Posted in Whathaveyou on January 23rd, 2015 by H.P. Taskmaster
The ties between Blues Pills and the Freak Valley festival run pretty deep. For one thing, the band is named after fest-founder Jens Heide‘s old ‘zine, and my understanding is they’ve been tight all along as Blues Pills have ascended to such high profile over the last couple years, leading to the release of their massively-well-received 2014 self-titled full-length debut. Blues Pills played the fest last year and they’ll be at Freak Valley 2015 as well, headlining Thursday night, June 4, and their 2014 set will be released in limited vinyl/CD fashion. Presumably copies will be on hand in Netphen, Germany.
Freak Valley 2015 runs from June 4-6:
+++ FREAKIN’ AWESOME NEWS +++
While BLUES PILLS say “thank you” to Freak Valley Festival with the release of a superlimited Live @ Freak Valley Festival 2014 album on Vinyl and CD we are proud and more than happy to announce that Blues Pills will return and headline Thursday June 4th!!
We are totally thrilled and honoured about these two massive news!
Thank you so much Elin, Zack, Dorian & André. We’ll never forget!
The mindblowing poster beauty is done by Mr-Frumpy Frumpedia
Tickets are running low already. Please make sure you get yours in time!!
Also: At our Club shows @ Vortex Surfer Musikclub (next show Saturday Jan. 24th w/ Vibravoid Official, HARSH TOKE & Comet Control
FREAK VALLEY FESTIVAL: No Fillers – Just Killers Blues Pills – Orchid – Eyehategod – Earthless – Goatsnake – Crippled Black Phoenix – Horisont – The Vintage Caravan – Electric Moon – Gas Giant – Monkey3 – Danava – Egypt – Siena Root – Bröselmaschine – Sigiryia – Kamchatka – Purson – Dead Man – Freedom Hawk – Mountain Witch – Tuber – Valley of the Sun – Tombstones – Travelin’ Jack – more tba soon!!
Posted in Whathaveyou on January 15th, 2015 by H.P. Taskmaster
Swedish obscurist three-piece Saturnalia Temple have announced an April 7 North American release for their sophomore outing, To the Other. For those who heard their 2011 debut LP, Aion of Drakon, it’s likely a date worth marking on the calendar, the trio’s consuming aural darkness and wash of echoing tone set an atmosphere that went beyond cult rock and into a drearier facet of doom. I was fortunate enough to see them at Roadburn in 2012, and they conjured an immersive swirl even on stage, where one might expect a rawer presentation. Very cool band. They’ve toured in the US since then, and one imagines they’ll be back sooner or later in support of To the Other.
For now, the album release date, tracklisting, cover and detailed whatnots follow here, fresh off the PR wire:
SATURNALIA TEMPLE set release date for new AJNA OFFENSIVE album
Today, The Ajna Offensive sets April 7th as the North American release date for Saturnalia Temple’s highly anticipated second album, To the Other. Saturnalia Temple is black magic metal, a dark spiritual vortex rooted in heavy and hypnotic sounds, a pure voice of the Draconian magical tradition now further harnessed with To the Other. As a band that moves intently and without compromise, this recording and production was done in their own studio, Sitra Ahra, located in the forests outside Uppsala, Sweden.
Since its release, Saturnalia Temple’s critically acclaimed Aion of Drakon debut took the band to numerous major festivals throughout Europe, including Roadburn, Hell’s Pleasure, and Heavy Days in Doomtown, as well as on tours in both the U.S. and Europe. The strong occult and dark magical backbone is more prevalent than ever on To the Other, and as a band that actually started before the current “occult rock” trend, there are no fetishistic hoods, blood, or pentagrams. To The Other is instead a relentless journey through the downfall of the world and the rise of the individual striving against the grain.
As a title, To The Other signifies that it is a gift from the band to both the Other Side and to all that is in the shadows, the other side of existence, that which has been neglected by the everyday world of light. American drummer Tim Call (Alderbaran, Howling Wind, Nightfell) brings his experience and power to Saturnalia Temple on this recording. The cover art was created by Manuel Tinnemans (The Devil’s Blood, Deathspell Omega, Necros Christos). That cover, as well as tracklisting, are as follows:
Tracklisting for Saturnalia Temple’s To the Other 1. Intro 2. ZazelSorath 3. To The Other 4. Snow Of Reason 5. March Of Gha’agsheblah 6. Black Sea Of Power 7. CrownedWithSeven 8. Void
Posted in Whathaveyou on January 13th, 2015 by H.P. Taskmaster
Usually when bands sign to new labels and do reissues, they dip back to the beginnings of their catalog — the debut, or if for whatever reason not that, their sophomore outing. Well, Ashes was Suma‘s third record, released in 2010, but it’s also their most recent full-length. In essence, the Malmö four-piece have inked a deal to put out their last record again. Not something you see every day, but if you’ve heard Ashes at any point in the last five years, you likely understand why it might be the exception to any number of rules. It continues to be — and I ask no pardon for the pun — exceptional, in weight and impact and pervasive sense of atmosphere.
They’ve sold through a number of pressings — I swiped the list off their Bandcamp and you can see it below — and it looks like with Argonauta Records behind this latest version, the album’s reputation will only continue to spread. In the time since its release, Suma have done splits with Pyramido and Fistula and more, so maybe it won’t be too long before word of their next full-length, which as of last year was titled The Order of Things, follows this announcement down the PR wire:
ARGONAUTA Records sign Swedish Sludge Monsters SUMA!
We’re excited to announce we will re-release huge album “Ashes” by Swedish beast SUMA! Originally out in 2010, “Ashes” is a monster of granitic riffs, sludge destruction and unrelentless heaviness, engine-eared, mixed and produced by Billy Anderson. The album will be available during Spring 2015 on CD Digisleeve with renewed artwork.
CD released by SPEAKERPHONE RECORDINGS. marketed and distributed by REGAIN RECORDS. 2LP released by THRONE RECORDS. 2LP first press : 500 copies. SOLD OUT. 2LP second press : 300 copies. SOLD OUT. CD first press : 1000 copies. SOLD OUT. CD second press > REGAIN RECORDS version : 1000 copies. SOLD OUT.
Like Lightsabres‘ late-2013 debut, Demons (review here), the second full-length, Spitting Blood, is a deceptively complex outing. Released as a limited tape in an edition of 50 copies by HeviSike Records – 25 translucent red cassettes, 25 opaque red, with a foldout j-card and included patch — and already through its second vinyl pressing since releasing in Sept. 2014, it pulls together ranging impulses from garage rock, goth drama, heavy riffing, raw punk and more across its 13-track span, all songs clocking in at around or under two minutes long. A quick listen, multi-instrumentalist/vocalist John Strömshed (who also recorded and doubles in Tunga Moln) takes listeners through an otherworldly passage not quite as dark or extreme as the cover of the tape might indicate, but certainly fitting enough with the notion of cutting to the bone. The buzzsaw guitar tone that pervades “I Can’t Feel It,” which sounds like a hypothetical garage-recordedQueens of the Stone Age demo circa 1991, and the later post-punk boogie of “Like Shit” slices and dices through the raw mix with little concern, for skin or otherwise.
