Spidergawd, IV: What Comes to Pass

Posted in Reviews on April 11th, 2017 by JJ Koczan

spidergawd iv

Trondheim, Norway’s Spidergawd remain one of the best and worst kept secrets in Europe’s heavy underground. “Worst” because they do such a terrible job at it themselves, what with constantly touring and putting out new material. That’s no way to keep a secret. “Best” because no matter what they’ve done up to this point in their time together, they still seem underappreciated. Spidergawd IV is their fourth album in four years.

Released by Crispin Glover Records and Stickman Records, it continues a run of nigh-on-unparalleled consistency in songcraft that ran through 2016’s Spidergawd III (review here), 2015’s Spidergawd II (review here) and 2014’s Spidergawd (review here), and even as drummer Kenneth Kapstad (also Motorpsycho), saxophonist Rolf Martin Snustad and guitarist/vocalist Per Borten welcome new bassist Hallvard Gaardløs in place of Bent Sæther (also recording engineer), they weather the change smoothly and push their sound forward, playing toward elements of classic heavy metal in songs like “I am the Night,” “LouCille” and the insistent “What Have You Become,” among others, while maintaining their penchant for Borten leading the way through righteous, unabashedly accessible hooks on opener “Is this Love…?,” the ultra-swaggering “Heaven Comes Tomorrow” and “Ballad of Millionaire (Song for Elina).” As they turn and twist mindfully through this readjusted balance of influences, Spidergawd also hold fast to the underlying progressive sensibility that has always been at root in their songwriting, so that not only do they reimagine arena rock choruses with a more intense edge than ever before, but they do so with the same level of thoughtfulness they’ve brought to everything they’ve done up to this point.

In this, they have become one of the most immediately identifiable acts in underground heavy rock, and their signature is writ large over the eight tracks/41 minutes of Spidergawd IV no matter what pursuits individual pieces undertake, be it the deceptively pop-minded launch the album gets via “Is this Love…?” or the eight-minute semi-psychedelic nod of “What Must Come to Pass” on side B. Spidergawd sound like Spidergawd, and while one can pick out a riff like the gallop of “I am the Night” and say Iron Maiden or “Heaven Comes Tomorrow” and say Dio and/or Motörhead, or “Ballad of a Millionaire (Song for Elina)” and relate it more to the heavy rock side of their approach — think later Queens of the Stone Age, and no, I don’t just say that because the word “millionaire” is in the title — the sonic territory they claim they work to make their own, and though it may seem like they just bang albums out one after they other because on a basic level of timing that’s kind of how it happens, Spidergawd have never failed to offer a work of marked depth and nuance.

Spidergawd IV is no exception to that, whether it’s the forward charge of “LouCille” shifting slightly down from the rush of “Is this Love…?” and “I am the Night” at the outset as the band makes ready to move into “Ballad of a Millionaire (Song for Elina)” or the fluidity within that song itself, of Snustad‘s sax layered smoothly alongside the bass of the midpaced verse set to Kapstad‘s steady march to one of the album’s most melodically engaging hooks. After the crisp execution of the first three cuts and the likes of “What Have You Become” and “Heaven Comes Tomorrow” to follow, “Ballad of a Millionaire (Song for Elina)” is a standout for its looser rhythmic feel, but its structure is no less resilient than anything before or after, and its fade into a wash of noise at the end only adds a layer of hypnosis to foreshadow “What Must Come to Pass.”

spidergawd

If the sides of the vinyl split evenly in terms of having four tracks on each, “What Have You Become” is the leadoff for side B, and it’s certainly up to the task, reviving the thrust of “I am the Night” at an even higher level, Kapstad‘s snare jabbing and punctuating the careening verse groove. At 3:44, it is the shortest inclusion on Spidergawd IV, and arguably the most straightforward in its intent, so it’s fitting that the sax should open languidly to start “What Must Come to Pass” and immediately throw off the listener’s expectation. The intent at conveying a moment of arrival couldn’t be clearer, and “What Must Come to Pass” earns all eight of its minutes in a graceful unfolding process that builds through a structured start and moves outward shortly after its halfway point, Borten delivering the title line (or sort-of-title-line, anyhow) just ahead of a reverb-soaked classic guitar solo that begins the instrumental course the rest of the song will follow. In their willful abandonment of structure — i.e., not going back to the chorus before the end of “What Must Come to Pass” — Spidergawd remain dynamic.

