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

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

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

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

Thank you in advance for reading.

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

Acid King Middle of Nowhere, Center of Everywhere

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

2. All Them Witches, TBA

all them witches tba

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

3. Anthroprophh, U.F.O.

UFO Vinyl Sleeve.qxp

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

4. Arenna, TBA

arenna cover

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

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax

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

6. Black Cobra, TBA

black-cobra

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

7. Black Rainbows, Hawkdope

black rainbows hawkdope

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

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

brothers of the sonic cloth brothers of the sonic cloth

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

9. Chiefs, Tomorrow’s Over

chiefs tomorrow's over

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

10. Clutch, TBA

clutch

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

11. Conan, TBA

conan

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

12. Colour Haze, To the Highest Gods We Know

CH_TTHGWK_BOOKLET 4&1

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

13. Corrections House, TBA

corrections-house-logo

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

14. Corsair, One Eyed Horse

corsair one eyed horse

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

15. Crypt Sermon, Out of the Garden

crypt-sermon-out-of-the-garden

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

16. Ecstatic Vision, TBA

ecstatic vision

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

17. Elder, Lore

elder-lore

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

18. Enslaved, In Times

enslaved-in-times

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

19. Eye, TBA

eye

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

20. Freedom Hawk, TBA

freedom hawk

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

21. Glowsun, Glowsun

glowsun glowsun

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

22. Goatsnake, TBA

goatsnake

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

23. Gozu, TBA

gozu

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

24. High on Fire, TBA

high on fire

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

25. Hollow Leg, TBA

hollow leg god-eater

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

26. Horsehunter, Caged in Flesh

horsehunter caged in flesh

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

27. Kind, TBA

kind (Photo by JJ Koczan)

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

28. Kings Destroy, Kings Destroy

kings destroy

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

29. Lamprey, TBA

lamprey logo

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

30. Lord Dying, Poisoned Altars

lord dying poisoned altars

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

31. Magic Circle, TBA

magic circle (Photo by JJ Koczan)

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

32. The Midnight Ghost Train, Cold was the Ground

Opmaak 1

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

33. Minsk, TBA

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

34. Mondo Drag, Mondo Drag

mondo-drag-mondo-drag

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

35. Monolord, Vaenir

monolord vaenir

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

36. Neurosis, TBA

neurosis

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

37. Pentagram, TBA

pentagram

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

38. Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

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

39. Saturnalia Temple, To the Other

saturnalia-temple-to-the-other

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

40. Six Organs of Admittance, Hexadic

six organs of admittance hexadic

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

41. Snail, Feral

snail

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

42. Sourvein, Aquatic Fanatic

sourvein-aquatic-occult

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

43. Spidergawd, II

spidergawd ii

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

44. Stoned Jesus, The Harvest

stoned jesus the harvest

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

45. Torche, Restarter

torche restarter

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

46. Ufomammut, Ecate

ufomammut (Photo by Andrea Tomas Prato)

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

47. Valkyrie, TBA

valkyrie

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

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

various artists the best of james marshall hendrix

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

49. Wino & Conny Ochs, Freedom Conspiracy

wino and conny ochs

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

50. Wizard Eye, TBA
wizard eye

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

51. Wretch, TBA

wretch

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

52. Zun, TBA

zun

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

 

Going Into Overload…

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Others to Keep an Eye On…

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

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

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

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

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

 

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

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

 

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Jeff “Oly” Olson Leaves The Skull

Posted in Whathaveyou on January 19th, 2015 by H.P. Taskmaster

I’ll admit, I’m pretty surprised to read that drummer Jeff “Oly” Olson has left his post in The Skull, the band that reunited him with his former Trouble bandmates, vocalist Eric Wager and bassist Ron Holzner. Not just for the revived camaraderie, but also because The Skull are really good. You know what I mean? If The Skull had put out their debut album and it had sucked and they weren’t having any fun, well, then okay. But that’s not the case. The Skull released For Those which are Asleep (review here) last fall on Tee Pee and it was one of 2014’s best doom releases. OlsonHolznerWagner and guitarists Lothar Keller and Matt Goldsborough killed it, pulling off not only a classic Trouble vibe, but the start of something of their own as well.

Unfortunate that’s not enough to keep Olson on board. I’m sure the band will find a suitable replacement sound-wise, but Olson‘s also-used-to-be-in-Trouble cred is even harder to come by than doom drummers. Last I heard, he was based in Maine while the rest of the band is in Chicago, so that may have had something to do with it — if you’re looking for a reason — though, and this is just rampant speculation, with the success of the album, they may be looking to tour more throughout this year. Whatever happens, whatever I hear, I’ll let you know.

The brief announcement came through late in the day on Friday:

the skull jeff olson

Original TROUBLE Drummer Jeff “Oly” Olson Departs THE SKULL

Original TROUBLE drummer Jeff “Oly” Olson has decided to leave THE SKULL, the band formed by Olson along side original TROUBLE vocalist Eric Wagner and longtime former TROUBLE bassist Ron Holzner. There is no animosity in the band and it was a friendly departure.