That is, ultimately, what Strömshed uses to cloakthe sonic diversity of Lightsabres. In another dimension, he’d be exploring ever deeper arrangements in limitless budgets of instrumentation and production style, but on Spitting Blood, it’s the mood and stylistic range that’s being explored, pushed outside of the comfort zone of genre. His take on the Misfits‘ “Hybrid Moments” (a personal favorite) is authentic to the original, and somehow, it fits smoothly between the would-be-nihilistic-if-it-wasn’t-such-a-hook of “Fuck Tomorrow” and the head-down low-end punk of “Sonic Death” near the end of side 1. To further the delightfully confounding nature of the tape, each half ends with a sweet, ambient moment of guitar melody, “Dark Matter” wistful and folkish, and album-closer “I Dream of Space” an experimental-feeling brush with psychedelic minimalism at least in part presented backwards. Coming off a song like “No Cash,” which is the longest inclusion on Spitting Blood at 2:36 and toys with drumless pop drama in a near-abrasive blown-out wash of fuzz, it is particularly effective in highlighting just how deep Strömshed goes in his pursuit of… whatever the hell it might be that he’s after.
But it’s the rawness that makes it all consistent. Like earliest Six Organs of Admittance – and at the same time, not at all like it — Lightsabres‘ consuming rough edge gives even an angrier punker like “Pigs” an underlying intimacy, almost a personalized feel, that works greatly toward lending further individuality to what would in many other contexts be a loosely familiar or at very least more straightforward offering. Coupled with a core of songwriting that will be apparent even on the most superficial of listens as the catchiness of these songs reaches up from the dense tonal swamp in which they reside to bash the listener over the head, that still-developing individualism makes Spitting Blood both a worthy successor to Demons and an enjoyable reveling in proto-grunge that, in a world of cult themes that it eschews, proves legitimately cult worthy. A project of which people will no doubt continue to take notice, and rightfully so.
Posted in Reviews on January 2nd, 2015 by H.P. Taskmaster
Yesterday was pretty rough. Some excellent stuff in that batch of 10 discs, but man, by the end of it I don’t mind telling you I was dragging more than a bit of ass. I guess that’s to be expected. Still, I think that, as a project, this was worthwhile. There was a lot of stuff — too much — sitting around that was going to go undiscussed coming out of 2014, and now here we are, it’s the New Year, and I feel like at least a small percentage of what came my way got its due. Small victories.
So this is it. Reviews 41-50. After this, there isn’t much from 2014 that I’ll be looking back on; it’s mostly stuff to come, which is a different matter entirely. I’m sure we won’t be out of Jan. before I’m behind again in a major way, but what the hell, at least I’m trying, and at least there’s 50 discs that showed up on my desk that can be put on the shelf instead. Yes, it’s a very complex filing system. Ask me sometime and I’ll tell you all about it. Until then, let’s finish it like the final battle from Highlander. There can be only… 10… more…?
Okay maybe not.
Thanks for reading.
The Re-Stoned, Totems
Helmed since 2008 by the multifaceted Ilya Lipkin, Moscow mostly-instrumentalists The Re-Stoned release their fourth album in the form of Totems on R.A.I.G., a 58-minute wide-breadth journey into heavy rock groove with touches of psychedelia, plotted jazz-jamming and a raw tonal sensibility. Wo Fat guitarist/vocalist Kent Stump contributes a noteworthy solo to “Old Times,” and along with bassist Alexander Romanov, Lipkin (who himself handles the artwork design, guitar, bass, shaman drum, jew’s harp, mandala and some voice work) employs a guest drummer, percussionist and didgeridoo player, so there’s a measure of variety to the proceedings, be it the jerky pauses in “Shaman” or the earlier effects-laden exploration of “Chakras.” “Old Times” has a bit of funk to it even before Stump’s arrival, and the acoustics of “Melting Stones,” which follows, border on cowboy Americana. They’ve never had the most vibrant production, but The Re-Stoned manage to convey a natural feel and confidence as they progress, the creative growth of Lipkin always at the center of what they do.
For his second album under the moniker Anthroprophh, guitarist/vocalist Paul Allen (also of The Heads) brings in a rhythm section to aid him in his time-to-get-really-weird purposes. Thus, bassist Gareth Turner and drummer Jesse Webb, who together form the duo Big Naturals, add to the strangeness of songs like “2013 and She Told Me I was Die” on Anthroprophh’s Outside the Circle, a 45-minute excursion into warped sensibilities and things meant to go awry. Songs are made to be broken, and that happens with drones, sudden shifts in atmosphere, some smooth transitions, some jagged, all designed to transport and ignite stagnation. It does not get any less bizarre as Outside the Circle moves toward its nine-minute title-track, but one doesn’t imagine Allen would have it any other way, and one wouldn’t have it any other way from him. I call a fair amount of music adventurous for deviating from the norm. Anthroprophh makes most of that sound silly in comparison with its buzzsaw guitar and raw experimental display.
Saskatoon four-piece Lavagoat continue to challenge themselves even as they bludgeon eardrums. Their single-track CD EP, Weird Menace, pulls together six individual songs recorded mostly live in their rehearsal space with a purposeful drive toward rawness and a horror thematic. Sure enough, where their 2012 LP, Monoliths of Mars (review here) and 2010 self-titled debut (review here) offered increasing stylistic complexity, Weird Menace steps forward atmospherically by pulling back on the production value. Murky screams permeate “Ectoplasm” only to be immediately offset by the low growls and deathly groove of “Creature from the Black Lagoon,” presented as nasty as possible. There are still some touches of flourish in the guitar – one can’t completely cast off a creative development, even when trying really, really hard – but to call Weird Menace’s regressive experimentalism anything but a success would be undervaluing the turn they’ve made and how smoothly they’ve made it. Note: a follow-up LP, Ageless Nonsense (actually recorded earlier than this EP), has already been released.
Limited to 50 CD copies and presented in an oversize sleeve, soon-to-be-picked-up-by-somebody Colorado five-piece Ketch’s self-titled debut demo/EP is death-doom brutal and doom-death grooving. Vocalist Zach Salmans and guitarist Clay Cushman (who also recorded) trade off growls and screams over plus-sized, malevolent riffs and guitarist Jeremy Winters, bassist Dave Borrusch and drummer David Csicsely (also of The Flight of Sleipnir) only add to the pummel, which hits a particularly vicious moment in the grueling second half of “Counting Sunsets,” a dirge of low growls giving way to churning, nodding despair. Beginning with 9:18 longest cut “Shimmering Lights” (immediate points), Ketch deliver a precision extremity that even on this initial offering makes its villainous intent plain with volume and overarching drear. The midsection stomp of “Chemical Despondency” and the gurgle in closer “13 Coils” affirm that Ketch have found their stylistic niche and are ready to begin developing their sound from it. One looks forward to the growth of this already maddening approach. Bonus points for no obvious Lovecraft references.