This isn’t the first time they’ve broken their own rules, and the transition between the noise-fadeout ending of “What Must Come to Pass” and the initial crash-in of “Heaven Comes Tomorrow” nonetheless serves the greater purposes of the album overall. The penultimate song is duly raucous and swinging, marked out by the guitar solo in its second half and more choice interplay from the sax and bass amid a push that comes across perhaps as a grownup version of some of their earlier riotousness. This gives way to the ’80s metal riffing — one hears Mötley Crüe‘s “Looks that Kill” as much as anything from Judas Priest — and rougher vocal from Borten on closer “Stranglehold.” While its hook is representative of the quality of their work overall, the finale of Spidergawd IV is less a summary of the album as a whole than it is a reinforcement of and last bit of fun with the metallic side that’s been present all along. They strut out on layered soloing and the central start-stop riff à la Tipton/Downing, and do not linger, in part no doubt because it’s already time to start work on their next full-length.

When they put out Spidergawd III, I wondered how long they could keep up their pace of releases without losing their grip on either songcraft or presentation, and they answered that question with a decisively forward progression in style while also making a significant lineup change, not losing a step in the process, and still touring their collective ass off. Listening to Spidergawd IV, one isn’t so much tempted to imagine what could possibly derail the band at this point as to be thankful that nothing has, and whether or not they turn out Spidergawd V on schedule in the first half of 2018, they’ve added significant intrigue and accomplishment to a catalog that’s known little else with this latest collection.

Spidergawd, “Is this Love…?” live in studio

Spidergawd website

Spidergawd on Thee Facebooks

Stickman Records

Crispin Glover Records

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

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

the obelisk radio cavum

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

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

The Obelisk Radio Adds for April 10, 2017:

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

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

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

Tia Carrera on Thee Facebooks

Small Stone Records website

 

Humulus,Reverently Heading into Nowhere

humulus-reverently-heading-into-nowhere

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

Humulus on Thee Facebooks

Taxi Driver Records webstore

Oak Island Records on Thee Facebooks

 

King Buffalo, Live at Wicked Squid Studios (6.16.16)

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

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

King Buffalo on Thee Facebooks

Stickman Records website

 

Telekinetic Yeti, Abominable

telekinetic yeti abominable

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

Telekinetic Yeti on Thee Facebooks

Sump Pump Records on Bandcamp

 

High Plains, Cinderland

high plains cinderland

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

High Plains on Thee Facebooks

Kranky Records on Bandcamp

 

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Elder Post Reflections of a Floating World Cover Art; Announce European Tour with King Buffalo

Posted in Whathaveyou on April 3rd, 2017 by JJ Koczan

elder

Is your calendar marked for June 2 yet? Do people still mark calendars? Am I the only one? Well, set a reminder or, I don’t know, get a preorder in or something, because June 2 is the release date for Elder‘s fourth album, Reflections of a Floating World, and I know that for a lot of you as well as for me, it’s a potential album of the year. The follow-up to 2015’s Lore (review here), it will be released by Armageddon Shop and Stickman Records, and to support it this summer, the four-piece have announced a stretch of European tour dates on which they’ll be supported by King Buffalo.

Hard to think of better company for King Buffalo on their first Euro run than their labelmates in Elder, who by now have moved themselves to the forefront of the American heavy sphere. This tour will find them at fests like Stoned from the Underground, Red Smoke, Bukta, Lake on Fire and SonicBlast, and they’ll come back to the US for a corresponding run in October — they also play Stumpfest in Oregon this month — as they support the record, for which the righteous Adrian Dexter cover art has newly been unveiled. You can check that out below, followed by the tour announcement, and the previously-posted album teaser Reflections of a Floating World.

From the social medias:

Elder-Reflections-of-a-Floating-World

ELDER – REFLECTIONS OF A FLOATING WORLD ALBUM ART / TOUR ANNOUNCEMENT!

We can’t wait any more to start rolling out some more news regarding the new album and upcoming tours so… we won’t.

Here is the cover for our upcoming album “Reflections of a Floating World”, handled by our resident visual magician Adrian Dexter, who again used album’s double LP format in a unique and beautiful way. We’ll reveal some more of his stunning work for the album and format details later.

To kick off the release, we will hit Europe for a tour in July/August, playing for the first time as a four-piece. We are happy to announce that labelmates King Buffalo will be joining us. They released their killer debut album “Orion” last year and we’re looking forward to their jams live.

A US tour is in the works for October, as well as some other tours being planned. Can’t wait to share the album with you all and see some new and old faces on the road soon.

