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.

 

83. Royal Thunder, Crooked Doors – The Atlanta outfit’s second album for Relapse is due out April 7.

 

84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.

 

85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.

 

86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.

 

87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…

 

88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.

 

89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”

 

90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.

 

91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.

 

92. Wo Fat, Live Juju at Freak Valley – Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.

 

Others to Keep an Eye On…

Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.

Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.

Murmurings abound also for new ones from GraveyardGreenleafThe Sword, Vhöl and others.

Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.

If you don’t have enough to go by yet, labels like Sulatron, Tee PeeEl Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.

 

Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.

No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.

 

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Warhorse: As Heaven Turns to Ash LP and I am Dying 7″ to be Reissued

Posted in Whathaveyou on January 16th, 2015 by H.P. Taskmaster

The legacy of Warhorse runs pretty strong throughout Massachusetts’ underground, with members currently taking part in bands like Gozu, Second Grave, Conclave and Faces of Bayon, but the oh-so-ripe-for-a-reunion stoner doomers are still relatively underappreciated outside their regional sphere. Southern Lord, who first issued their As Heaven Turns to Ash LP in 2001 (discussed here), will repress the album next month, coupled with the subsequent 2002 7″, I am Dying. While that may or may not be enough to get some lineup or other back together to play shows and/or write a follow-up, it’s not nothing, and the more people who hear their stuff, the more likely that is to happen down the road. So I’ll take it.

Word from the PR wire:

warhorse as heaven turns to ash

WARHORSE: Massachusetts Doom Legends To Reissue Debut LP And Final EP Via Southern Lord

In a time where doom is flourishing in all directions and manners, Southern Lord is exhuming the sole full-length from Massachusetts’ WARHORSE. Long out of print, rabidly sought after, and unconditionally vital in foreshadowing the plethora of current acts who partake in longform, recklessly downtuned sound voyages, 2001’s As Heaven Turns To Ash will be reissued on double LP and digital formats on February 24th, 2015 combined with their final 7″ EP, I Am Dying.

Formed in 1996 and lasting the best part of a decade, WARHORSE wallow deep down, grooving at the kind of frequency usually associated with imminent natural disaster. But in addition to their intricate delivery, WARHORSE possesses an experimental, verging on psychedelic streak which gave rise to gritty and memorable riffs, and saw them sharing stages with the iconic likes of Electic Wizard, Khanate, Acid King, High On Fire and Unearthy Trance.

As Heaven Turns To Ash and I Am Dying are sinister demonstrations of ultra-heavy riffs as a weapon, and with Southern Lord gearing up for their rerelease, doom fans worldwide will need to start saving pennies for the subwoofer damage they are sure to inflict.

As Heaven Turns To Ash Track Listing:
1. Dusk
2. Doom’s Bride
3. Black Acid Prophecy
4. Amber Vial
5. Every Flower Dies No Matter The Thorns (Whither)
6. Lysergic Communion
7. Dawn
8. Scrape
9. And The Angels Begin To Weep

I Am Dying EP:
1. I Am Dying
2. Horizons Burn Red

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Warhorse, As Heaven Turns to Ash (2001)

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Dream Team: Five Guest Singers for the Follow-Up to Earth’s Primitive and Deadly

Posted in Features on August 22nd, 2014 by H.P. Taskmaster

earth

Right now, you’re probably saying to yourself, “Wait, what? These people are going to be on Earth‘s next record?” I don’t know. I doubt it. This is a wishlist. It goes like this:

Earth release their new album, Primitive and Deadly, Sept. 2 on Southern Lord Recordings (preorders are here). I’ll have a review up in the next week or two, but if you’ve ever listened to the massively-influential Seattle mainstays, you know they’ve been instrumental for the bulk of their run to date. For the first time, the new album brings in guest vocalists — the venerable Mark Lanegan (ex-Screaming Trees, etc.) and Rabia Shaheen Qazi (Rose Windows) — on a few choice selections. The results, as you’d expect and as you’ve probably heard by now, are stellar.

I had the record on just now and was daydreaming about what a new avenue Earth – founding guitarist Dylan Carlson, longtime drummer Adrienne Davies and bassist Bill Herzog – have opened for themselves. Of course, if time has proved anything, it’s that Earth work best following their own creative whims and drives, but it wasn’t long before I had a handful of voices I thought would work really well if they wanted to continue pursuing a partially vocalized approach.

Should you have a name to add, please feel free to leave a comment. Here’s who I came up with:

1. Ann Wilson

ann wilson

Okay, so maybe I’m breaking out the big guns right way, but how badass would Ann Fucking Wilson sound on an Earth track? Then and now, her voice is so powerful, moving and I just think she’d nail any part given to her and bring the spaciousness in Earth‘s signature drone-rock approach to an operatic level. I know she’s done most of her work in more traditional structures — Heart could be pretty out there, but still — but you can’t tell me she wouldn’t absolutely kill it in collaboration with her fellow Seattle-ites. Plus you might convince her to break out some flute, and that’s a bonus.

2. Marianne Faithfull

marianne faithfull

I admit this one’s kind of a reach, but one-time Rolling Stones collaborator Marianne Faithfull shares one thing in common with Earth‘s sound, and it’s a lasting resonance. Faithfull‘s voice can be so uplifting or so, so sad, and either side that she brought to Earth, it would work. It really would. It sounds really crazy, but I’m telling you straight up, it would absolutely work and be amazing, and you’d call me up or text me or whatever and like, “Dude, you were right, this is killer,” and then we’d get together and high-five about it, which would also be awesome.

3. Mark Lanegan

mark lanegan

But wait, doesn’t Mark Lanegan already sing on Primitive and Deadly? Yeah, he does. It’s fucking great. They should do it again sometime.

4. Sera Timms

Ms. Timms. (Photo by Michelle Pullman)
The former Black Math Horseman and current Ides of Gemini vocalist seems to carry an ethereal sensibility with her wherever she goes. Certainly that was the case on Field of the Host (review here), the 2013 debut outing from her solo-project Black Mare, and I’d say it holds up on Ides of Gemini‘s new one, Old World/New Wave (review here) as well. Timms does a lot of fascinating work with echoing effects and layering, and has a lot of experience in open structures and droning sounds, so even aside from the otherworldly folkishness of her approach, she seems like a natural fit.

5. Dylan Carlson

dylan carlson
Stay with me on this. Yeah, he sang on 1996’s Pentastar: In the Style of Demons, but after almost 20 years of going the other way, Earth have switched it up and decided to incorporate singers. As the founder of the band, doesn’t Dylan Carlson deserve a say? I think he’s more than earned it, and I don’t even care if he doesn’t want to sing. Let him do a spoken word retelling of his grocery list, it doesn’t matter. It just seems to me that if this is something Earth are going to pursue for any amount of time going forward, it’s as worthwhile for them to look inward as outward in challenging themselves.

Earth‘s Primitive and Deadly is out Sept. 2 on Southern Lord, and they’ll begin a US tour with King Dude two days later (dates here). More info at the links.

Earth on Thee Facebooks

Primitive and Deadly preorders at Southern Lord

Southern Lord Recordings

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The Obelisk Questionnaire: Rafa Martinez of Black Cobra

Posted in Questionnaire on January 27th, 2014 by H.P. Taskmaster

The first time I saw Black Cobra was in a Manhattan basement club called Lit Lounge at a show I put together in 2005, and it was a genuine “Oh shit” moment. The duo of guitarist/vocalist Jason Landrian (ex-Cavity) and drummer Rafa Martinez (who was also still part-time bassist for Acid King at that point) were among the rawest and meanest heavy bands I’d ever come across. Later that year, I’d catch them in a shoe museum in Los Angeles with Torche and to this day it remains one of the heaviest shows I can (barely) remember. Their debut album, Bestial, was released on At a Loss in 2006, and the band relocated from the East Coast to San Francisco, though really, for several years they were nomadic, never seeming to stay too long off the road between tours, hand-delivering punishment to an increasingly devout audience. Southern Lord picked them up for 2007’s Feather and Stone full-length, and their run continued at a gallop as fierce as their own thrashing riffs. 2009’s Chronomega followed and 2011’s Invernal (review here) brought a conceptual edge to their approach, taking the Polar explorations of British researcher Ernest Shackleton to dark and monstrous places, thematically and sonically.

They remain a force on the road, having just completed a week-long West Coast run with Weedeater after having made a stop in Miami to share the stage with Holly Hunt and Shroud Eater in December and another right after the New Year to play Brooklyn’s St. Vitus bar with Throaat and Blackout.

The Obelisk Questionnaire: Rafa Martinez

How did you come to do what you do?

I’m assuming you mean playing music. Growing up I copied everything my older brother did so when he picked up a guitar I followed right behind. He introduced me to metal and punk music. We had a couple bands together but he slowly stopped and it became my life.