Somewhere between death, black and doom metals, one finds Rhode Island three-piece Eternal Khan exploring cosmic, existential, literary and mythological themes on their self-released debut full-length, A Poisoned Psalm, the jewel case edition of which includes both lyrics and liner note explanations of each of its seven tracks. It’s an ambitious take from a trio who seem destined at some point to write a concept album – maybe based on Faust, maybe not – but the actual songs live up to the lofty presentation, be it the suitable gallop of “Raging Host,” despondent push of centerpiece “The Tower” or double-kick bleakness of “Void of Light and Reconciliation.” Guitarist/vocalist N. Wood, guitarist T. Phrathep and drummer D. Murphy mash their various styles well, but there’s room to grow here too, and I’d wonder how “The Black Stork” might work with an element of drone brought into the mix to add to the atmosphere and provide contrast to the various sides of Eternal Khan’s extremity. Even without, A Poisoned Psalm serves vigorous notice.
Rife with ‘70s swagger and easy-rolling blues grooves, Get Pure is the third record from Columbus, Ohio trio Mount Carmel, and it goes down as smooth as one could ask, the guitar work of Matthew Reed, bass of his brother, Patrick Reed (since out of the band and replaced by Nick Tolford) and drums of James McCain meshing with a natural, classic power trio dynamic only furthered by the vocals, as laid back as Leaf Hound but with an underlying bluesiness on cuts like “One More Morning” and “No Pot to Piss.” At 11 tracks and a vinyl-minded 35 minutes, neither the album as a whole nor its component tracks overstay their welcome, and late pushers like “Hangin’ On” and “Fear Me Now” leave the listener wanting more while closer “Yeah You Mama” bookends with opener “Gold” in hey-baby-ism and irrefutable rhythmic swing. Comfortable in its mid-pace boogie, Get Pure offers a party vibe without being needlessly raucous, and its laid back mood becomes one of its greatest assets.
One could hardly accuse Stockholm classic proggers Pocket Size of living up to their name on Exposed Undercurrents, their second album. Even putting aside the expansive fullness of their sound itself, there are nine people in the lineup. It would have to be some pocket. The group is led by guitarist Peder Pedersen, whose own contributions are met by arrangements of saxophone, Hammond B-3, flute, theremin and so on as the 11 tracks of Exposed Undercurrents play off intricately-conceived purposes to engaging ends. One is reminded some of Hypnos 69’s takes on elder King Crimson, but Pocket Size have less of a heavy rock stylistic base and are more purely prog. A clean production – this is clearly a band that wants you to hear everything happening at any given moment – serves the 54-minute offering well, and though it’s by no means free of indulgence, Exposed Undercurrents is imaginative in both the paths it follows and those it creates, the joy of craftsmanship clearly at the core of its process.
Though it’s actually only about 41 minutes, I doubt if Zoltan’s Sixty Minute Zoom would benefit from the extra time in terms of getting its point across. The instrumental London trio of keyboardist Andy Thompson, bassist/keyboardist Matt Thompson and drummer/keyboardist Andrew Prestidge revel in ‘70s synth soundtrack stylizations. For good measure I’ll name-check Goblin as a central influence on “Uzumaki,” the second of Sixty Minute Zoom’s five inclusions, but John Carpenter’s clearly had a hand as well in brazenly cinematic texturing of synth and the late-‘70s/early-‘80s vibe. The various washes culminate in the side B-consuming 21-minute stretch of “The Integral,” which is broken into separate movements but flows smoothly between them, pulsations and drones interweaving for a classic atmosphere of tension and balance of the chemistry between the Thompsons and Prestidge and the progressive, immersive sound they create. Fans of earlier Zombi will find much to chew on, but Zoltan dive even further into soundtrack-style ambience. All that’s missing is Lori Cardille running down a dimly lit hallway.
Offered as a nine-track full-length plus a four-song bonus EP, the self-titled debut from Madison, Wisconsin’s The Garza meters out noise rock punishment with sludgy ferocity. A trio of notable pedigree – drummer/vocalist Magma (Bongzilla, Aquilonian), guitarist Shawn Blackler (Brainerd, Striking Irwin), and bassist Nate Bush (ex-Droids Attack, ex-Bongzilla) – they fluidly pull together post-hardcore elements and Crowbar-esque turns while retaining a core of punk rock. “Rage” is a solid example of this, but it’s true of just about all of the album proper, which largely holds to its approach, adding some melody to the seven-minute pre-bonus-tracks closer “Kingdoms End” and varying tempo here and there around its destructive central ideology. The four bonus tracks are of a similar mind as well, Magma switching up his vocals every now and then to add variety to proceedings that otherwise prove vehemently assured of their position. I’m not sure if the extra cuts help reinforce the album’s rawness or detract from the closer, but The Garza aren’t exactly light on impact either way.
Dot Legacy’s self-titled Setalight Records debut, particularly for a green-backed CD with vinyl-style grooves on front, is not nearly as stoned as one might think. The Parisian foursome of Damien Quintard (vocals/bass/recording), Arnaud Merckling (guitar/keys/vocals), John Defontaine (guitar/vocals) and Romain Mottier (drums/vocals) employ a broad range on the 46-minute album’s nine tracks, from the shoegaze post-rock of “The Passage” to the driving heavy psych of “Gorilla Train Station,” all the while holding firm to a creative reasoning geared toward individuality. If they wound up adopting “The Midnight Weirdos” as a nom de guerre, I wouldn’t be surprised, but in fact there’s little sense that at any point Dot Legacy aren’t in full command of where their material is headed. All the better for the surprising opening duo of “Kennedy” and “Think of a Name,” which shift between reverb-soaked meditation and vibrant, hook-laden heavy rock. A fascinating and original-ish debut that could be the start of something special. They should hit the festival circuit hard and not look back.
Posted in Reviews on December 30th, 2014 by H.P. Taskmaster
Happy to report that I survived the first day of this project. Spirits are good and I look at the stack of discs (plus one book; we’ll get there) in front of me and feel relatively confident that by the time I’m through it, my cerebral cortex will still manage to function in the limited way it usually does. If yesterday’s installment is anything to go by, however, I’ll be well out of adjectives by then. What’s another word for “heavy?”
There’s only one way to find out. These will be reviews 11-20 of the total 50. I don’t know if they say the first 10 are the hardest or the last, but I’ll be in the thick of it when this is posted and while I’m sure I probably could turn back and catch minimal if any flack for it — one “Hey wha happen?” on Thee Facebooks seems likely penance — better to just keep going. Another stack awaits tomorrow, after all.
Thanks in advance to anyone reading:
Nate Hall, Electric Vacuum Roar
Electric Vacuum Roar is one of two Nate Hall physical releases from this fall. The U.S. Christmas frontman and solo performer also has a few digital odds and ends and Fear of Falling, on which he partners with a rhythm section. Released by Heart and Crossbone Records and Domestic Genocide, Electric Vacuum Roar is closer to a solo affair. Hall is joined by Caustic Resin’s Brett Netson on guitar/bass on two extended tracks: “Dance of the Prophet” (16:46) and “Long Howling Decline/People Fall Down” (11:57). The second part of the latter is a reinterpretation of a Caustic Resin song, though here it is droned out and put through a portal of drumless and inward-looking psychedelia, turned into the finale of a communicative and intimate affair. Amp noise and effects swirl around “Dance of the Prophet,” and it’s easy to get lost in it, but Hall maintains a steady presence of obscure vocals and the result is what tribal might be if tribes were comprised of one person.