Elder / King Buffalo European Tour 2017:
14.07.2017 GER – Erfurt, Stoned From The Underground
15.07.2017 PL – Pleszew, Red Smoke Festival
16.07.2017 GER – Hannover, Chez Heinz
17.07.2017 DK – Copenhagen, Pumpehuset
18.07.2017 TBA
20.07.2017 NOR – Tromsö, Bukta Festival
21.07.2017 NOR – Oslo, Blå
22.07.2017 NOR – Fekkefjord, Fjellparkfestivalen
24.07.2017 GER – Hamburg, Hafenklang
25.07.2017 GER – Wiesbaden, Schlachthof
26.07.2017 GER – Berlin, Lido
27.07.2017 NL – Nijmegen, Merleyn
28.07.2017 GER – Siegen, Vortex
29.07.2017 TBA
30.07.2017 F – Paris, Glazart
31.07.2017 GER – Munich, TBA
01.08.2017 I – Milan, Magnolia
02.08.2017 RUS – Moscow, Volta*
03.08.2017 RUS – St.Petersburg, MOD*
04.08.2017 A – Waldhausen, Lake On Fire Festival
05.08.2017 GER – Beelen, Krach Am Bach
06.08.2017 UK – Bristol, The Fleece
07.08.2017 UK – Edinburgh, Studio 24
08.08.2017 UK – Manchester, Soup Kitchen
09.08.2017 UK – London, Underworld
10.08.2017 UK – Bournemouth
11.08.2017 P – Moledo, Sonic Blast Festival*
* only Elder

http://facebook.com/elderofficial
http://stickman-records.com
http://armageddonshop.com

Elder, Reflections of a Floating World teaser

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Quarterly Review: Pallbearer, Dread Sovereign, Lizzard Wizzard, Oulu Space Jam Collective, Frozen Planet….1969, Ananda Mida, Strange Broue, Orango, Set and Setting, Dautha

Posted in Reviews on March 27th, 2017 by JJ Koczan

cropped-Charles-Meryon-Labside-Notre-Dame-1854

Here we are, on the precipice looking out over a spread that will include 50 reviews by the week’s end. Somehow when it comes around to a Quarterly Review Monday I always end up taking a moment to ask myself if I’ve truly lost my mind, if I really expect to be able to do this and not fall completely flat on my face, and just where the hell this terrible idea came from in the first place. But you know what? I haven’t flubbed one yet. We get through it. There’s a lot to go through, for me and you both, but sometimes it’s fun to be completely overwhelmed by music. I hope you agree, and I hope you find something this week that hits you in that oh-yeah-that’s-why-I-love-this kind of way. Time’s wasting. Let’s get started.

Quarterly Review #1-10:

Pallbearer, Heartless

pallbearer heartless

Three albums and nearly a decade into their tenure, Pallbearer stand at the forefront of American doom, and their third outing, Heartless (on Profound Lore), only reinforces this position while at the same time expanding beyond genre lines in ways that even their 2014 sophomore effort, Foundations of Burden, simply couldn’t have done. A seven-song/hour-long sprawl is marked out by resonant melodies, soulful melancholy conveyed by guitarist/vocalist Brett Campbell – the returning lineup completed by guitarist Devin Holt, bassist Joseph D. Rowland and drummer Mark Lierly – and tonal weight set to a mix by Joe Barresi, who from opener “I Saw the End” onward arranges layers gorgeously so that extended pieces like “Dancing in Madness” (11:48) and closer “A Plea for Understanding” (12:40) become even more consuming. What comes through most resolute on Heartless, though, is that it’s time to stop thinking of Pallbearer as belonging to some established notion of doom or any other subgenre. With these songs, they make it clear they’ve arrived at their own wavelength and are ready to stand up to the influence they’ve already begun to have on other acts. A significant achievement.