Describe your first musical memory.

When I was three I remember learning how to use a turntable with Michael Jackson’s Thriller.

Describe your best musical memory to date.

Sharing the stage with Sleep and Neurosis at Hellfest this last summer was very memorable.

When was a time when a firmly held belief was tested?

Once we were about to go onstage and the stage manager told us our set was being cut by 15 minutes. I told him that we would do no such thing and that his un-American censorship would be protested by our fans and that they would more than likely do things to him. We did our full set and as the crowd cheered for more, the stage manager obliged to their supplicant cries.

Where do you feel artistic progression leads?

Evolution.

How do you define success?

Feeling good about what you do never compromising your ideals. Getting free pizza once in a while is nice too.

What is something you have seen that you wish you hadn’t?

Seeing that sorry-ass excuse of existence,  waste of space,  fetid effluvia emitting piece of gonorrhea the world knows as Creed winning a Grammy for Best Rock Performance in 2001. I know it was a slow year and all but there’s no logical reason for something like that to happen.  But then again George W. Bush got elected twice so we’re all slowly getting used to events like these that make absolutely no sense.

Describe something you haven’t created yet that you’d like to create.

Free energy.

Something non-musical that you’re looking forward to?

I heard a rumor that both Police Academy and Footloose are being remade at the moment. Looking forward the their premieres.

Black Cobra, “The Crimson Blade” official video

Black Cobra on Thee Facebooks

Southern Lord Recordings

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Debut of the Year: Lumbar, The First and Last Days of Unwelcome

Posted in Features on December 23rd, 2013 by H.P. Taskmaster

I know, I know. There’s been a pretty fair amount said about Lumbar‘s The First and Last Days of Unwelcome around here, from the announcement to the interview, album review, and best of list, and I can’t really promise this’ll be the last of it, but a few words and then I’ll leave it alone for a while. There were plenty of other contenders for the best debut of 2013, whether it was reinvigorated veterans in Vista Chino or newcomer innovators like Beelzefuzz, but in the end, I had to go with what’s more likely than not a one-off from (left to right above) Mike Scheidt (YOB), Tad Doyle (TAD, Brothers of the Sonic Cloth), and Aaron Edge (Roareth, Iamthethorn, etc.) for two reasons: Urgency and the moment.

Urgency because of the music itself — the overlaid screams and moans that top the thunderous descending progression of “Day Two,” the lost-in-a-fog feel of “Day Four,” the weeping guitar chaos of “Day Three.” The First and Last Days of Unwelcome packed an entire discography’s worth of heavy into a 24-minute release, and even at its nadir of volume in the droning and far-off vocal tunnel of “Day Five,” was intense beyond the point of exhaustion, Edge working through the trauma of being diagnosed with multiple sclerosis in the best way he knew how: By recording an album. The urgency comes through in the complete immersion of an emotional state, in the turbulence that bleeds from every second of these seven songs, and in the un-concluded feel of the last, which machine-drones itself to a finish as if to indicate the utter lack of an ending to Edge‘s ongoing story.

And the moment. Yes, it’s awesome that Scheidt, Doyle and Edge came together to all work on an album, but more than that, it’s how they came together and that the result was this album. The story of Edge recording the instrumental parts while laid up in bed, in real, physical pain, is excruciating, but it’s how that is translated into the songs that gives them such power. To be able to hone that, and then bring Scheidt and Doyle into the fold and make The First and Last Days of Unwelcome complete is capturing an entirely different kind of moment; the special nature of the collaboration in concept and execution is undersold by any “supergroup” tag you might want to instill. Lumbar proved to be beyond that, a fleeting and daringly honest slice of life that didn’t want pity or sympathy or anything other than to search out some meaning in what seemed void outstretched.

To call it a “debut” implies there might be a follow-up, and it seems unlikely at this point that there will, but even so, no first outing crashed quite as hard into the consciousness in 2013 as Lumbar‘s The First and Last Days of Unwelcome, and if it’s a call that never gets its answer, there’s no doubt in my mind its echo will last a long, long time.

Now I’ll shut up about it.

Lumbar, The First and Last Days of Unwelcome (2013)

Lumbar on Bandcamp

Lumbar on Thee Facebooks

Aaron Edge’s Hellvetika project on Bandcamp

Southern Lord Recordings

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The Obelisk Presents: The Top 20 of 2013

Posted in Features on December 16th, 2013 by H.P. Taskmaster

Please note:  These are my picks, not the results of the Readers Poll, which is still going on. If you haven’t added your list yet, please do.

It’s always strange to think of something so utterly arbitrary as also being really, really difficult, but I think 2013 posed the biggest challenge yet in terms of getting together a final list of my favorite records. As ever, I had a post-it note on my office wall (when I moved, it moved with me) and I did my best to keep track of everything that resonated throughout the year. I wound up with over 40 picks and had to start putting them in order to whittle the list down.

I wound up with a top 20 that, even though it feels somewhat incomplete, I’ve found that I can at very least live with. That’s what I’ve done for the last week: Just lived with it. Even up to this morning, I was making changes, but in general, I think this gives some scope about what hit me hard in 2013. Of course, these are just my picks, and while things like my own critical appreciation factor in because that affects how I ultimately listen to a record, sometimes it just comes down to what was stuck in my head most often or what I kept putting on over and over.

That’s a simple formula to apply, but still, 2013 didn’t make it easy. Please note as you go through that there are some real gems in the honorable mentions. I thought about expanding the list to 30 this year, but the thought made my skull start to cave in, so I reconsidered.

Anyway, it only comes around once a year, so let’s do this thing. Thanks in advance for reading:

 

20. All Them Witches, Lightning at the Door

Self-released.

Traditionally, I’ve reserved #20 for a sentimental pick. An album that’s hard to place numerically because of some personal or emotional connection. This year wasn’t short on those, but when it came to it, I knew I couldn’t make this list without Lightning at the Door included, and since it was released just last month as the follow-up to the earlier-2013 Elektrohasch reissue of the Nashville, Tennessee, outfit’s 2012 debut, Our Mother Electricity (review here), I didn’t feel like I’ve had enough time with it to really put it anywhere else. It needed to be here, and so it is, and though I’ve listened to it plenty in the month since its release, I still feel like I’m getting to know Lightning at the Door, and exploring its open-spaced blues rocking grooves. All Them Witches are hands down one of the best bands I heard for the first time this year, and I’m looking forward to following their work as they continue to progress.

19. Queens of the Stone Age, …Like Clockwork

Released by Matador Records. Reviewed June 4.

For a while after I first heard …Like Clockwork and around the time I reviewed it, I sweated it pretty hard. By mid-June, I had it as one of the year’s best without a doubt in my mind. Then I put it away. I don’t know if I burnt myself out on it or what, but I still haven’t really gone back to it, and while the brilliance of cuts like “Kalopsia” and “Fairweather Friends” and “I Appear Missing” still stands out and puts Josh Homme‘s songwriting as some of the most accomplished I encountered in 2013, that hasn’t been enough to make me take it off the shelf. I doubt Queens of the Stone Age will cry about it as they tour arenas and get nominated for Grammy awards, but there it is. I wouldn’t have expected …Like Clockwork to be so low on the list, certainly not when I was listening to “My God is the Sun” six times in a row just to try and get my head around the chorus.

18. I are Droid, The Winter Ward

Released by Razzia Records. Reviewed Sept. 19.

Gorgeously produced and impeccably textured, The Winter Ward by Stockholm-based I are Droid aren’t generally the kind of thing I’d reach for, but the quality of the craft in songs like “Constrict Contract” and “Feathers and Dust” made it essential. Bits and pieces within harkened back to frontman Peder Bergstrand‘s tenure in Lowrider, but ultimately The Winter Ward emerged with a varied and rich personality all its own, and that became the basis for the appeal. As the weather has gotten colder and it’s gotten dark earlier, I’ve returned to The Winter Ward for repeat visits, and as much as I’ve got my fingers crossed for another Lowrider album in 2014, I hope I are Droid continue to run parallel, since the progressive take on alternative influences they managed to concoct was carried across with proportionate accessibility. It was as audience friendly and satisfying a listen as it was complex and ripe for active engagement.

17. Magic Circle, Magic Circle


Released by Armageddon Shop. Reviewed Feb. 18.

There was just nothing to argue about when it came to the self-titled debut from Massachusetts-based doomers Magic Circle, but what worked best about the album was that although the songs were strong on their own and seemed to have lurching hooks to spare, everything throughout fed into an overarching atmosphere that was denser than the straightforwardness of the structures might lead the listener to initially believe. It was a record worth going back to, worth getting lost in the nod of, and as the members are experienced players in a variety of New England acts from The Rival Mob to Doomriders, it should be interesting to find out what demons they may conjure in following-up Magic Circle, if they’ll continue down the path of deceptively subversive “traditionalism” or expand their sound into more progressive reaches. Either way they may choose, the material on their first outing showed an ability to craft an enigmatic, individualized sonic persona that never veered into cultish caricature.