I’ve never tried to break up a one-man band, but I can’t imagine Scott Conner – who helped pave the way for US black metal under the moniker Malefic in Xasthur – has had an easy time of it since he put that band to bed in 2010. Nocturnal Poisoning, whose Doomgass arrives via The End Records, is an entirely different beast. Centered around layers folkish acoustic guitar, cleanly produced backed by occasional bass and tambourine, Doomgrass is still depressive at its core – Robert N. contributes guest vocals, almost gothic in style, to songs like “Starstruck by Garbage” and “Illusion of Worth” – but if the name is a portmanteau of doom and bluegrass, it fits the style. If anything ties Nocturnal Poisoning to Xasthur aside from Conner’s involvement, it’s a focus on atmosphere, but the two ultimately have little in common otherwise, and Nocturnal Poisoning’s exploratory feel is refreshingly individualized and leaves one wondering if Conner will be able to resist the full-band-sound impulse going forward.
Though they’re decidedly post-metal in their influences – Neurosis, YOB, obviously Ufomammut for whose record they are named – Sweden’s Snailking keep to heavy rock tones on their Consouling Sounds debut full-length, Storm, and that greatly bolsters the album’s personality. Even as they lumber, the riffs of 11-minute opener “To Wander” are fuzzed-out, and that remains true throughout the five mostly-extended cuts the trio of drummer Olle Svahn, bassist Frans Levin and guitarist/vocalist Pontus Ottosson present on their first record, which follows the 2012 demo, Samsara (review here). Centerpiece “Slithering” is the shortest and most churning of the bunch at 6:32, but the particularly YOBian “Requiem” underscores another value greatly working in Storm’s favor – the patience with which Snailking present the ambience of their pieces. That will serve them well as they continue to distinguish themselves from their forebears, but for now, Storm makes a welcome opening salvo from the three-piece highlighting both their potential and how far they’ve come already since the release of their demo.
The self-titled debut from thoroughly-bearded Brooklynite four-piece Godmaker arrives via Aqualamb as an art-book and download, a full 96 pages of designs, lyrics to the four included tracks of the vinyl-ready 32-minute long-player, live shots from a variety of sources, bizarre geometry and odd etchings feeding the atmosphere of the songs themselves, somewhere between sludge, thrash and aggressive noise with scream-topped moments of doom like “Shallow Points.” Comprised of guitarist/vocalists Pete Ross and Chris Strait, bassist Andrew Archey and drummer Jon Lane, Godmaker fluidly shifts between the various styles at work in their sound, whether it’s the explosion at the end of “Shallow Points” or that beginning the rush of opener “Megalith,” and while their self-titled is a dense listen, with the surprising post-hardcore take of “Desk Murder” and the check-out-this-badass-riff-now-we’re-going-to-smash-your-face-with-it 11-minute metallic closer “Faded Glory,” it efficiently satisfies. More so after a couple listens front to back. If Godmaker were breaking your bones, it would be a clean break, and yes, that’s a compliment to their attack.
Supersound is the first full-length from Italian heavy psych rockers Void Generator since 2010’s Phantom Hell and Soar Angelic (review here), and where that album held three extended pieces, the latest and third overall breaks into smaller pieces. Some of those are extended – opener “Behind My Door” is 8:09 and “Master of the Skies” tops nine minutes – but the bulk of Supersound’s seven tracks is shorter works somewhere between desert rock and classic psych, guitarist Gianmarco Iantaffi leading the four-piece with a more subdued vocal approach than last time out, compressed even in the rowdier verses of “What are You Doin’” (written by Sandro Chiesa), on which the keys of Enrico Cosimi feature heavily and add to the sound too crisp to be totally retro but still vehemently organic. Bassist Sonia Caporossi (also acoustic guitar on penultimate interlude “Universal Winter”) and drummer Marco Cenci hold together the fluid grooves as Void Generator follows these varied impulses, and Supersound proves cohesive and no less broadly scoped than its predecessor.
There’s a version of The Mound Builders’ 17-minute Wabash War Machine EP from Failure Records and Tapes that includes a comic book, but even the regular sleeve CD edition gives a glimpse at the Lafayette, Indiana, five-piece’s heavy Southern metal push. The middle two of the four inclusions, “Sport of Crows” and “Bar Room Queen,” surfaced earlier this year on a split tape with Bo Jackson 5 (review here), but opener “Wabash War Machine” and the sludged-up closer “The Mound” on which the guitars of Brian Boszor and “Ninja” Nate Malher phase between channels and vocalist Jim Voelz delivers his harshest performance to date, are brand new, albeit recorded at the same sessions in July 2013. “Wabash War Machine” highlights the band’s blend of southern metal and heavy groove, guitar intricacy and a gang-shout chorus meeting thick rollout from bassist Robert Ryan Strawsma and drummer Jason “Dinger” Brookhart, but it’s the finale that’s the EP’s most lasting impression, as pummeling as The Mound Builders have gotten to date.
In Olof’s buzzsaw guitar tone, the thud of Karl’s drums and Gidon’s abiding vocal menace, “Strike of the Emperor” gives notice of some Celtic Frost influence, but that’s hardly the whole tale when it comes Stockholm trio Mother Kasabian’s self-titled, self-released debut EP, as “The Black Satanic Witch of Saturn” immediately calls to mind The Doors in its minimal, spacious verse and offsets this with a soulful classic heavy rock chorus en route to the seven-minute “Close of Kaddish,” which works in a similar pattern – hitting notes of Trouble-style doom in its crescendos – and offers Mother Kasabian’s widest ranging moment ahead of the swaggering closer “The Return of the Mighty King and His Cosmic Elephants.” Swinging drums and variety in Gidon’s The Crazy World of Arthur Brown-style approach give the EP a distinguished feel despite raw production and it being Mother Kasabian’s first outing, and with the psych touches in the finale and a generally unhinged vibe throughout, the trio showcase considerable potential at work.
Active since 2011 and with two prior full-lengths – 2012’s I (review here) and 2013’s II (review here) – under their belt, Oulu, Finland, heavy psych trio Deep Space Destructors offer their definitive stylistic statement in the wash of III, a five-song/45-minute cosmic excursion with progressive krautrock edge (see “Spaceship Earth”) driven into heavier territory through dense fuzz in guitarist Petri Lassila’s tone and the chemistry between he, vocalist/bassist Jani Pitkänen and drummer Markus Pitkänen. Their extended but plotted jammy course finds culmination in the 15-minute penultimate cut “An Ode to Indifferent Universe,” – King Crimson and Floyd laced together by synth sounds – but the space-rock thrust of closer “Ikuinen Alku” highlights the multifaceted approach Deep Space Destructors have developed since their inception, consistently psychedelic but expansive. The sides gel effectively on “Cosmic Burial,” lending modern crash and tonal heft to classic ideals to craft something new from them in admirable form. As far out as they’ve gone, Deep Space Destructors still seem to be exploring new ground.