Pallbearer on Thee Facebooks

Profound Lore Records website

 

Dread Sovereign, For Doom the Bell Tolls

dread-sovereign-for-doom-the-bell-tolls

With the considerable frontman presence of Primordial’s Alan Averill on vocals and bass, the considerable riffing of guitarist Bones (also of Wizards of Firetop Mountain) and the considerable lumber in the drumming of Johnny King (ex-Altar of Plagues), Dread Sovereign make some considerable fucking doom indeed. Their second album, For Doom the Bell Tolls (on Ván Records), follows three years behind their debut, 2014’s All Hell’s Martyrs (review here), and wastes no time giving the devil his due – or his doom, if you prefer – in the span of its six tracks and 37 minutes. Atmospheric and seemingly on an endless downward plod, the 13-minute “Twelve Bells Toll in Salem” is a defining moment, but the trad metallurgy of “This World is Doomed” rounds out side A with some welcome thrust, and after the intro “Draped in Sepulchral Fog,” “The Spines of Saturn” and the thrashing “Live Like and Angel, Die Like a Devil” play dramatic and furious intensities off each other in a manner that would seem to truly represent the fine art of not giving a shit what anyone thinks about what you do or what box you’re supposed to fit into. Righteous. Considerably so.

Dread Sovereign on Thee Facebooks

Ván Records website

 

Lizzard Wizzard, Total War Power Bastard

lizzard-wizzard-total-war-power-bastard

Noise, largesse of riffs and shouted vocals that distinctly remind of Souls at Zero-era Neurosis pervade the near-hour-long run of Lizzard Wizzard’s Total War Power Bastard, but as much as the Brisbane four-piece willfully give themselves over to fuckall – to wit, the title “Medusa but She Gets You Stoned Instead of Turning You to Stone, Instead of Snakes She has Vaporizers on His Head… Drugs” – songs like “Shithead Nihilism,” “Pizza” and the droning “Snake Arrow” brim with purpose and prove affecting in their atmosphere and heft alike. Yes, they have a song called “Nerd Smasher,” and they deserve all credit for that as they follow-up their 2013 self-titled (review here), but by the time they get down to the roll-happy “Crystal Balls” and the feedback-caked “Megaflora” at the record’s end, guitarists Michael Clarke and Nick McKeon, bassist Stef Roselli and drummer Luke Osborne end up having done something original with a Sleep influence, and that’s even more commendable.

Lizzard Wizzard on Thee Facebooks

Lizzard Wizzard on Bandcamp

 

Oulu Space Jam Collective, EP1

Oulu-Space-Jam-Collective-ep1

Should mention two things outright about Oulu Space Jam Collective’s EP1. First and foremost, its three songs run over 95 minutes long, so if it’s an EP, one can only imagine what qualifies as a “full-length.” Second, the Finnish outfit releasing EP1 on limited tape through Eggs in Aspic isn’t to be confused with Denmark’s Øresund Space Collective. Oulu is someplace else entirely, and likewise, Oulu Space Jam Collective have their own intentions as they show in the 57-minute opener “Renegade Spaceman,” recorded live in the studio in 2014 (they’ve since made two sequels) and presented in six movements including samples, drones, enough swirl for, well, 57 minutes, and a hypnotism that’s nigh on inescapable. I won’t take away from the space rock thrust of 14-minute closer “Artistic Supplies for Moon Paint Mafia” (also tracked in 2014), but the smooth progressive edge of three-part 24-minute centerpiece “Approaching Beast Moon of Baxool” is where it’s at for me – though if you want a whole galaxy to explore, hit up their Bandcamp.

Oulu Space Jam Collective on Thee Facebooks

Eggs in Aspic webstore

 

Frozen Planet…. 1969, Electric Smokehouse

frozen-planet-1969-electric-smokehouse

They freak out a bit toward the end of 12-minute opener “Ascendant” and in the second half of the subsequent “Supersaturation,” but for the most part, Aussie three-piece Frozen Planet…. 1969 play it weirdo-cool on their fourth full-length, the excellently-titled Electric Smokehouse (on Pepper Shaker Records). From those jams to the dreamy beachside drift of “Shores of Oblivion” to the funky-fuzz bass of “Sonic Egg Factory” to the quick noise finish of “Pretty Blown Fuse” – which may or may not be the sound of malfunctioning equipment run through an oscillator or some other effects-whatnot, the instrumentalist Sydney/Canberra trio seem to improv a healthy percentage of their fare, if not all of it, and that spirit of spontaneity feeds into the easygoing atmosphere only enhanced by the cover art. On a superficial level, you know you’re getting psych jams going into it, but once you put on Electric Smokehouse, the urge to get lost in the tracks is nigh on overwhelming, and that proves greatly to their credit. Wake up someplace else.