16. Iron Man, South of the Earth

Released by Rise Above/Metal Blade Records. Reviewed Oct. 14.

If you’re into doom and you have a soul, I don’t know how you could not be rooting for Iron Man in 2013. Produced by Frank Marchand and the first full-length from the long-running Maryland doomers to feature vocalist Dee Calhoun and drummer Jason “Mot” Waldmann alongside guitarist/founder “Iron” Al Morris III (interview here) and longtime bassist Louis Strachan. The difference in South of the Earth was palpable even in comparison to 2009’s I Have Returned (review here). With more professional production, excellent performances all around in the lineup, memorable songs like “Hail to the Haze” and “The Worst and Longest Day,” and the considerable endorsement of a release through Rise Above/Metal Blade behind them, the four-piece sounded like the statesmen they are in the Maryland scene and showed themselves every bit worthy of inclusion in the discussion of America’s finest in traditional, Sabbathian doom. May they continue to get their due.

15. Sasquatch, IV


Released by Small Stone Records. Reviewed Sept. 16.

Whether it was what the lyrics were talking about or not, the message of “The Message” was clear: Never count out a catchy chorus. Now in operation for a decade, Sasquatch practice an arcane artistry with their songwriting. Void of pretense, heavy on boogie, they are as genuine a modern extension of classic heavy rock as you’re likely to find. The Los Angeles power trio outdid themselves with IV, veering boldly into psychedelia on “Smoke Signal” and honing their craft over various moods and themes on “Sweet Lady,” “Me and You” and “Eye of the Storm.” They remain one of American heavy rock’s key and consistently underestimated components, and the three years since the release of their third album, III (review here), seemed like an eternity once the quality grooves of “Money” and “Drawing Flies” got moving, the former an insistent rush and the latter open, dreamy and atmospheric, but both executed with precision and confidence born of Sasquatch‘s familiarity with the methods and means of kicking ass.

14. Black Pyramid, Adversarial

Released by Hydro-Phonic Records. Reviewed April 12.

It was hard to know what to expect from Black Pyramid‘s Adversarial, their first release with guitarist/vocalist Darryl Shepard at the fore with bassist Dave Gein and drummer/engineer Clay Neely, but the Massachusetts outfit flourished on tracks like “Swing the Scimitar,” incorporating a heavy jamming sensibility with marauding riffs and grooves carried over from the style of their first two albums. Adversarial took the band to Hellfest in France this past summer, where they shared a stage with Neurosis and Sleep, and whether it was the raging chorus of “Bleed Out” or the clarion guitar line of “Aphelion,” the band showed their war ensemble could not be stopped. Their future is uncertain with Neely having relocated and Gein having an impending move of his own, but if Adversarial is to stand as the final Black Pyramid outing, they will at very least have claimed enough heads in their time to line fence-posts for miles. Still, hopefully they can find some way to continue to make it work.

13. Across Tundras, Electric Relics

Released by Electric Relics Records. Reviewed July 11.

Even the interlude “Seasick Serenade,” just over a minute and a half long, was haunting. Electric Relics marked the first full-length from Nashville’s Across Tundras to be released on their own label and the first since they issued Sage through Neurot in 2011 (review here), and as rolling and exploratory as its vibe was, songs like “Solar Ark,” “Pining for the Gravel Roads” and “Den of Poison Snakes” also represented a solidification of Across Tundras‘ sound, another step in their development that refined their blend of rural landscapes and heavy tones. Issued in April, it’s been an album that throughout the course of the year I’ve returned to time and again, and the more I’ve sat with it and the more comfortable it’s become, the more its songs have come to feel like home, which it’s easy to read as being their intent all along. Guitarist/vocalist Tanner Olson (read his questionnaire answers here), bassist/vocalist Mikey Allred and drummer Casey Perry hit on something special in these tracks, and one gets the sense their influence is just beginning to be felt.

12. Borracho, Oculus

Released by Strange Magic/No Balls/AM Records. Reviewed July 26.

Initially a digital self-release by the Washington, D.C. riff purveyors, Oculus just this month got a tri-color, tri-label and tri-continental vinyl issue, and the fanfare with which it arrived was well earned by the five songs contained on the two sides. Borracho‘s second album behind 2011’s Splitting Sky (review here) also marked a lineup shift in the band that saw them go from a four-piece to a trio, with guitarist Steve Fisher (interview here) stepping to the fore as vocalist in the new incarnation with Tim Martin on bass and Mario Trubiano on drums. The results in songs like “Know the Score” and closer “I’ve Come for it All” were in line stylistically with the straightforward approach they showed on their first offering, but tighter overall in their presentation, and Fisher‘s voice was a natural fit with the band’s stated ethic of “repetitive heavy grooves” — a neat summary, if perhaps underselling their appeal somewhat. Oculus showed both that the appeal of Splitting Sky was no fluke and that Borracho with four members or three was not a band to be taken lightly.

11. Ice Dragon, Born a Heavy Morning

Released by Navalorama Records. Reviewed Aug. 14.

Like the bulk of Ice Dragon‘s work to date, Born a Heavy Morning was put out first digitally, for free or pay-what-you-want download. A CD version would follow soon enough on Navalorama, with intricate packaging to match the album’s understated achievements, taking the Boston genre-crossers into and through heavy psychedelic atmospheres added to and played off in longer pieces like “The Past Plus the Future is Present” and the gorgeously ethereal “Square Triangle” by thematic slice-of-life set-pieces like “In Which a Man Daydreams about a Girl from His Youth” and “In Which a Man Ends His Workweek with a Great Carouse” that only enriched the listening experience and furthered Ice Dragon‘s experimental appeal. Ever-prolific, Born a Heavy Morning wasn’t the only Ice Dragon outing this year, physical or digital, but it stood in a place of its own within their constantly-expanding catalog and showcased a stylistic fearlessness that can only be an asset in their favor as they continue to chase down whatever the hell it is they’re after in their songs and make genuine originality sound so natural.

10. Devil to Pay, Fate is Your Muse

Released by Ripple Music. Reviewed March 19.

It seemed like no matter where I turned in 2013, Devil to Pay‘s Fate is Your Muse was there. Not that it was the highest-profile release of the year or bolstered by some consciousness-invading viral campaign or anything, just that once the songs locked into my head, there was no removing them, and whether it was straightforward rockers like “This Train Won’t Stop,” “Savonarola” and “Tie One On,” the moodier “Black Black Heart” or the charm-soaked “Ten Lizardmen and One Pocketknife” — which might also be the best song title I came across this year — it was a pretty safe bet that something from the Indianapolis four-piece was going to make a showing on the mental jukebox if not in the actual player (it showed up plenty there as well). Devil to Pay‘s first album since 2009, first for Ripple and fourth overall, Fate is Your Muse was a grower listen whose appeal only deepened over the months after its release, the layered vocals of guitarist Steve Janiak (interview here) adaptable to the varying vibes of “Wearin’ You Down” and “Already Dead” and soulful in classic fashion. They’ve been underrated as a live act for some time, and Fate is Your Muse translated well their light-on-frills, heavy-on-riffs appeal to a studio setting.

9. Beast in the Field, The Sacred Above, the Sacred Below

Released by Saw Her Ghost Records. Reviewed May 30.

Such devastation. Even now, every time I put on Beast in the Field‘s The Sacred Above, the Sacred Below, it makes me want to hang my head and wonder at the horror of it all like Marlon Brando hiding out in a cave. If anything at all, there wasn’t much I heard in 2013 that hit harder than the Michigan duo’s fifth long-player, released on CD in March through Saw Her Ghost with vinyl reportedly on the way now. Toward the middle of the year, it got to the point where I wanted to go door to door and say to people, “Uh excuse me, but this is absurdly heavy and you should check it out.” I settled for streaming the album in full and it still feels like a compromise. I tried to interview the band, to no avail — sometimes instrumental acts just don’t want to talk about it — but what guitarist Jordan Pries and drummer Jamie Jahr were able to accomplish tonally, atmospherically and bombastically in expansive and overwhelmingly heavy cuts like the 22-minute “Oncoming Avalanche” or the noise-soaked riffing of “Hollow Horn” put The Sacred Above, the Sacred Below into a weight class that it had pretty much to itself this year. It’s a good thing they had no trouble filling that space. I still feel like I haven’t recommended the album enough and that more people need to be made aware of its existence.