Released as a cooperative production between Garage Records and Go Down Records, Italian trio Underdogs’ second, self-titled LP pushes further along the straight-lined course of heavy rock their 2007 debut, Ready to Burn, and 2011’s Revolution Love (review here) charted. Songs like “Nothing but the Best” strip away the Queens of the Stone Age-style fuzz of past outings in favor of a cleaner tone and overall feel, and while that spirit shows up later on side B’s “Called Play” and the rumbling grunge of “My Favourite Game” (a cover of The Cardigans), the prevailing vibe speaks to European commercial viability with clear hooks and straightforward structures. Acoustic finale “The Closing Song” offers a last-minute shift in style, calling to mind Underdogs’ Dogs without Plugs digital release, but even in more barebones form, the songwriting remains the focus on this mature third offering from a three-piece who’ve clearly figured out the direction in which they want to head and have set about developing an audience-friendly sound.
Since they issued their self-titled debut (review here) in 2012, Virginia’s Human Services have brought aboard Steve Kerchner of Lord, and he brings as much a sense of chaos to Animal Fires as one might expect in teaming with Jeff Liscombe, Sean Sanford, Don Piffalo and Billy Kurilko, though the 59-minute full-length isn’t without its structure. Longer songs pair with concise noise experiments throughout the first 10 of the total 13 tracks, and each is different, so that even as the gap between songs is bridged, the stylistic basis for Animal Fires is branched out. The result is that by the time “Onyedinci Yil Sürüsü” closes out the album proper before the 17-minute live inclusion “No Structures in the Eye of the Jungle” hits, Human Services have reimagined the modus of Godflesh as an extremity of organic noisemaking, Southern heavy and eerie progressivism. Shades of Neurosis show up in centerpiece “Rats of a Feather,” but they too are twisted to suit the band’s creative purposes, threatening and engagingly bleak.
Posted in Features on December 26th, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll. That’s still going on. Please feel free to submit your list.
Making and releasing a first full-length album is a special moment in the life of any band, and that’s why I wanted to single out some of the best debuts of the year. I’ve never done this before, and so maybe with a top 10 I’m testing the waters a bit, but it seemed a worthwhile project anyway. It was a long (inner) debate about whether or not to include EPs and singles here too, but in the end, it just seemed to work better with albums.
Not to take anything away from shorter releases, but putting out a debut EP is much different than a debut LP. First of all, a debut LP can come after several EPs or singles or demos or whatever and still be considered first. What a first album says to the listener is, “Okay, we’ve come this far and we’re ready to take this step.” Some bands, once they start putting out albums, never go back to EPs. Others who’ve been around for 30 years still release demos every now and then, but even so, a group only ever gets one crack at their first album, and it can be one of the most important things we ever do.
Compared to how many come out any given month, year, century, etc., very few debut long-players ever wind up being classics, and who knows what the future might hold for any of these acts on this list, but that not knowing and that excitement are part of the fun.
Let’s get to it:
The Top 10 Debut Albums of 2014
1. The Well, Samsara
2. The Golden Grass, The Golden Grass
3. Spidergawd, Spidergawd
4. Atavismo, Desintegración
5. Blues Pills, Blues Pills
6. Steak, Slab City
7. Comet Control, Comet Control
8. Elephant Tree, Theia
9. Black Moon Circle, Black Moon Circle
10. Temple of Void, Of Terror and the Supernatural
A couple honorable mentions. First to Valley of the Sun‘s Electric Talons of the Thunderhawk, which I still didn’t know what to do with the release date for. Officially 2014, but kinda released in 2013 too. I was back and forth on it. Also Wasted Theory‘s burly debut, Monolord‘s Empress Rising, Child‘s Child, the Silent Chamber, Noisy Heart sprawling one-song LP from Sylvaine.
Some notes: Actual time spent listening played a big role in the structuring of this list. More so than the Top 30 of 2014, I would say. The Well‘s Samsara and the self-titled debut from The Golden Grass featured pretty high on that list as well, and that’s because both of them were records that I continually went back to and found satisfying after they came out. In both bands I think there’s significant stylistic potential, but more importantly, they both came out of the gate with their mission solidified and ready to roll.
With Spidergawd‘s Spidergawd, the progressive take on classic heavy rock boogie was blinding, but righteous. Their second album is due early next year on Stickman and I’ll have more on it to come in the weeks ahead. Atavismo‘s Desintegraciónhit me like the proverbial ton of bricks. Just four songs, but the atmosphere was gorgeous enough that after listening I went back and asked the band if I could host a stream in hopes that more people would hear it. Fortunately for anyone who listened, they were kind enough to comply.
On sheer impact alone, I think Blues Pills‘ Blues Pills warrants inclusion on this list, but in my own listening, I put on the top four so much more often that I couldn’t really justify placing it any higher. But in terms of a first album coming out and really propelling a band to the next level, I think for a lot of people it’s probably the debut of the year. Fair enough. Steak‘s Slab City found the London four-piece physically and stylistically right in the heart of the California desert and their passion for that place and its sound came across heartfelt on the recording, which only heightened the appeal.
And while I’m still sorry to see Quest for Fire go, the debut from offshoot Comet Control helped ease that sorrow neatly with a blend of driving heavier space rock and psychedelic vibing. Cool album, bodes well. You could say the same for Elephant Tree‘s Theia, I suppose. Their take on psychedelia melded with screamy sludge successfully where I think a lot of bands would’ve fallen flat trying the same thing, and that’s definitely something noteworthy in an initial offering, particularly one not preceded by an EP or other kind of release.
To round things out, two very different records. Black Moon Circle‘s self-titled took a popular stylistic course — melding heavy rock and psychedelic jamming — and showed the trio beginning to make it their own. That’s something I hope will continue on their second outing, which, like that of Spidergawd, is coming on quick early in 2015. And finally, Temple of Void‘s extreme, deathly take on doom courted genres smoothly and delivered its punishment with efficiency while holding together a coherent atmosphere of darkness and aggression. It was a sadistic joy to behold.
If you missed it, there were a couple debuts included on the Top 20 Short Releases of 2014 list as well — Gold & Silver, Wren, Death Alley, and so on — so if you’re looking for more of that kind of thing, you don’t have to look too far. I hope if there was a debut album this year that particularly caught your attention, you’ll let me know in the comments.
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Alunah, Awakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in On Wax on December 11th, 2014 by H.P. Taskmaster
The Inconclusive Portrait is Swedish four-piece Molior Superum‘s first offering since their 2012 full-length debut, Into the Sun (review here), and it shows the Gothenburg-based unit in a somewhat different light. Released on 7″ vinyl by H42 Records – 340 copies; 140 on black vinyl, 100 green, 50 gold exclusive to the label, and 50 die-hards on clear-purple vinyl with different art — it’s just two songs, or even two parts of one title-track, but it’s both fuller in its tone and more modern than the long-player, and the shift in style is audible. The lineup of guitarist/vocalist Carl Isaksson,guitarist Oskar Öberg, bassist/vocalist Lars Sandström and drummer/vocalist Jens Fuglede hasn’t changed, and they still bear some sonic resemblance to the UK’s Stubb, but where that band’s second album found them searching for a more natural, psychedelic meditation, Molior Superum have turned expectation on its head and opted for a more straightforward feel, less boogie (which is different from none at all), more direct dynamic between the two guitars and a thrust of groove that gives their hooks an urgency that serves the short release well.