Frozen Planet…. 1969 on Thee Facebooks

Pepper Shaker Records on Bandcamp

 

Ananda Mida, Anodnatius

ananda-mida-anodnatius

Ananda Mida make their debut on Go Down Records with Anodnatius, fluidly working their way around heavy psychedelic and more driving rock influences propelled by drummer Massimo “Max Ear” Recchia, also of underrated Italian forebears OJM. Here, Recchia anchors a seven-piece lineup including two vocalists in Oscar de Bertoldi and Filippo Leonardi, two guitarists in Matteo Scolaro and Alessandro Tedesco, as well as bassist Davide Bressan and organist Stefano Pasqualetto, so suffice it to say songs like the subtly grungy “Passvas,” the dreamy highlight “Heropas” or the vaguely progressive “Askokinn” want nothing for fullness, but there seem to be moments throughout Anodnatius as on “Lunia” and the shuffling “Kondur” early into the proceedings where the band wants to break out and push toward something heavier. Their restraint is to be commended since it serves the interests of songcraft, but part of me can’t help but wonder what might happen if these guys really let loose on some boogie jams. Keep an ear open to find out, as I have a feeling they might be headed in just that direction.

Ananda Mida on Thee Facebooks

Go Down Records website

 

Strange Broue, Seance

strange-broue-seance

The heart of Séance – The Satanic Sounds of Strange Broue might come in the 11-minute sample dump that is “Cults and Crimes,” late into the second half of the 52-minute album. Capturing meticulously compiled news and talk-show clips from the late ‘80s, some of which talk about the Satanic roots of heavy metal, it gets to the ritualism that Quebec four-piece Strange Broue proliferate elsewhere on the record in the lo-fi post-Electric Wizard doom of “Satan’s Slaves,” “Kill What’s Inside of You” and the rolling opener “Ritualize” (video here). These pieces offset by other interludes of noise and drone and samples like “Satanic Panic,” “In Nomine Dei Nostri Satanis, Luciferi Excelsis,” the acoustic-until-it-gets-shot-in-the-woods “Las Bas,” the John Carpenter-esque “Séance IV – L’Invocation” and the extended penultimate drone of “Séance V – The Mystifying Oracle with Bells” ahead of the countrified pop gospel of “Satan is Real,” which finishes in subversive fashion, interrupted by more news reports and a finishing assault of noise. Like an arts project in the dark arts, Séance crosses some familiar terrain but finds Strange Broue on their own trip through cultish immersion, as psychological as it is psychedelic.

Strange Broue on Thee Facebooks

Sunmask Records webstore

 

Orango, The Mules of Nana

orango-the-mules-of-nana

Not much to argue with in the sixth long-player from Helge Kanck, Trond Slåke and Hallvard Gaardløs, collectively known as Orango. As they make their way onto Stickman Records (which also handled Euro distro for their last album, 2014’s Battles) with The Mules of Nana, the Norwegian trio deep-dive into harmony-topped ‘70s-style vibing that, well, leaves the bulk of “retro” bands in their V8-crafted dust. Mind you they do so by not being a retro band. True, the fuzz on “The Honeymoon Song” and “Head on Down” is as organic as if you happened on it in some forest where all the trees were wearing bellbottoms, but if you told me it was true, I’d believe Orango recorded The Mules of Nana onto – gasp! – a computer. I don’t know if that’s the case or not, but “Heirs,” the sweetly acoustic “Give Me a Hundred” and motoring “Hazy Chain of Mountains” find Orango making no attempt to cloak a lack of songwriting or performance chops in a production aesthetic. Rather, in the tradition of hi-fi greats, they sound as full and rich as possible and utterly live up to the high standard they set for themselves. Pure win in classic, dynamic fashion.

Orango on Thee Facebooks

Stickman Records website

 

Set and Setting, Reflectionless

set-and-setting-reflectionless

There’s an undercurrent of metal that’s quick to show itself on Set and Setting’s Reflectionless. The instrumentalist Floridian five-piece delve plenty deep into heavy post-rock on cuts like the shoegazing “Incandescent Gleam” and subsequent “Specular Wavefront Of…” but they’re not through opener “Saudade” before harder-edged chug emerges, and “…The Idyllic Realm”’s blastbeating nods at black metal while the churning endgame build of closer “Ephemerality” holds tight to a progressive execution. While its textural foundation will likely ring familiar to followers of Russian Circles ultimately, Reflectionless finds distinction in aligning the various paths it walks as it goes, creating an overarching flow that draws strength from its diversity of approach rather than sounding choppy, confused or in conflict with itself. Not revolutionary by any means, but engaging throughout and with a residual warmth to complement what might seem at first to be a purely cerebral approach. It offers more on repeat listens, so let it sink in.