8. Beelzefuzz, Beelzefuzz

Released by The Church Within Records. Reviewed Aug. 30.

When I finally listened to Beelzefuzz‘s self-titled debut, I was really, really glad I had seen the three-piece — its members based in Maryland, Delaware and Pennsylvania — play some of the material live. I don’t know if otherwise I’d have been able to distinguish between the progress elements of effects and looping and the live creation of layers and organ sounds through the guitar of Dana Ortt (interview here) and the simple humdrum of studio layering one finds all the time. I almost think for their next record they should track it live, just the three of them, and heavily advertise that fact to help get the point across that it’s actually just three players — Ortt, bassist Pug Kirby and drummer Darin McCloskey (also of Pale Divine) — creating the richness of sound on “All the Feeling Returns” and the eerie, gleefully weird progressive stomp on “Lonely Creatures.” The album became a morning go-to for me, and I don’t know how many times I’ve been through it at this point, but “Reborn” and “Hypnotize” and “Lotus Jam” continue to echo in my head even when it’s been a few days. That said, it’s rarely been a few days, because while I appreciate what the trio accomplish on their first record on an analytical level, the reason it is where it is on this list is because I can’t stop listening to the damn thing. Another one that more people should hear than have heard.

7. Samsara Blues Experiment, Waiting for the Flood

Released by World in Sound/Electric Magic Records. Reviewed Oct. 22.

One of the aspects of Samsara Blues Experiment‘s third offering that I most enjoyed was that it wasn’t the album I expected German four-piece to make. After their 2011 sophomore album, Revelation and Mystery (review here), shifted its focus away from the jam-minded heavy psychedelia of their 2009 debut, Long Distance Trip (review here), my thinking was that they would continue down that path and coalesce into a more straightforward brand of heavy rock. Instead, when the four extended tracks of Waiting for the Flood showed up with no shortage of swirl or sitar or open-ended expansion in their midst, it was a legitimate surprise. Repeat visits to “Shringara” and “Don’t Belong” show that actually it’s not so much that Samsara Blues Experiment turned around and were hell-bent on jamming out all the time, but that rather for their third, they took elements of what worked on their first two LPs and built lush movements on top of those ideas. As a happy bonus, this having grown more and more into their sound has helped push the band — guitarist/vocalist Christian Peters, guitarist Hans Eiselt, bassist Richard Behrens and drummer Thomas Vedder — into their own niche within the wider European heavy psych scene, and they’ve begun to emerge as one of its most enjoyable and consistent acts.

6. Uncle Acid and the Deadbeats, Mind Control

Released by Rise Above/Metal Blade Records. Reviewed April 8.

Kind of inevitable that there would be a lot of comparisons made between Mind Control and the preceding Uncle Acid album, Blood Lust. Certainly the newer outing — their third and first for Rise Above/Metal Blade – is more psychedelic, more tripped out and less obscure feeling than its predecessor. It didn’t have the same kind of crunch to the guitar tone, or the same kind of horror-film atmosphere or psychosexual foreboding, but the thing was, it wasn’t supposed to. The UK outfit continue to prod cult mentality even as their own cult grows, and as I see it, Mind Control made a lot of sense coming off Blood Lust in terms of the band not wanting to repeat the same ideas over again, but grow from them and expand their sound. Of course, with the strut at the end of opener “Mt. Abraxas,” they’ve set a high standard on their albums for leadoff tracks, but where Mind Control really made its impression was in the hypnosis of cuts like the Beatlesian “Follow the Leader,” the lysergic “Valley of the Dolls” or the maddening “Devil’s Work.” The deeper you went into side B, the more the band had you in their grasp. It was a different kind of accomplishment than the preceding effort — though “Mind Crawler” kept a lot of that vibe alive — and it showed Uncle Acid had more in their arsenal than VHS ambience and garage doom malevolence while keeping the infectiousness that helped Blood Lust make such an impression.

5. Lumbar, The First and Last Days of Unwelcome

Released by Southern Lord. Reviewed Dec. 3.

Of the ones reviewed, Lumbar‘s The First and Last Days of Unwelcome was the most recent inclusion on this list. Having worked with Lumbar multi-instrumentalist/vocalist Aaron Edge (interview here) in the past with his band Roareth releasing what would be their only album on The Maple Forum, this was a project to which I felt an immediate connection given the circumstances of its creation: Being written almost in its entirety and recorded in everything but vocals during a bedridden period following Edge‘s diagnosis of multiple sclerosis. The contributions of YOB/Vhöl frontman Mike Scheidt and Tad Doyle of TAD and Brothers of the Sonic Cloth were what got a lot of people’s attention for Lumbar‘s The First and Last Days of Unwelcome, but with the situation are the core of the seven tracks named “Day One” through “Day Seven,” what stood out to me even more than those performances was the utter lack of distance and the level of rawness in the album’s presentation. It puts you there. What you get with Lumbar is the direct translation of a range of emotions from hopeful to hopeless, angry, sad, beaten down and wanting answers, wanting more. There’s no shield from it, and as much in concept as in its execution, there’s no other word for it than “heavy.” The intensity Edge packed into just 24 minutes — and not all of it loud or over the top doomed or anything more than atmospherics — was unmatched by anything else I heard this year.

4. Vista Chino, Peace

Released by Napalm Records. Reviewed July 30.

From just about any angle you want to view it, the situation that turned Kyuss Lives! into Vista Chino was unfortunate. However — and I know I’ve said this before — I really do believe that becoming Vista Chino, that furthering the distance from the Kyuss moniker, brand, legacy, and so on, was for the better of the band creatively. And not because the songs don’t stand up. I doubt it helped their draw much, but for vocalist John Garcia and drummer Brant Bjork (interview here), working as Vista Chino for the creation of Peace, and especially or Bjork working with guitarist Bruno Fevery for the first time in the writing process, it allowed them to step outside of what would’ve been insurmountable expectations for a “fifth Kyuss album” and create something honest, new, and ultimately, more true to the spirit of that now-legendary band. Let’s face it, you hear John Garcia, Brant Bjork and Nick Oliveri are working on a project together, you’re immediately comparing it to Kyuss anyway. At least with Vista Chino, they’ve given themselves the potential for growth beyond a preconceived idea of what Kyuss should sound like. Well what does Vista Chino sound like? It sounds like whatever the hell they want. On Peace, though many of the lyrics dealt with their legal battles over the Kyuss name, the vibe stayed true to a desert rock ethic of laid back heavy, and the round-out jam in “Acidize/The Gambling Moose” left Peace with the feeling that maybe that’s where they’ve ended up after all. Fingers crossed Mike Dean (of C.O.C. and the latest live incarnation of Vista Chino) winds up playing bass on the record, but other than that, wherever they want to go with it, as a fan, I’m happy to follow along.

3. Gozu, The Fury of a Patient Man

Released by Small Stone Records. Reviewed Jan. 24.

The second outing from Gozu on Small Stone, The Fury of a Patient Man tapped into so much of what made the Boston band’s 2010 Locust Season label debut (review here) work so right on and just did it better. Don’t get me wrong, I still dig on “Meat Charger,” but with tracks like “Snake Plissken,” “Bald Bull,” “Signed, Epstein’s Mom” (note: it was “signed, Epstein’s mother” on Welcome Back Kotter) and the thrashing “Charles Bronson Pinchot,” Gozu put forth a collection of some of 2013’s finest heavy rock and did so with not only their own soulful spin on the tropes of the genre, but a mature and varied approach that was no less comfortable giving High on Fire a run for their money than reveling in the grandiose chorus of “Ghost Wipe,” which was also one of the best hooks of the year, guitarist/vocalist Marc Gaffney (interview here) delivering lines in crisp, confident layers, perfectly mixed by Benny Grotto at Mad Oak Studios and cutting through the fray of his own and Doug Sherman‘s guitars, the bass of Paul Dallaire (who split duties with J. Canava; Joe Grotto has since taken over the position) and Barry Spillberg‘s drumming. What the future might hold for Gozu with the recent shift in lineup that replaced Spillberg with drummer Mike Hubbard (ex-Warhorse) and added third guitarist Jeff Fultz (Mellow Bravo) remains to be seen, but with European touring on the horizon for 2014 and appearances slated for Roadburn and Desertfest, the band seem to be looking only to expand their reach, and with the material from The Fury of a Patient Man as a foundation, they’ve got some major considerations acting in their favor. Another album from which I simply could not escape this year, and from which I didn’t want to.

2. Monster Magnet, Last Patrol

Released by Napalm Records. Reviewed Sept. 12.