Olson tweeted today… “I loved jamming with @TroubleTheSkull, but it’s time to depart and wish the band all the best! Looking forward to my next chapter…”

www.twitter.com/jeffolyolson
www.facebook.com/jeffolyolson
www.facebook.com/troubletheskull

The Skull, “Send Judas Down”

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Ruby the Hatchet to Release Valley of the Snake Feb. 24

Posted in Whathaveyou on January 6th, 2015 by H.P. Taskmaster

ruby the hatchet

That most-anticipated-for-2015 list just keeps growing, and today, Philly five-piece Ruby the Hatchet make an entry with the impending Feb. 24 release of their Tee Pee Records debut long-player, Valley of the Snake. The cover art and tracklisting have just been posted for the album, for which Ruby the Hatchet have booked a trio of quality NYC gigs to support in Feb. ahead, presumably, of other live plans to be revealed. Their prior single, Eliminator, was released last Feb. on 7″ and tape, and like that single, the new album features cover art from Adam Burke.

Details off the PR wire spread blue cheer:

ruby the hatchet valley of the snake

RUBY THE HATCHET to Release New LP Valley of the Snake February 24

Philadelphia Psych Metal Group Unveils New Album Details

Philadelphia psychedelic doombringers RUBY THE HATCHET are one of heavy music’s finest on-the-rise bands. The critically acclaimed psych metal group will release its new album, Valley of the Snake, on February 24 via Tee Pee Records. The hotly-tipped quintet recorded the new LP at Retro City Studios in Germantown, PA.

RUBY THE HATCHET’s music fuses the sinister tactic of brainwash with blistering riffs and the rebellious mood of sorcery, re-imagining a different path for metal. Evoking a decade’s worth of maturity gained in just a few short years, the genesis from the band’s 2011 self-titled EP to present day has been nothing short of stunning. Valley of the Snake is a six song journey; a fantastical trek with huge, blistering tracks that journey over peaks and valleys and ditches and oceans before leaving you spinning. Seething and spitting, RUBY THE HATCHET hammers behemoth waves of dogma and doom, merging precision and patience with a sinister foot-stomping, head-bobbing power. Vocalist Jillian Taylor’s serpentine vocals, scene-stealing howls and macabre lyrics conjure holistic atmospheres over swollen grooves that grow and flow in circles and waves. Guitars crunch, wail and burn.

Heavy-handed and hypnotic in equal parts, RUBY THE HATCHET creates the perfect shape shift between psych density and metal grandiosity, representing something utterly imposing; primeval and oppressively heavy while maintaining a level of breathless intensity over the course of the full album. This hex is for you.

RUBY THE HATCHET Valley of the Snake Track listing:
1.) Heavy Blanket
2.) Vast Acid
3.) Tomorrow Never Comes
4.) Unholy Behemoth
5.) Demons
6.) Valley of the Snake

* Valley of the Snake is available for pre-order purchase now: iTunes / Amazon.

RUBY THE HATCHET live dates:

February 5 New York, NY Saint Vitus (w/ Danava, Natur, Dirty Fences)
February 14 New York, NY The Acheron (w/ Joy)
February 17 New York, NY Cake Shop (w/ Joy, Carousel)

https://www.facebook.com/rubythehatchet
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Ruby the Hatchet, Eliminator 7″

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The Obelisk Presents: The Top 10 Debut Albums of 2014

Posted in Features on December 26th, 2014 by H.P. Taskmaster

Dudley-Street,-Seven-Dials.-Gustave-Doré-(1832-83) top 10

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-well-samsara

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 Desintegración hit 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 & SilverWrenDeath 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.

 

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The Obelisk Presents: The Top 30 of 2014

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

the-obelisk-top-30-of-2014

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.

Okay. Here we go:

30. Orange Goblin, Back from the Abyss

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Released by Candlelight Records. Reviewed on Nov. 17.

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.

 

29. Mos Generator, Electric Mountain Majesty

mos-generator-electric-mountain-majesty

Released by Listenable Records. Reviewed on March 14.

A darker affair from Port Orchard, Washington’s Mos GeneratorElectric 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.

 

28. Pilgrim, II: Void Worship

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Released by Metal Blade Records. Reviewed on April 15.

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.

 

27. John Garcia, John Garcia

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Released by Napalm Records. Reviewed on July 7.

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.”

 

26. Swans, To be Kind

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Released by Mute/Young God Records. Reviewed on May 9.

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.

 

25. Sólstafir, Ótta

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Released by Season of Mist. Discussed Oct. 11.

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.

 

24. Greenleaf, Trails and Passes

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Released by Small Stone Records. Reviewed on April 25.

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.

 

23. Earth, Primitive and Deadly

earth-primitive-and-deadly

Released by Southern Lord Recordings. Reviewed on Sept. 9.

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.

 

22. Ogre, The Last Neanderthal

ogre-the-last-neanderthal

Released by Minotauro Records. Reviewed on March 10.

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.