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Dautha, Den Foerste

dautha-den-foerste

Primo short offering of pure, fistpump-ready, violin-infused doom traditionalism. I don’t know what Norrköping, Sweden’s Dautha – the five-piece of vocalist Lars Palmqvist, guitarists Erik Öquist and Ola Blomkvist, bassist Emil Åström and drummer Micael Zetterberg – are planning to do for a follow-up, but this Den Foerste (or Den Förste) two-tracker recalls glory-era Candlemass and willfully soars with no sense of irony on “Benandanti” and “In Between Two Floods” after the intro “Horkarlar Skall Slås Ihjäl,” and having already sold out a self-released pressing leaves little to wonder what would’ve caught the esteemed tastes of Ván Records. And by that I mean it’s fucking awesome. I’m ready for a full-length whenever they are, and from the poise with which Palmqvist carries the melodies of these tracks, the quality of the riffing and the depth of arrangement the violin adds to the overarching mournfulness, they definitely sound ready. So get on it. 15 minutes of dirge-making this gorgeous simply isn’t enough.

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Ván Records website

 

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Review & Track Premiere: The Devil and the Almighty Blues, II

Posted in audiObelisk, Reviews on March 10th, 2017 by JJ Koczan

the-devil-and-the-almighty-blues-ii

[Click play above to stream ‘These are Old Hands’ from The Devil and the Almighty Blues’ new album, II, out March 17 on Blues for the Red Sun Records.]

As it should, the second full-length from Oslo five-piece The Devil and the Almighty Blues shows marked growth from its predecessor. The Norwegian outfit released their self-titled debut (review here) early in 2015 via Blues for the Red Sun Records (with distribution through Stickman), and the six-song II works quickly to build on the potential shown previously in a thick, smokey vibe of classic heavy rock, laid back jam-prone psychedelia and pervasive melancholy. The blues, in other words, indeed proves mighty, even if one might still hear the sorrowful roll of “North Road” and liken its vinyl-ready compression to Scandinavia’s still-pervasive retro movement.

In that second cut and pieces like 10-minute opener and longest inclusion (immediate points) “These are Old Hands,” “Low” and “How Strange the Silence,” The Devil and the Almighty Blues display a wider array of influences and seem to nod as much to the Rolling Stones as to Graveyard while drawing on the languidly open sensibilities of bands like ChildAll Them Witches or even Dwellers, if not directly than certainly through some measure of shared inspiration. The lineup of Arnt Andersen, Petter Svee, Kenneth Simonsen, Torgeir Waldemar Engen and Kim Skaug accomplishes this while enacting an immersive full-album flow that begins with “These are Old Hands” and does not let up across II‘s 47 minutes, offering patient execution and natural atmospherics through closer “Neptune Brothers” whether an individual part or an individual track is as brooding as “When the Light Dies” or as rocking as the finale itself.

That finale makes a fitting bookend to the start of “These are Old Hands,” which also finds The Devil and the Almighty Blues kicking out one of II‘s more upbeat thrusts. In context, and especially on repeat listens, “These are Old Hands” nonetheless does tremendous work in setting the tone for the rest of what follows — perhaps most notably in its blink-and-you-missed-them transitions and the fluidity with which it shifts between parts. Hypnotic but memorable in its underlying shuffle, the song crashes out after about four minutes in and eases its way into a subdued jam topped by warm lead guitar and kept in motion thanks to ride cymbal and a prevalent low-end rumble. A louder solo emerges at about the seven-minute mark, and The Devil and the Almighty Blues seem to have hit their peak by the time the next two minutes are up, but they draw back to the chorus to round out in a reinforcement of structure that lets the listener know right away they’re in capable hands. “North Road” and “When the Light Dies,” the pair that round out the presumed vinyl side A, bring further confirmation of the band’s control over what their sound does at any given moment.

Both halves of II will mirror each other in working from their longest track to their shortest, but with “North Road” and “When the Light Dies” particularly, the turn from one to the other is smooth, live-feeling and palpably organic, as though they were performed together in the studio in one take. There’s a volume swell toward the middle of “North Road” that’s the source of the Rolling Stones comparison above in the vocal cadence, but like “Neptune Brothers” still to come, it reminds somewhat of Oskar Cedermalm-era Greenleaf as well, even if the ultimate direction is different. And it is, as “North Road” draws down to guitar minimalism before noodling quietly into the start of “When the Light Dies,” the bluesiest single moment on II and most outwardly moody, but still not without some motion beneath. Unlike “Low” and “How Strange the Silence” to come on side B, which find a middle ground between one feel and the other, “When the Light Dies” jumps headfirst into spacious but emotionally-tinged jamming, marking a triumph all its own in character as it enriches the album’s breadth.