Billed largely and at least in-part accurately as a return to the group’s psychedelic roots, Last Patrol was Monster Magnet‘s ninth full-length, their first in three years and their second for Napalm. The New Jersey outfit led by guitarist, vocalist, songwriter, founder and, in this case, co-producer Dave Wyndorf (interview here) did indeed delve into the space rock side of their sound more than they have in over a decade, and the effect that doing so had was like a great shaking-off of dust, as though the Bullgod in the John Sumrow cover art just woke up after a long slumber. Perhaps even more than tripping on the Donovan cover “Three Kingfishers” or on the more extended freakouts “Last Patrol” and “End of Time,” what really made Last Patrol such a complete experience was the depth of emotion. Wyndorf wasn’t just standing above an overproduced wall of distortion talking about how he’s the best lay in the galaxy or whatever — fun though that kind of stuff is and has been in the past — but songs like “I Live behind the Clouds,” “The Duke (of Supernature),” “Paradise” and “Stay Tuned” offered a humbler take, a spirit of melancholy that rested well alongside the unmitigated stomp of “Hallelujah” or the driving heavy rock of “Mindless Ones.” Even in its most riotous stretches, Last Patrol was a humbler affair, with a more honest vibe than their last four, maybe five albums. A Monster Magnet release would’ve been noteworthy no matter what it actually sounded like, because that’s the level of impact they’ve had on heavy psych and underground rock over the last two decades-plus. The difference with Last Patrol was that it was a refreshing change from what had started to sound like a formula going stale, and it was  just so damn good to have them be weird again.

1. Clutch, Earth Rocker

Released by Weathermaker Music. Reviewed Feb. 28.

Finally, an album that asked the question, “What it was I’m going to do I haven’t done?” I knew at the year’s halfway point that Clutch‘s Earth Rocker was going to be the one to beat, and that it wasn’t going to be easy for anyone else to top the Maryland kings of groove, who sounded so reinvigorated on songs like “Crucial Velocity,” “Book, Saddle and Go,” “Unto the Breach,” and “Cyborg Bette,” and on funkfied pushers like “D.C. Sound Attack!,” “The Wolfman Kindly Requests…” and “The Face.” They’d hardly been in hibernation since 2009’s Strange Cousins from the West, but four years was the longest they’d ever gone between albums, and it was past time for a new one. To have it arrive as such a boot to the ass just made it that much better, the band shifting away from some of the blues/jam influences that emerged over the course of 2005’s Robot Hive/Exodus and 2007’s From Beale Street to Oblivion — though those certainly showed up as well in the subdued “Gone Cold” and elsewhere — but thanks in no small part to the production of Machine, with whom the band last worked for 2004’s Blast Tyrant, Earth Rocker was huge where it wanted to be and that gave Clutch‘s faster, more active material all the more urgency, where although the songwriting was quality as always, Strange Cousins from the West languished a bit at a more relaxed pace. The difference made all the difference. Whether it was the hellhounds on your trail (what a pity!) in “D.C. Sound Attack!” or the Jazzmasters erupting from the bottom of the sea to take flight, Clutch‘s 10th album was brimming with live, vibrant, heavy on action and heavy on groove, and on a sheer song-by-song level, a classic in the making from a band who’ve already had a few. At very least, it’s a landmark in their discography, and though vocalist Neil Fallon (interview here), guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster always change from record, but it’s the unmistakable stamp they put on all their outings that have earned them such a loyal following, and that stamp is all over Earth Rocker. Front to back, it is a pure Clutch record, and while I’ll happily acknowledge that it’s an obvious pick for album of the year, I don’t see how I possibly could’ve chosen anything else. Like the best of the best, Earth Rocker will deliver for years to come.

The Next 10 and Honorable Mentions

I said at the outset I had 40 picks. The reality was more than that, but here’s the next 10 anyway:

21. Blaak Heat Shujaa, The Edge of an Era
22. The Freeks, Full On
23. Luder, Adelphophagia
24. The Flying Eyes, Lowlands
25. Black Skies, Circadian Meditations
26. At Devil Dirt, Plan B: Sin Revolucion No Hay Evolucion
27. Kadavar, Abra Kadavar
28. Naam, Vow
29. Mühr, Messiah
30. Uzala, Tales of Blood and Fire

Further honorable mention has to go to Pelican, Endless Boogie, Earthless, Phantom Glue, Goatess, Windhand, GongaToner Low, Jesu and Sandrider.

Two More Special Records

I’d be unforgivably remiss if I didn’t note the release in 2013 of two albums that wound up being incredibly special to me personally: I vs. the Glacier by Clamfight and A Time of Hunting by Kings Destroy. Since it came out on this site’s in-house label, I didn’t consider the Clamfight eligible for list consideration and while I didn’t help put it out, the Kings Destroy I also felt very, very close to — probably as close as I’ve felt to a record I didn’t actually perform on — so it didn’t seem fair on a critical level, but I consider both of these to be records that in a large part helped define my year, as well as being exceptional in and of themselves, and they needed very much to be singled out as such. These are people whom I feel whatever-the-godless-heathen-equivalent-of-blessed-is to know.

Before I end this post, I want to say thank you for reading, this, anything else you may have caught this year, whatever it might be. To say it means a lot to me personally is understating it, but it’s true all the same. I’m not quite done wrapping up the year — I’ll have a list of the best album covers, another for EPs and singles and demos, and of course the albums I didn’t hear — so please stay tuned over the next couple weeks, but it seemed only fair to show my appreciation now as well. Thank you.

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Lumbar, The First and Last Days of Unwelcome: The Human Laid Bare

Posted in Reviews on December 3rd, 2013 by H.P. Taskmaster

By now, the origin of Lumbar has quickly become legend. In its complete recording form, Lumbar is instrumentalist/vocalist Aaron Edge, who’s joined by Mike Scheidt and Tad Doyle on vocals and vocals/recording, respectively. These are names of considerable consequence to have attached to a project. Between Doyle‘s pedigree in TAD and the awaited Brothers of the Sonic Cloth and Scheidt standing as one of his generation’s most innovative luminaries in doom (doominaries?) for his tenure over the last decade-plus in YOB, even before you get to rattle off the long list of projects in which Edge has taken part — Iamthethorn, Harkonen, Brothers of the Sonic Cloth, HimsaGrievous, Maple Forum alums Roareth, countless others, and even more when you factor in those to whom he’s contributed art or design work — it’s hard not to be sold beforehand on Lumbar‘s Southern Lord debut, The First and Last Days of Unwelcome. On personnel alone, it’s a landmark, but the real crux of the album isn’t in some supergroup amalgam of ego. It’s in the intensely personal nature of the material. As Edge explained in an interview here, most of The First and Last Days of Unwelcome came together during a period of immobility following his being diagnosed with Multiple Sclerosis. 40 days in bed. No stranger to self-recording, Edge programmed the drums, fired up a Verellen Skyhammer preamp pedal and transposed 24 minutes’ worth of visceral human experience into seven varied tracks that are at times hopeful, at times oppressive and defeated, but always essentially, deeply his own. After the parts were recorded, he brought them to Scheidt, who in turn suggested they track with Doyle at his Studio Witch Ape in Washington. The First and Last Days of Unwelcome is impossible to divorce from this context, because it is the context, and knowing how it happened, the raw circumstance of how it was made, the freshness of the wounds driving it, brings a level of admiration to the project with which even its lineup can’t hope to compete.

I won’t feign impartiality. Between having helped Roareth put out their first and only record through this site’s in-house label — it was the first release, actually, and my conversations with Edge are good memories that were pivotal in making it happen — and having been in touch over the years with Scheidt as well as being a fan of his and Doyle‘s work, there’s just no way I can pretend to approach Lumbar from neutral ground. Generally, I look at that as a drawback, but in the case of The First and Last Days of Unwelcome and how personal the nature of the album is, I think it actually helps. For years and years, Edge has bounced from one project to the next — even as I type this he’s looking for a band to sing for in Portland — but aside from being arguably the highest-profile, Lumbar might also be the most his own of everything he’s done. The expression in these songs, whether it’s the desperate cloying that begins centerpiece “Day Four” or the explosion of rage that emerges from it, is his. And the claustrophobia of “Day Five,” in which the world seems to be happening somewhere outside the echo chamber of the song itself, isn’t impartial. There’s no distance to Lumbar whatsoever, no moment where the artist responsible has stepped back and said, “I’m going to write about this experience.” That’s not what The First and Last Days of Unwelcome is. Instead, each of these pieces is a transcription of a moment or a stretch of this time. Some, like “Day One,” “Day Two” (the tracklisting corresponding with the days) and “Day Six,” are transposed as relatively complete song ideas — the vocal and instrumental arrangements satisfy as finished products — but not everything is designed to be so neat. The drumless “Day Three” works around a frantic guitar-as-fiddle progression that seethes with tension waiting to boil over as a low rumble rises beneath, Edge shouting, “Why are you here?” from within the morass. He’s low in the mix, overwhelmed at first, and comes forward only as the song itself works to an end of echoing heartbeats and droning, and the aforementioned “Day Five” is a postcard from some unspoken level of hell that conveys its agonies and is gone. No verses or choruses; atmospheres and impressions. Front to back, it is a brief — again, just 24 minutes — but haunting listen.