Both sides of The Inconclusive Portrait – simply “Part 1″ and “Part 2″ on back of the 7″ sleeve — begin at a rush. Vocalist Joakim Segerfelt Steby of Brutus guests on “Part 1,” which is the shorter of the two, announcing its stylistic turn immediately in a modern-sounding crash and fuzz push that moves quick into the first verse. Understand, Molior Superum are still indebted to the heavy ’70s for a lot of their methods and influence, but it’s a more current feel that permeates the single than did the album. If you want to relate it to other Swedish bands, it’s more Greenleaf than Graveyard, and it works for Molior Superum, whose energy bleeds through the recording as plain to hear as the riffs themselves. Steby‘s contributions mesh smoothly, and a current of backing organ (or something thereabouts) fleshes out the chorus of “Part 1″ almost in a call and response to the vocals amid the fury of chugging. At just over five minutes, “Part 2″ would seem to have room for the band to flesh out some, but instead, they keep the high-impact spirit of “Part 1″ pulsing through for the duration with no real letup either in vibe or volume. “Part 2″ isn’t a direct continuation of “Part 1″ from what I can tell, but if Molior Superum were to play one into the next live, I’m sure it would sound close enough to make sense, as it does when one listens to the single digitally, without having to flip the record.
There’s something brash about “Part 2″ that makes it stand out. Its central riff is hook enough, and they put it to work, but there’s an intensity to it that feels even more prevalent than on “Part 1,” a guitar solo kicking in late before a return to the chorus, and the whole band taking what in another context, perhaps slower, would almost certainly be vintage swing and setting it to kick-in-the-teeth pace. As it is, it distinguishes Molior Superum from a still-growing league of ’70s worshipers and is a credit to the recording job by Micke Nilsson (ex-Bonafide) at Music a Matic for helping to foster this level of performance. A lot can happen to a band in two years, and I wouldn’t necessarily have expected Molior Superum to make the turn they do here, or to pull it off so well, but I think it makes them stronger, and perhaps most importantly, it builds intrigue for what they might do next. It’s a quick, eight-minute release, but says a lot about the band’s hopefully ongoing development.
Molior Superum, The Inconclusive Portrait 7″ (2014)
Posted in Radio on December 5th, 2014 by H.P. Taskmaster
I try to do these every week. I’d like to, ideally, but it seems to be more like when folders and zip files clog up my desktop enough to really get on my nerves. Fair enough. A full 20 records joined the playlist today, including a couple wintry classics from Anathema that either were overlooked by me or wrongly left out, plus the new Witch Mountain album, and some other recently-reviewed and otherwise-written-about stuff. It’s actually a pretty killer list. If you’re into it, or if you want to see what else has been added lately or what was played today, check out the Playlist and Updates Page. I spend an embarrassing amount of time there. Here are a few more reasons why.
The Obelisk Radio Adds for Dec. 5, 2014:
Burning Saviours, Unholy Tales from the North
The unheralded heroes of Sweden’s retro heavy movement return with their first full-length since 2007. Their fifth outing overall, Burning Saviours‘ Unholy Tales from the North follows a series of four singles released between 2012 and 2013 (recently compiled by I Hate Records and released under the title Boken Om Förbannelsen) and finds the Örebro four-piece reveling in ’70s-style doom once more, albeit with a rawer and less directly ’70s-style production. That is, it’s not as directly fuzzed as their self-titled debut was nine years ago, when it was pretty much them and Witchcraft digging on classic Pentagram alone, but still presented in the same spirit, a strong opening trio of “They Will Rise Tonight,” “And the Wolves Cried Out” and “Your Love Hurts Like Fire” creating a lasting impression somewhere between early metal (think Rocka Rolla-era Priest) and the heavy rock that preceded it. Two Swedish-language tracks, “Ondskan” and “Lyktgubben,” end each side, and at 28 minutes, it’s a quick runthrough, but shows easily that Burning Saviours – since 2010 the lineup of guitarist/vocalist Mikael Monks, lead guitarist Jonas Hartikainen, bassist Fredrik Evertsson and drummer Martin Wijkström — remain vital in their approach, cuts like “Inside My Mind” and “The Sons of the North” exploring metal’s roots effectively and organically while crafting something new, if familiar, from them. Burning Saviours on Thee Facebooks, at Transubstans Records.
Soldat Hans, Dress Rehearsal
Swiss newcomers Soldat Hans seem to be embarking on an admirably ambitious journey with their self-released debut, Dress Rehearsal, the title of which hints at their thinking of it as a demo, but for which the extended four tracks included serve to craft a sense of ambience that marks it unmistakably as a full-length. Engrossing in its atmosphere, patient in its construction and impeccably conceived, Dress Rehearsal plays out lengthy builds fluidly and takes listeners from minimalist drone and slow unfolding to massive, feedback-caked sludge, and then back again, sounding natural in the process and brilliant for both its pummel and restraint. None of the four cuts — “Meine Liebste; Sie zerbricht sich” (15:21), “Esthère (im bronzefarbenen Licht)” (13:34), “Zikueth! Zikueth!” (18:25) and “Liefdesgrot” (15:08) — really departs from a bleak, moody feel, but there are shifts throughout, as “Esthère (im bronzefarbenen Licht)” moves from the linearity of the opener to brooding post-rock and jazzy exploration before hitting its own wash of viciousness. To have a band take such control of their sound on their first outing is remarkable, and the longest and farthest ranging of the tracks, “Zikueth! Zikueth!” provides Soldat Hans their shining moment, theatrical but not overdone, melodic early and raging late, hypnotic in the middle, as classic as it is avant garde. They close out with another maddening payoff in “Liefdesgrot,” and while in the future I’d be interested to hear them take on structures as wide-ranging as what they bring sonically to Dress Rehearsal, if this is just practice, I can’t wait for the show to start. Soldat Hans on Thee Facebooks, on Bandcamp.
If you were to go by their sound alone, I don’t think there’s any way you could come out of hearing burly five-piece Olde‘s Hypaethral Records debut long-player, I, and not imagine they were from Virginia. In fact, they come from Toronto, but the aggro Southern metal they purvey on the album’s eight bruising tracks would be right at home in the heart of sludgeland, full as it is of steady rolls — Sons of Otis drummer Ryan Aubin provides trailmarking thud — the from-the-chest growling from Doug McLarty and lumbering riffs, songs like “Heart Attack” and “Changelings” in the tracklist’s midsection readily crossing the line between sludge and doom, all mudhole stomp, metallic affiliation and violent groove. There’s atmosphere at work, but it comes out through the aggression portrayed, and ultimately, I has about as all the ambience of having your teeth kicked in. And yes, that counts the variation on the theme in the closing “Perimeter Walk,” the more echoing guitar, farther back vocals, and so on. With a crisp production behind it, Olde‘s debut knows precisely the kind of beatdown it wants to deliver and sets about its task with brutal efficiency. Olde on Thee Facebooks, Hypaethral Records on Bandcamp.