True, just about anything short of drone would feel like an uptick in energy after “When the Light Dies” — and that’s the point, make no mistake — but “Low” is one anyway, starting quiet and working over its 8:49 to enact the smoothest of II‘s builds, holding to a steady and slower tempo even as the band gets louder in another welcome demonstration of patience done right. Harmonized/layered guitar solos make it stand out all the more, accompanying and complementing the soulful vocals over a suitably weighted groove. Again, “Low” might be between the two sides represented alternately by “When the Light Dies” at the end of side A and “Neptune Brothers” at the end of side B, but The Devil and the Almighty Blues do well finding that niche in their own aesthetic spectrum. “How Strange the Silence” follows suit with more stellar guitar work and more direct initial tradeoffs between quiet and louder parts, moving into a less linear form in an effective structural expansion that remains consistent in vibe as it makes a tempo adjustment at 4:40 toward a more shuffling finish, turning its head from “Low” before it to “Neptune Brothers” after.

More likely it wasn’t written with that transitional intent, but it’s the key shift in side B’s fluidity and The Devil and the Almighty Blues make it with class and understated ceremony. A flurry of guitar leads and a cymbal wash cap “How Strange the Silence” and stick clicks count in the modern update to classic boogie of “Neptune Brothers,” the hook for which calls to mind The MC5 as well as the already-mentioned Greenleaf while stomping out its own place in the generations-spanning pantheon between them — something II as a whole does graciously in showing the band’s development over the last couple years and their growth and chemistry that still, encouragingly, seems to be taking shape around a broadening songwriting process. Like “These are Old Hands” before it, “Neptune Brothers” takes some time to chill itself out, but it’s not long before The Devil and the Almighty Blues are ending their second offering on a crisp and cohesive final rendition of the hook. By then, the album has made its impression on a variety of levels — conceptual, atmospheric, performance, etc. — but it’s worth noting that where one might’ve expected them to jam their way into oblivion in the closer, they instead finish tight, locked into a purposeful finale as if to convey to their audience that in fact they’re in no way done and have much more to say. In listening to II, one hopes that turns out to be precisely the case.

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Stickman Records website

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Elder Post New Album Teaser; Reflections of a Floating World Due June 2

Posted in Bootleg Theater on February 21st, 2017 by JJ Koczan

elder-photo-Jamie-Gouger

What, you thought I wasn’t going to post the first audio to be made public from Elder‘s new album? What’s been titled Reflections of a Floating World and given a June 2 release date through Armageddon Shop and Stickman Records gets its first peak in the teaser clip below, along with some of the art by Adrian Dexter that, from what I saw when I was fortunate enough to be in the studio with the band back in December, will be something of a highlight in and of itself among 2017 outings. And then we get to the music. Kind of.

It’s only a little over a minute long, and much of that is given to a showcase of texture — that is to say, the Massachusetts three-turned-four-piece aren’t giving away all the goods their first time out — but from what I got to hear of Reflections of a Floating World, texture is actually going to be a big part of the progressive step forward they’re taking from 2015’s Lore (review here). Seems fair to expect a good amount of ambience this time around, and late in the clip below there’s just a little slice of their more rocking side, which never felt particularly likely to go away, particularly after the shimmering display of balance they put on with the last record.

Elder, who celebrate 10 years as a band in 2017, were recently confirmed for the Days of Darkness Festival this October in Baltimore (info here), and you’ll have to forgive my assumption that many more tour dates will be announced in the months ahead. The big question in my mind at this point is what Elder will ultimately do with all that momentum they had coming off Lore, and how much will 2017 be their moment? Can they capture that kind of lightning in a bottle twice? If anyone could…

Ponder it while you watch the clip below, and enjoy.

More to come:

Elder, Reflections of a Floating World teaser

Our new album is entitled “Reflections of a Floating World”. It will be released on June 2nd, 2017 via Stickman Records and Armageddon Shop.

Here’s a short teaser featuring a preview of some music and artwork by Adrian Dexter. We are looking forward to sharing more details including the full album art, track listing, tour dates and a full song with you soon!