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Lumbar Interview with Aaron Edge and Mike Scheidt (Plus Exclusive Track Stream)

Posted in audiObelisk, Features on October 23rd, 2013 by H.P. Taskmaster

Lumbar, “Day Six” from The First and Last Days of Unwelcome

Here is the Music Player. You need to installl flash player to show this cool thing!

There’s nothing comfortable about listening to Lumbar‘s debut and quite possibly only outing, The First and Last Days of Unwelcome. A 24-minute full-length comprised of seven tracks of huge tones and fraught wails, screams and psychedelic helplessness, there’s a consuming darkness in the audio that bleeds through the atmosphere in layers of drones, lumbering riffs and varied vocals from the three component members of the project — Aaron Edge (Roareth, Rote Hexe, Hauler, etc.), Tad Doyle (TAD) and Mike Scheidt (YOB, Vhöl) — all of whose personalities are evident throughout the monumental proceedings.

Aaron Edge has spent years bouncing from band to band, new project to new project, as well as working as a graphic designer for Southern Lord (which is releasing Lumbar) and others in a sort of tornado of creativity. In all my dealings with him — Roareth‘s first and only CD came out on The Maple Forum – I’ve found him to be passionate, dedicated and exceedingly driven. The kind of person who’s already there by the time you’re ready to go. Relentless in his energy and will to create, he’s also a marathon runner, long-distance biker, vegan and straightedge. Someone for whom movement both conceptual and physical is the norm. Perhaps because of that it was all the more a shock early this year when he was diagnosed with MS.

Talking to him about it now, several months after the fact, Edge hardly remembers how he spent the 40 solid days in bed from the pain, but it was during this traumatic time that he wrote what would become Lumbar (and two other in-progress projects) once Scheidt and Doyle got involved. The name Lumbar derives from the medical procedure “lumbar puncture,” also known as a spinal tap, wherein a needle is inserted between the vertebrae of a person’s back and spinal fluid is collected for diagnosis. Edge has had a few at this point, and one could easily look at The First and Last Days of Unwelcome as the same kind of process.

Because where many might allow for some distance — that is, might wait until an experience is over and then write an album about it — in LumbarEdge thrusts listeners into the moment itself. The album’s seven tracks, broken down as “Day One,” “Day Two” and so on, are like a transcription of agony. There isn’t distance or the feeling of safety that distance might provide. With Scheidt and Doyle contributing to the vocal arrangements and recording, Edge tells a story through captured moments that’s haunting, tragic, beautiful, hopeful at times and incomplete in the way that life itself is incomplete and in the way that his story, his battle with this disease, is ongoing and continues to shape what has become his being.

In the interviews that follow, Edge discusses how Lumbar came together, working with Scheidt and recording with Doyle, the relationships he’s had with the two over the years, doing art for YOB and playing drums for a time in Doyle‘s band, Brothers of the Sonic Cloth, as well as sharing the first listen to the finished product of The First and Last Days of Unwelcome with family and friends in a moment of communal support, while Scheidt – checking in from Idaho on a solo tour alongside Uzala – expands on his friendship with Edge, how he came to be involved in Lumbar and his feelings on how the album came out.

Because I spoke to Edge first, then Scheidt, that’s how I’ve chosen to present the Q&As. If you haven’t yet, check out “Day Six,” one of the album’s most exceedingly righteous stretches, on the player above.

The First and Last Days of Unwelcome will be released on LP and digital through Southern Lord on Nov. 26, with CD to follow from the band and a cassette through Holy Mountain.

As always, thanks for reading. Interviews are after the jump.

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Mike Scheidt, Tad Doyle and Aaron Edge Announce New Band Lumbar; Album to be Released on Southern Lord

Posted in Whathaveyou on September 10th, 2013 by H.P. Taskmaster

So you’re telling me that there’s a band walking around that has Mike Scheidt from YOB, Tad frickin’ Doyle from TAD/Brothers of the Sonic Cloth and Roareth alum Aaron Edge playing as a trio? Right now? On this planet? Well I dare say then that this, indeed, is where it’s at.

Southern Lord Recordings is the lucky outlet who gets to issue Lumbar‘s debut LP, The First and Last Days of Unwelcome, in November. Pretty sure Tad recorded, and Brad Boatright of Audiosiege mastered the record. It’s done. It’s coming. This is a real thing. You should be excited about it.

To trace the connections — which I’m sure go back much farther than this — Edge played for a time with Doyle in Brothers of the Sonic Cloth,  and also designed the YOB logo and did the artwork for 2009’s we’re-back-and-we’re-pissed album, The Great Cessation (review here). Doyle also recorded Scheidt‘s solo album, Stay Awake. There’s probably much more to it than that, but what it all rounds out to is a Pacific Northwest stew of churning psychedelic worship and a full-length that plays to the strengths of all three involved. You know you’re getting something heavy and you’re right.

Expect more to come in the days that follow, but for now, check out the album art and the minimal announcement and then sweat it out until we can get some audio from this thing.

Lumbar — The First and Last Days of Unwelcome

A crushing sonic endeavor featuring:
Mike Scheidt + Tad Doyle + Aaron Edge

We (Tad, Mike and Aaron) are proud to announce that our new recording, “The First & Last Days of Unwelcome”, shall be released this November on Southern Lord Recordings. More news when more news is known. Thanx for the support and interest thus far.

Update: Says Scheidt of the project:

“Aaron Edge wrote all of the music and lyrics, I helped with arranging the vocals and also contributed vocals, Tad did vocals and mixed the album. For the most part, this beast is all Aaron Edge and it’s about his struggle with MS. Heavy shit indeed.”

https://www.facebook.com/thelumbarendeavor

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Pelican Unveil “Deny the Absolute” from New 7″ Single

Posted in audiObelisk on August 13th, 2013 by H.P. Taskmaster

As a precursor to the forthcoming full-length, Forever Becoming, which is due out Oct. 15, Chicago instrumentalists Pelican will release a 7″ single through The Mylene Sheath that’s set to feature an alternate recording of the song “Deny the Absolute.” On the album, the rush you hear at the start of “Deny the Absolute” signals the moment of switch between the opening ambience of “Terminal” and some of Pelican‘s most forward-driving riffage, and though it hardly showcases the depth of mood that Forever Becoming seems to have at its disposal — Pelican having long since come of age in joy as much as struggle, musically — sometimes it’s best to let a badass riff do the talking for you. Hardly the first time Pelican are doing that.

Check out “Deny the Absolute” on the player below, hoisted from Pelican‘s Soundcloud, and give it a listen in kind with the previously streamed “Immutable Dusk” for even more landmark-type riffing. The Mylene Sheath will issue the Deny the Absolute 7″ on Aug. 20, and the pre-order link is included with Pelican‘s tour dates here.

Enjoy:

Taken from the forthcoming 7″ on The Mylene Sheath. Available August 20th 2013.

7″ preorder: http://www.mylenesheath.com/pg/preorders

PELICAN US TOUR DATES
Oct 17 – Brooklyn, NY – Invisible Oranges CMJ Showcase*
Oct 18 – Brooklyn, NY – Invisible Oranges CMJ Showcase*
Oct 19 – Allston, MA – Great Scott *
Nov 1 – Cleveland, OH – Peabody’s ^
Nov 2 – Washington, DC – DC9 ^
Nov 3 – Philadelphia, PA – First Unitarian Church ^
Nov 4 – Chapel Hill, NC – Local 506 ^
Nov 5 – Atlanta, GA – The Masquerade ^
Nov 6 – Birmingham, AL – Zydeco ^
Nov 7 – Baton Rouge, LA – Spanish Moon ^
Nov 8, 9, & 10 – Austin TX – Fun Fun Fun Fest
Nov 13 – Chicago, IL – Bottom Lounge
* w/ King’s Destroy
^ w/ Coliseum

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Pelican to Release Forever Becoming Oct. 15

Posted in Whathaveyou on July 10th, 2013 by H.P. Taskmaster

They had the Ataraxia/Taraxis EP last year (review here), but Forever Becoming will be Pelican‘s first full-length since 2009’s What We all Come to Need. That album (review here) was the last to feature guitarist Laurent Schroeder-Lebec, and though the title hints at a sense of transition, the track “Immutable Dusk,” which the band premiered today, finds their signature blend of post-rock ambience and metallic crunch well intact. If you listen, make sure you listen the whole way through. The payoff at the end is stellar.