Holy Grove, Live at Jooniors
Recorded at some point between then and now at Joonior Studios in Seattle, Washington — I’m guessing more toward “then” — the 2014 outing Live at Jooniors from Portland four-piece Holy Grove is only two songs, but even one would be enough to serve notice of their warm tonality and the bluesy vocals of Andrea Vidal, who pushes her voice to its reaches on “Holy Grove” and still manages to nail the emotional crux. Honestly, that would probably be enough to carry “Holy Grove” and the following “Nix” on its own — sold; I’m on board — but I won’t discount the fuzz in Trent Jacobs‘ guitar or bassist Gregg Emley‘s fills in “Nix,” or the seamless shift drummer Craig Bradford leads between subdued verses and the tense chorus of “Holy Grove.” As far as serving notice goes, Live at Jooniors does so and then some, and without sacrificing sound quality as so many underground live recordings do. Seems to me a 7″ release wouldn’t be out of order, but Holy Grove seem more intent on getting together their full-length debut, which if they can bring to the studio the vibe they create in just 13 minutes on stage, is going to be something to look out for indeed. Learn the name, because you’ll hear it again. Holy Grove on Thee Facebooks, on Bandcamp.
Buenos Aires instrumental four-piece Persona formed in 2004/2005, but their newly-released self-titled appears to be their first LP, preceded by a 2012 EP. If the better part of the intermittent decade was spent jamming, it doesn’t seem to have hurt the band, who present nine plotted but flowing tracks that keep some loose sensibility to them while following a course of classic heavy and fuzz rock. The lineup of guitarist/bassists Lucas Podestá and Santiago Adano, guitarist Gustavo Hernández and drummer Esteban Podestá touch here and there on more metal tendencies, as on “Los Perros” and the brief “Cortina,” but that’s no more out of place than the proggy exploration of “Cuna de Fantasmas,” a King Crimson-style noodling underscored by subtly engaging snare work and giving way to a heavier push. The lead guitar on “Cazador” provides a particularly engaging moment of payoff for the album’s first half, but there’s enough variety throughout that Persona‘s Persona offers a range of satisfying moments. Still room for the band to develop their style, but they obviously have the will and chemistry to do so. Persona on Thee Facebooks, on Bandcamp.
Dungaree, Climb out of the River
I’ll give it to Hungarian four-piece Dungaree based on their moniker alone. It’s simple, fun to say, and it evokes the rebelliousness of a bygone time. Their debut release, a three-song EP dubbed Climb out of the River, is likewise sharp-dressed, with a grunge-style production that pushes the dudely vocals of László Gergely to the fore ahead of Horváth T. Zoltán‘s guitar, Balogh Attila‘s bass and Dencs Dominik‘s drums to result in a sound that comes across to my American ears more akin to commercial hard rock than underground heavy, though in my experience the line in Europe and particularly Eastern Europe is both less distinct and less relevant. The tracks are short, straightforward, hard-hitting and catchy, with “Climb out of the River” a strong opening hook, “Dream Again” pushing into metallic guitar chugging in its breakneck chorus, and “Right Words” toying with a lounge boogie — snapping fingers and all — that assures the listener that although Dungaree have their sharp corners, they’re not about to take themselves too seriously either. Might not be for everyone, but shows a strong foundation of songwriting, and I wouldn’t ask any more of a first outing than that. Dungaree on Thee Facebooks, on Bandcamp.
Six releases, and a pretty varied bunch at that. It’s still really just the tip of the iceberg in terms of what went up to the server. I always like putting stuff on there — it’s like casting a fishing lure, except maybe without killing? I don’t know. More like tossing a fish in the ocean maybe and not knowing when it will swim by the boat again. Or maybe I just (re)watched Jaws recently and have aquatics on the brain.
Either way, we’ve passed the two-year mark since the stream went online and I’m very happy with how The Obelisk Radio has turned out. Special thanks to Slevin for all the work he’s put in over that time in helping me with hosting and making it go, and thank you as always for reading and listening.
Posted in Whathaveyou on November 21st, 2014 by H.P. Taskmaster
If you think the jump-up-and-down-and-run-in-circles fuzz of Truckfighters and the classic-minded heavy blues rock of Blues Pills don’t mix, the two Swedish acts have more in common than you might think, up to and including drummer André Kvarnström. Kvarnström was playing with Truckfighters after they parted ways with Oscar Johansson (who subsequently joined Witchcraft, just in case the scene didn’t seem incestuous enough yet), but has rotated into the lineup of Blues Pills following their split with Cory Berry, half-brother of Blues Pills bassist Zack Anderson and, like Anderson, an alum of Radio Moscow.
Got all that? Good. The takeaway is Blues Pills and Truckfighters are touring Europe together next March/April and they’ll be joined by Jex Thoth. They’re calling it the “Rock Revelation Tour” and the announcement goes like this:
Blues Pills – Truckfighters – Jex Thoth
ROCK REVELATIONS TOUR
BLUES PILLS are back! After their successful first big headline-tour in October 2014 with 11 sold out shows in Germany, Belgium, Switzerland and Austria, the band is going to come back for 13 shows. BLUES PILLS´ singer Elin Larsson comments: “We´re very happy to announce that we´re going to come back to Germany and Switzerland to play some new places that we couldn´t do on our last tour. We´re looking forward to meeting you all in March and April 2015. Love / BP´s”
Next to Blues Pills their fellow countrymen TRUCKFIGHTERS are confirmed as well as US Doom/Psych Rock sensation JEX THOTH.
Get your tickets at www.hardticket.eu for BLUES PILLS and their 2 very special guests on this tour.
TOURDATES 20.03.2015 DE – Erfurt, Stadtgarten 21.03.2015 DE – Berlin, Astra 22.03.2015 DE – Dresden, Tante Ju 23.03.2015 DE – München, Backstage 25.03.2015 CH – Geneve, Usine 26.03.2015 DE – Lindau, Club Vaudeville 27.03.2015 DE – Cologne, Kantine 28.03.2015 DE – Olsberg, Konzerthalle 30.03.2015 DE – Saarbrücken, Garage 31.03.2015 DE – Karlsruhe, Substage 01.04.2015 DE – Wiesbaden, Schlachthof 04.04.2015 DE – Oberhausen, Turbinenhalle 05.04.2015 CH – Zürich, Komplex
“Where’s Wino?” Well, it would seem he’s been deported. From Norway. Last night in Göteborg, Sweden, for what I believe might have been the first time in the band’s 35-year history, Saint Vitus performed their set as a three-piece. It was bassist Mark Adams, drummer Henry Vasquez and guitarist Dave Chandler on stage, and Chandler himself took up vocal duties, calling it, “the weirdest Saint Vitus show [the crowd] has ever fucking seen.” I don’t doubt it.
Martyn Millard of Orange Goblin, who are co-headlining the current Vitus tour in Europe, had posted a picture of the trio on Thee Facebooks but gave no comment as to the situation itself. I emailed Season of Mist this morning but hadn’t heard back, and then just a little bit ago, Vitus posted the following:
Saint Vitus would like to regretfully inform all of our European fans that our lead vocalist Wino was detained by the Norwegian police and immigrations officers for possession of illegal substances since Sunday November 9th. As of 4 pm yesterday evening (Nov. 11th) we were informed by his Norwegian defense attorney that he would more than likely be released that same day and be able to continue the remaining dates of our European tour. This morning we received notification that Wino was being deported today back to the U.S. with no hope to remain in Scandanavia or anywhere in the EU.
SAINT VITUS WILL CONTINUE THE REMAINING DATES OF THE TOUR!!!