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Stickman Records website

Armageddon Shop website

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King Buffalo Announce Tour Dates; Playing Austin Terror Fest at SXSW and More

Posted in Whathaveyou on February 20th, 2017 by JJ Koczan

Rochester heavy psych rockers King Buffalo have had some work done on their Buffalo Bills van and would seem to be ready to hit the road ahead of a round of US tour dates next month. They’ll do a couple Upstate kickoff shows this weekend in Buffalo and their hometown, and then head to Columbus on March 1 to begin the run proper, which includes gigs at SXSW at Austin Terror Fest — the Texan manifestation of the Southwest Terror Fest held each fall in Arizona — and alongside fuzz forebears Dead Meadow before they go to Fort Worth and meet up with Wo Fat. Nice to know they’ll be in good company.

They go, of course, supporting last year’s stellar debut, Orion (review here), which was picked up for issue by Stickman after being released initially by the band themselves, and this run should make for a decent preparation for their first trip to Europe this summer. They’re already confirmed for Stoned from the Underground in Germany this July, and at this point I’m wondering if a full tour is in the works around that. As the list of dates below would indicate, they’re clearly looking to hit the road in a bigger way this year. Too bad they won’t be able to take that van across the Atlantic.

I don’t know how to say it more clearly. Go see King Buffalo:

king buffalo

KING BUFFALO TOUR DATES:
FEB 24 FRI Mohawk Place Buffalo, NY
FEB 25 SAT KB Tour Send Off Continental Drift Rochester, NY
MAR 1 WED Spacebar Columbus, OH
MAR 2 THU Living Room Stroudsburg, PA
MAR 3 FRI The Garage Winston-Salem, NC w/ All Them Witches, IRATA
king buffalo vanMAR 4 SAT The Cave Chapel Hill, NC
MAR 6 MON Strange Matter Richmond, VA
MAR 7 TUE Kung Fu Necktie Philadelphia, PA
MAR 9 THU Reggies Chicago, IL
MAR 11 SAT FUBAR Saint Louis, MO
MAR 12 SUN Your Mom’s Place Oklahoma City, OK
MAR 13 MON The Mix San Antonio, TX
MAR 15 WED Spiderhouse Ballroom Austin, TX
MAR 16 THU Austin Terror Fest Austin, TX
MAR 17 FRI Grizzly Hall Austin, TX w/ Dead Meadow
MAR 18 SAT Lola’s Saloon Fort Worth, TX w/ Wo Fat, The Great Electric Quest
JUL 14 FRI Stoned from the Underground Erfurt, Germany

King Buffalo is:
Dan Reynolds – Bass & Lights
Scott Donaldson – Drums & Vocals
Sean McVay – Guitar & Lead Vocals

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King Buffalo, Live at Wicked Squid Studios (6.16.16)

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

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

tomorrow's dream 2017

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

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

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

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

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

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

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

2. All Them Witches, Sleeping Through the War

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

3. Alunah, Solennial

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

4. Arbouretum, TBA

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

5. Atavismo, Inerte

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

6. Bison Machine, TBA

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

7. Brothers of the Sonic Cloth, TBA

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

8. Cloud Catcher, Trails of Kosmic Dust

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

9. Colour Haze, TBA

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

10. Corrosion of Conformity, TBA

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

11. Elder, TBA

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

12. Electric Wizard, TBA

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

13. John Garcia, The Coyote Who Spoke in Tongues

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

14. Goya, Harvester of Bongloads

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

15. Ides of Gemini, TBA

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

16. Kind, TBA

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

17. Lo-Pan, In Tensions

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

18. The Midnight Ghost Train, TBA

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

19. Monster Magnet, TBA

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

20. Mothership, High Strangeness

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

21. The Obsessed, Sacred

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

22. Orange Goblin, TBA

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

23. Pallbearer, Heartless

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

24. Radio Moscow, TBA

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

25. Roadsaw, TBA

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

26. Rozamov, This Mortal Road

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

27. Samsara Blues Experiment, TBA

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

28. Seedy Jeezus, TBA

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

29. Shroud Eater, Strike the Sun

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

30. Sleep, TBA

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

31. Stoned Jesus, TBA

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

32. Stubb, TBA

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

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

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

34. Ufomammut, TBA

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

35. Vokonis, The Sunken Djinn

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

Gonna Happen and/or Likely Candidates

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

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

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

Definitely Could Happen

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

So, you know, life.

Dig it:

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

Would be Awfully Nice

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

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

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

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

All the best.

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