Pelican kick off a European tour tomorrow at Stoned from the Underground in Germany and have announced dates on the East Coast with Kings Destroy and others. Behold:

PELICAN ANNOUNCE FIRST NEW ALBUM IN FOUR YEARS

FOREVER BECOMING DUE THIS OCTOBER, FOLLOWED BY US TOUR WITH COLISEUM, KINGS DESTROY, AND OTHERS

Pelican, the Chicago-based quartet whose instrumental excursions to the confluence of caustic heaviness and cathartic melody pioneered a subgenre, have announced their first full album in four years, Forever Becoming, due October 15 on forward-thinking metal imprint Southern Lord. Recorded at Electrical Audio with Chris Common (who engineered the group’s last album as well as albums by Chelsea Wolfe and These Arms Are Snakes), Forever Becoming is an immense, speaker-rattling meditation on the acceptance of mortality and its place in the eternal cycle. Composed of eight songs (full tracklist below), the album boasts a sonic palette that veers from pummeling metal, to contemplative ambience, to melodic catharsis all with landmark grace.

Following a hiatus that saw the departure of founding guitarist Laurent Schroeder-Lebec and the arrival of new second guitarist Dallas Thomas (also of The Swan King), the forthcoming album is the work of a wholly revitalized unit, sounding more focused and assured than ever. The current lineup’s undeniable chemistry was forged in front of crowds at festival appearances, including Bonnaroo, Roadburn, and Maryland Death Fest, as well as a handful of headlining club shows. Pelican return to the road in support of the new album this Fall with reigning post-hardcore stalwarts Coliseum. The tour focuses on the East Coast (the band’s first tour of the area since 2009), in addition to a coveted slot at this year’s Fun Fun Fun Fest and a run of previously announced European dates that kick off this week (all dates below).

US TOUR DATES
Oct 17 – Brooklyn, NY – Invisible Oranges CMJ Showcase*
Oct 18 – Brooklyn, NY – Invisible Oranges CMJ Showcase*
Oct 19 – Allston, MA – Great Scott *
Nov 1 – Cleveland, OH – Peabody’s ^
Nov 2 – Washington, DC – DC9 ^
Nov 3 – Philadelphia, PA – First Unitarian Church ^
Nov 4 – Chapel Hill, NC – Local 506 ^
Nov 5 – Atlanta, GA – The Masquerade ^
Nov 6 – Birmingham, AL – Zydeco ^
Nov 7 – Baton Rouge, LA – Spanish Moon ^
Nov 8, 9, & 10 – Austin TX – Fun Fun Fun Fest
Nov 13 – Chicago, IL – Bottom Lounge
* w/ King’s Destroy
^ w/ Coliseum

FORVER BECOMING TRACKLIST
1. Terminal
2. Deny the Absolute
3. The Tundra
4. Immutable Dusk
5. Threnody
6. The Cliff
7. Vestiges
8. Perpetual Dawn

PREVIOUSLY ANNOUNCED EUROPEAN TOUR DATES
July 11 DE – Erfurt – Stoned From The Underground
July 12 DE – Berlin – Festival Kreuzberg
July 13 FIN – Joensuu – Ilosaarirock
July 15 UK – Brighton, The Haunt
July 16 UK – Leeds, Brudenell Social Club (w/ JK Flesh)
July 17 UK – London, The Garage (w/ JK Flesh)
July 18 NL – Tilburg, 013 (w/Torche)
July 19 BE – Dour, Dour Festival (w/Torche, Converge)
July 20 DE – Siegen, Vortex Club
July 22 ITA – Milan, Segrate
July 23 ITA – Roma, Traffic Live
July 24 AT – Innsbruck, PMK
July 25 AT – Vienna, Arena (w/ Mouth Of The Architect)
July 26 RU – Moscow, Plan B (w/ Mouth Of The Architect)
July 27 RU – St Petersburg, Arktika (w/Mouth Of The Architect)

Pelican, “Immutable Dusk” from Forever Becoming

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Weedeater Announces Tour Dates with ASG and Lo-Pan

Posted in Whathaveyou on June 7th, 2013 by H.P. Taskmaster

I assume the drummer position in Weedeater will once again be filled by Travis Owen (Whores), who took on the role for the trio’s short tour around Maryland Deathfest a couple weeks ago replacing founding member Keith “Keko” Kirkum, as well of course as for the fest itself, though I guess you never know. Maybe they found a permanent replacement. Maybe it’s him. One way to find out would be to show up at the gig, I suppose.

So it goes. As volatile as their on-stage persona can be, Weedeater had a better run with their original lineup than most. Joining them throughout the summer dates below are ASG, whose new record Blood Drive has apparently been met with a welcome reception, and Lo-Pan, who are currently on the road with Torche.

Here’s the latest from the PR wire:

WEEDEATER AND ASG ANNOUNCE U.S. TOUR

ASG’S BLOOD DRIVE MARKS N.C. BAND’S HIGHEST DEBUT

Weedeater and ASG have announced a four-week tour across the United States, kicking off on June 27 in Savannah, Ga. at The Jinx.

The tour comes as ASG celebrate their highest charting and most critically acclaimed album to date, the breakthrough release Blood Drive. The twelve-song collection landed at #15 on Billboard’s Heat Seeker chart and also had impressive debuts on the trade magazine’s Hard Music (#32) and Indie (#67) charts. The album is streaming via Bandcamp at asgnation.bandcamp.com.

Weedeater & ASG presented by Brooklyn Vegan and Invisible Oranges
June 27 Savannah, GA The Jinx
June 28 Atlanta, GA The Earl
June 30 New Orleans, LA One Eyed Jacks
July 1 Houston, TX Fitzgeralds
July 2 San Antonio, TX Korova
July 3 Austin, TX Red 7
July 4 Denton, TX Rubber Gloves (Free Show)
July 5 Norman, OK The Opolis
July 7 Tempe, AZ Pub Rock
July 9 San Diego, CA Soda Bar
July 10 Los Angeles, CA The Whiskey
July 11 Santa Cruz, CA Catalyst
July 12 Oakland, CA Oakland Opera House
July 13 Portland, OR Ash St. Saloon
July 14 Seattle, WA The Highline

ASG only
July 16 Denver, CO Larimer Lounge
July 17 Lawrence, KS The Replay Lounge
July 18 Oklahoma City, OK The Conservatory
July 19 Nashville, TN Springwater
July 20 Asheville, NC Broadway

Weedeater
July 16 Vancouver, BC Electric Owl
July 18 Calgary, AB The Palamino
July 20 Edmonton, AB The Pawn Shop
July 23 Winnipeg, MB Windsor Hotel
July 24 Fargo, NC The Aquarium
July 25 Great Falls, MT Machinery Row
July 27 Missoula, MT Farmageddon Festival
July 30 Denver, CO Marquis Theater

Weedeater & Lo Pan
August 1 Chicago, IL Ultra Lounge
August 3 Nashville, TN Exit/In
August 4 Johnson City, TN Hideaway
August 6 Asheville, NC Broadways
August 7 Charlotte, NC Chop Shop
August 8 Richmond, VA Strange Matter
August 9 Raleigh, NC The Maywood
August 10 Wilmington, NC Soapbox

ASG:
www.facebook.com/asgnation
asgnation.bandcamp.com

Weedeater:
www.facebook.com/weedmetal
www.weedmetal.com

ASG, Blood Drive (2013)

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Black Cobra European Tour with Bison B.C. and Arabrot Starts Tomorrow

Posted in Whathaveyou on May 30th, 2013 by H.P. Taskmaster

San Francisco duo Black Cobra‘s forever tour continues. The two-piece are still out in support of 2011’s Invernal, traveling overseas once more to join forces with Bison B.C. — who seem to have finished their contract with Metal Blade after three albums — and Norwegian punk noisemakers Arabrot. They’ll start in France tomorrow, and Black Cobra will wrap the tour there as well, their final date of the Euro/UK trek being as part of the Hellfest in Clisson, where they’ll share a stage called “The Valley” (wonder where you got that idea, Hellfest) with Neurosis, Sleep and Black Pyramid, among others.

Wild times as always, but that seems to be Black Cobra‘s specialty. Here’s the latest from the PR wire:

BLACK COBRA EU/UK TOUR WITH BISON BC AND ARABROT KICKS OFF THIS WEEK

San Francisco-based sludge-mangling duo BLACK COBRA will uncoil across the UK/EU taking part in a summer tour with Bison BC and Arabrot, the shows kick off this week in Paris and culminate in the massive annual three day Hellfest extravaganza in Clisson, France. Running from June 21st through 23rd, this year’s festival includes bands as massive as Kiss, ZZ Top, Danzig and Twisted Sister, with Black Cobra playing on the first day in “The Valley” joining Neurosis, Sleep, High On Fire, Pallbearer, labelmates Black Breath and Eagle Twin and more on one massive bill.