Our sincere apologies to all of our fans, the promoters, booking agents and especially our Norwegian fans and promoter for the cancelled show. We will still deliver the HEAVY sound to all of our friends in Europe and it is our hope that everyone will understand our position to go forward with the remaining dates without Wino. David Chandler and Henry Vasquez along with a few surprise guests will take over vocal duties and this will be a rare opportunity to see Vitus with main songwriter David Chandler vocalizing his tormented tales of pain, heartache and DOOM. We hope to still see all of you on our remaining dates. FUCK THAT WEAK SHIT!!!!
So there you have it. Detained and deported back to the US, leaving the band to improvise who’s going to handle the vocals. I bet Orange Goblin‘s Ben Ward gets a turn if he wants one, and there’s bound to be someone in Germany — where the four remaining dates of the European tour will take place — who’s up for filling in for Wino. Booted out of the EU. That must have been one hell of an “illegal substance.” Like plutonium. As a testament to Vitus fucking the weak shit of their circumstances, here is Chandler, Adams and Vasquez doing an encore of “Born too Late” in Göteborg, for the first-ever Wino-less Wino Wednesday.
Saint Vitus, “Born too Late” Live in Gothenburg, Sweden, Nov. 11, 2014
With classic metal riffs and enviable moustaches, Swedish retro rockers Horisont have unveiled a new video for the A-side of their Rise Above single, “Break the Limit.” The clip basks in classic VHS-style graininess, reminding of something Motörhead or Scorpions might have had out, and that suits the song itself well, with its immediately memorable hook and 8-track-ready sensibility. Horisont are on tour in Europe now, and the 7″ for Break the Limit is available in a handful of different varieties with amazing not-Gimli cover art, all of which are sure to be gone by the time this post goes live. Because that’s how it goes, man. You snooze, you hope for a repress.
If Horisont‘s stage left guitarist looks familiar, it’s because it’s Tom Sutton, who took the place of Kristofer Möller this summer. Sutton is probably best known as the former boogie-bringer for Church of Misery, but also made a debut this year on Napalm with the new band The Order of Israfel. I guess you never know where he’ll show up next.
In case you’re looking to get down:
Horisont, “Break the Limit” official video
Directed, shot & edited by Magnus Delborg & Christian Hillén / B-TV Productions.
Swedish hard-rocking classic metallers return with Break the Limit, a stop-gap release between albums. Following the success of third album, Time Warriors, the titans do not hold back with this relentless, anthemic slab of full on heavy metal glory.
Backed with the synthesizer enhanced Yellow Blues, it’s a good indication of how far these guys have come and what a monstrous prosposition their fourth studio album is looking to be.
Track Listing 1. Break The Limit 2. Yellow Blues
Colours 100 x Crystal Clear 200 x White 200 x Trans. Green (200 of these should have gone direct to the band, we will have 25) 200 x Purple 500 x Black 200 x Red
See Horisont Live across Europe!
NOV 07 – AT, Neubichl, Baamhakke NOV 08 – DE, Lichtenfels, Paunchy Cats NOV 09 – SI, Nova Gorica, Mostovna NOV 10 – IT, Milan, Lo Fi Club NOV 11 – AT, Innsbruck, Weekender NOV 12 – CH, Winterthur, Gaswerk NOV 13 – FR, Paris, Glazart NOV 14 – UK, Pwhelli, Hard Rock Hell NOV 15 – UK, Glasgow, Classic Grand NOV 16 – UK, London, Underworld NOV 17 – UK, Manchester, Roadhouse NOV 18 – UK, Birmingham, Oobleck NOV 19 – BE, Gent, Decadance NOV 20 – DE, Dusseldorf, Pitcher NOV 21 – NL, Den Bosch, W 2 NOV 22 – DE, Kassel, Hellroom
On their third album, Once There was a Time When Time and Space were One, Swedish improv jammers My Brother the Wind present “Song of Innocence” as divided into two parts with a track break in between, the second piece emerging at a fairly upbeat clip — relative to some of the record’s more languid stretches, anyhow — from the first, no less a wash of echoes and tones, but moving more with a forward drum beat from Daniel Fridlund Brandt to propel the airy guitars of Nicklas Barker and Mathias Danielsson and match lockstep with Ronny Eriksson‘s bass. The transition is fluid — the whole album (review here) is like a river that carries you along its currents, some rough, some smooth — but there’s a clear break, and that’s true in the video as well.
The clip for “Song of Innocence” actually goes a long way toward explaining why the two pieces are broken up but given the same name. Footage for “Song of Innocence” was shot exactly as the material was being recorded, the version of “Song of Innoence” we hear My Brother the Wind tracking is the one that went to tape to wind up on Once There was a Time When Time and Space were One, and though one jam comes to an end after about seven minutes in (we get a piece of what became “Prologue” as well at the start), the other picks right up without any real break in between. They’re two parts of the same moment captured on the recording, and thus, they’re presented together. It’s more honest to how the session actually took place, rather than name one part “Song of Innocence” and the other something else.
We get to see the room where My Brother the Wind – who also released a Live at Roadburn 2013 live record this year — made the album, their configuration all facing each other while they played, and get a sense of how they follow each other through the jams. And of course, there’s “Song of Innocence” itself, which with its lush and instrumental feel gives an excellent sense of what to expect from Once There was a Time When Time and Space were One, driven by the chemistry between these players and the carefully woven interplay of the work they do.
“Song of Innocence” was Filmed by Eleni Liverakou Eriksson and Per Karlsson and edited by Patrik Roos. Please find the clip on the player below and enjoy:
My Brother the Wind, “Song of Innocence” official video
My Brother the Wind‘s Once There was a Time When Time and Space were One is out Oct. 14 on Free Electric Sound. Below, guitarists Nicklas Barker and Mathias Danielsson comment on the video:
Says Nicklas Barker:
“The video was recorded at the actual take of ‘Song of Innocence.’ We were happy that Eleni and Per were there during the recording and captured this for us very special song. As always, we record live onto an analog tape machine from 1969 with no overdubs and everything is improvised from scratch. The mixing was done the day after by us with some help from the great Love Tholin who is a big part of creating the sound of My Brother the Wind. I think it turned out great. Especially Mathias wonderful guitar solos and Daniel’s very unique drum playing. We are very happy with how the sound turned out on this one. The studio we record in is tricky since the sound in it differs from day to day. Probably because of all the vintage analog gear. The afternoon we recorded ‘Song of Innocence’ the tape machine, mixing console, tape echoes and plate reverbs were in perfect harmony.”
Says Mathias Danielsson:
“I wish that all of you could see what I experienced when recording this piece. Since the music is totally improvised we connect to each other on another plane. It’s hard to describe but I guess it’s almost astral. I have my eyes open but the sight isn’t the main sense I’m using while we’re playing, it’s the ears. But when concentrating so hard on what we create together I see wonderful colors and waves before my eyes. It’s almost like meditation. We connect to the core of the music and form it together with mindcraft. I’ve never before experienced it on this level with any band. Being unable to show you that, this video is the perfect visual to go with the music. This is the way it happened!”
Posted in Reviews on October 1st, 2014 by H.P. Taskmaster
Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.
On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.
Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost.
My Brother the Wind, Once There was a Time When Time and Space were One album trailer