Here are the full dates:

31/05/2013 Glazart, Paris – France
01/06/2013 Saint Des Seins, Toulouse – France
02/06/2013 TBA – France
03/06/2013 Borderline, London
04/06/2013 TBA – UK
05/06/2013 Ivory Blacks, Glasgow
06/06/2013 Exchange, Bristol
07/06/2013 Patronaat, Haarlem – Netherlands
08/06/2013 Magasin 4, Brussels – Belgium
09/06/2013 Festsaal Kreuzberg, Berlin  – Germany
10/06/2013 Bastard Club, Osnabruck – Germany
11/06/2013 Chemiefabrik, Dresden – Germany
12/06/2013 Juha West, Stuttgart – Germany
13/06/2013 L’Usine, Geneva – Switzerland
14/06/2013 Les Caves du Manoir, Martignv – Switzerland
15/06/2013 Freakout Club, Bologna – Italy
16/06/2013 Lo-Fi Club, Milano – Italy
17/06/2013 Arena, Vienna – Austria
18/06/2013 Feierwerk, Munchen – Germany
19/06/2013 Schalchthof, Wiesbaden – Germany
20/06/2013 L’Entrepot, Arlon – Belgium
21/06/2013 Hellfest, Clisson – France

Released in October 2011 via Southern Lord, BLACK COBRA‘s fourth LP Invernal was one of the most critically acclaimed releases to emerge from the metal/sludge scene that year. Recorded at Converge guitarist Kurt Ballou’s God City Studio and mastered by John Golden (Neurosis, Melvins, Weedeater), the album propelled the most diversified and matured songwriting from the duo to date forward with incredibly thunderous production, the theme to the entire record based on a post-apocalyptic trek to a nuclear infested and mutated Antarctica, inspired in part by the treks of English researcher Ernest Shackleton. The band perpetually toured through the year surpassing their 600th show mark in 2012 since the release of their debut LP Bestial in 2006.

Black Cobra, “The Crimson Blade” official video

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Wino Wednesday: The Hidden Hand, “Desensitized” from Mother Teacher Destroyer

Posted in Bootleg Theater on November 28th, 2012 by H.P. Taskmaster

Whatever your political affiliation, I think it’s safe to say at the very least that the middle of the last decade was an interesting time to be an American. Still reeling from post-9/11 paranoia about terrorism, the country having split into vehement factions either for or against going to war in Iraq (for all the good it did, either the war or the protests leading up to it), George W. Bush‘s reelection in 2004 — things seemed to be tripping over themselves to fall apart. But you know, you had to go buy an iPod or the terrorists won.

Through all this mass psychosis and jingoistic fuckery, The Hidden Hand released their second album in 2004’s Mother Teacher Destroyer. In my opinion, it’s the strongest of the Wino-led trio’s three albums — striking a balance between 2003’s punkish Divine Propaganda and 2007’s more progressive The Resurrection of Whiskey Foote — but more to the point, it’s a solid and concise chronicle of the sentiments in both the public conscious and unconscious. Together with bassist Bruce Falkinburg and drummer Dave Hennessy, Wino made some of the most explicit social commentary of his career.

To wit, the third song on the album, “Desensitized.” At six and a half minutes, it was the longest track on Mother Teacher Destroyer, and while other songs delved into Zeppelin-style epic themes and tales of battles lost and won, “Desensitized” and “Travesty as Usual” stood in the tradition of protest songs, each driving riff serving as another mark of resistance. The lyrics echoed this sentiment as well:

Sad times are here today all around
Strange vibes here to stay to bring us down
For the people they don’t care
Pushing all into despair

No, it can’t be true
It couldn’t happen to you
Hey, it must be clear
They’ll try to keep us in fear

Disinformation is the tool
Media controlled, divide and rule
Anxious minds their questions lead
To the structure of deceit

No, it won’t be true
Don’t let it happen to you
Hey, it must be clear
They’ll never keep us in fear

Note that the last chorus ends in a hopeful tone, but there’s something too in the verses that seems to know the size of the struggle being engaged. Wino‘s always had a socially conscious side to his songwriting, but that was never quite so prevalent as in The Hidden Hand, and they were nothing if not timely in their arrival.

Here’s “Desensitized” in HD. Happy Wino Wednesday:

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It’s Earth’s Longest Tour Ever

Posted in Whathaveyou on October 22nd, 2012 by H.P. Taskmaster

You’d have to figure that in order to be Earth‘s longest tour since the band got together in 1990, it would have something like 137 dates scheduled. Nope, 25. Still a solid month on the road though, so kudos to the band for pushing themselves 22 years later to go farther and continue exploring new ground, sonic and geographic.

Aligned with the likes of Eagle Twin, Stebmo and The Body along the way, it’s kind of like a tour of Earth playing with acts influenced by Earth. Can’t imagine that’s anything new for them at this point.

They’re still out supporting Angels of Darkness, Demons of Light II (review here), and the shows start this week, so keep an eye out:

EARTH Prepare For American Fall Tour

Following bursts of worldwide touring in support of their two-part Angels of Darkness, Demons of Light album series, Seattle’s EARTH will embark on their newest tour this week, with a nearly month of live performances confirmed across America.

The most extensive American tour EARTH have planned since their 1990 inception, the Seattle purveyors of the slow-motion riff will traverse the country and back on a twenty-five date run, kicking off this Wednesday, October 24th in Portland, Oregon. Along the way the quartet will take part in the massive annual Fun Fun Fun Fest in Austin, Texas alongside literally dozens of international artists of all genres. This will be the first U.S. tour since they hit the road in support of Angels of Darkness, Demons of Light I in 2011, the band’s set for the tour confirmed to contain a majority of the material from Angels of Darkness, Demons of Light II.

While the band is touring in support of the Angels of Darkness, Demons of Light albums, the EARTH lineup for this voyage will be the touring lineup from the band’s lauded 2008 LP The Bees Made Honey in the Lion’s Skull, comprised of Steve Moore on keys and trombone, Don McGreevy on bass, Adrienne Davies on drums and founder Dylan Carlson on guitar. Support will be provided by Stebmo (featuring members of Earth and more) as well as Southern Lord labelmates Eagle Twin and Fontanelle throughout the journey.

EARTH Fall Tour:
10/24/2012 Rotture – Portland, OR w/ Fontanelle, Stebmo
10/26/2012 Center for the Arts, Eagle Rock – Los Angeles, CA w/ Fontanelle, Stebmo
10/28/2012 Great American Music Hall – San Francisco, CA w/ Fontanelle, Stebmo
10/29/2012 Soda Bar – San Diego, CA w/ Stebmo
10/31/2012 Rhythm Room – Phoenix, AZ w/ Balmorehea, Stebmo
11/02/2012 Auditorium Shores – Austin, TX @ Fun Fun Fun Festival
11/03/2012 Bryan Street Tavern – Dallas, TX w/ Stebmo
11/04/2012 One Eyed Jacks – New Orleans, LA w/ Stebmo
11/06/2012 Will’s Pub – Orlando, FL w/ Stebmo
11/07/2012 The Earl – Atlanta, GA w/ Daughn Gibson, Stebmo
11/08/2012 Grey Eagle – Asheville, NC w/ Stebmo
11/09/2012 Rock and Roll Hotel – Washington, DC w/ Eagle Twin, Stebmo
11/10/2012 Littlefield – Brooklyn, NY w/ Eagle Twin, Stebmo
11/11/2012 TT the Bears – Cambridge, MA w/ Eagle Twin, Stebmo
11/12/2012 Johnny Brenda’s – Philadelphia, PA w/ Eagle Twin, Stebmo
11/13/2012 Altar Bar – Pittsburgh, PA w/ Eagle Twin, Stebmo
11/14/2012 Grog Shop – Cleveland, OH w/ Eagle Twin, Stebmo
11/15/2012 Taft Ballroom – Cincinnati, OH w/ Eagle Twin, Stebmo
11/16/2012 Township – Chicago, IL w/ Eagle Twin, Stebmo
11/17/2012 Township – Chicago, IL w/ Eagle Twin, Stebmo
11/18/2012 Triple Rock Social Club – Minneapolis, MN w/ Eagle Twin, Stebmo
11/19/2012 The Record Bar – Kansas City, MO w/ Eagle Twin, Stebmo
11/21/2012 Marquis Theatre, Denver, CO w/ Stebmo
11/24/2012 The Shakedown – Bellhingham, WA w/ The Body, Low Hums
11/25/2012 The Crocodile – Seattle, WA w/ The Body, Stebmo

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