 

21. The Wounded Kings, Consolamentum

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Released by Candlelight Records. Reviewed on Jan. 30.

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.

 

20. Floor, Oblation

floor-oblation

Released by Season of Mist. Reviewed on April 22.

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.

 

19. Druglord, Enter Venus

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Released by STB Records. Reviewed on Feb. 14.

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.

 

18. Ararat, Cabalgata Hacia la Luz

ararat-cabalgata-hacia-la-luz

Released by Oui Oui Records. Reviewed on April 4.

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.

 

17. Radio Moscow, Magical Dirt

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Released by Alive Naturalsound. Reviewed on May 29.

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.

 

16. Apostle of Solitude, Of Woe and Wounds

apostle-of-solitude-of-woe-and-wounds

Released by Cruz del Sur. Reviewed on Nov. 6.

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.

 

15. Stubb, Cry of the Ocean

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Released by Ripple Music. Reviewed on Nov. 24.

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-and-the-low-desert-punk-band-black-power-flower

Released by Napalm Records. Reviewed on Nov. 10.

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.

 

13. Dwellers, Pagan Fruit

dwellers-pagan-fruit

Released by Small Stone. Reviewed on May 22.

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.

 

12. The Golden Grass, The Golden Grass

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Released by Svart Records. Reviewed on March 25.

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.

 

11. The Well, Samsara

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Released by RidingEasy Records. Reviewed on Sept. 22.

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 GrahamAlley 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 SeasonThe Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.

 

10. Montibus Communitas, The Pilgrim to the Absolute

montibus-communitas-the-pilgrim-to-the-absolute

Released by Beyond Beyond is Beyond. Reviewed on Dec. 4.

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.

 

9. Fu Manchu, Gigantoid

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Released by At the Dojo Records. Reviewed on May 14.

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 GiacumakisFu 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.”

 

8. The Skull, For Those Which are Asleep

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Released by Tee Pee Records. Reviewed on Nov. 5.

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.

 

7. Blood Farmers, Headless Eyes

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Self-released on CD, LP on PATAC Records. Reviewed on March 24.

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.

 

6. Lo-Pan, Colossus

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Released by Small Stone. Reviewed on Oct. 7.

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.

 

5a. All Them Witches, Lightning at the Door

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Self-released. Reviewed on Sept. 25.

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.

 

5. Witch Mountain, Mobile of Angels

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Released by Profound Lore. Reviewed on Aug. 20.

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 Angels that 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.

 

4. Conan, Blood Eagle

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Released by Napalm Records. Reviewed on Jan. 22.

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 DavisSkyhammer 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.

 

3. Wo Fat, The Conjuring

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Released by Small Stone Records. Reviewed on June 18.

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.

 

2. Mars Red Sky, Stranded in Arcadia

mars-red-sky-stranded-in-arcadia

Released by Listenable Records. Reviewed on March 11.

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.

 

1. YOB, Clearing the Path to Ascend

yob-clearing-the-path-to-ascend

Released by Neurot Recordings. Reviewed on Sept. 3.

“It’s time to wake up.”

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.

 

 

Honorable Mention

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:

MothershipMothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.

AlunahAwakening 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 DragonSeeds 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.

TruckfightersUniverse – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.

SteakSlab City — An impressive debut following two strong EPs.

GodfleshA 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.

ThouHeathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.

Corrosion of ConformityIX — 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.

SpidergawdSpidergawd — 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 MagnetMilking 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.

SlomaticsEstron — Another one I’m just getting to know, but am very much digging.

Electric WizardTime 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.

PallbearerFoundations 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.

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.

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Earthless Added to Freak Valley 2015

Posted in Whathaveyou on December 4th, 2014 by H.P. Taskmaster

earthless

San Diego instrumental trio Earthless have been announced as the latest addition to Freak Valley 2015. The heavy psych rockers also recently gave notice they’ll be touring Japan in January alongside Eternal Elysium, and no doubt their stop at Freak Valley will come complemented by other European dates as well as they continue to support 2013’s excellent From the Ages (review here), which was released on Tee Pee Records.

Freak Valley 2015 is set for June 4, 5 and 6 in Netphen, Germany, and in joining the lineup, Earthless move into position among other headliners like Goatsnake and Crippled Black Phoenix. It’s a fitting place for the three-piece of guitarist Isaiah Mitchell (also Golden Void), bassist Mike Eginton and drummer Mario Rubalcaba (also OFF!), whose influence has had a significant impact the last several years on San Diego’s burgeoning heavy psych scene, bands like Joy and Psicomagia, among others in and beyond the city limits, taking cues from their dynamic righteousness and classic-style chemistry.

Announcement follows, courtesy of Freak Valley:

earthless freak valley 2015

Listen Freaks!!!

EARTHLESS will bring their Cosmic Jams from San Diego to the holy fields of Freak Valley !!

Formed in 2001, Earthless prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, EARTHLESS’ sound has been called “A sonic kaleidoscope of lava and lightning”, earning it the title of “California’s loudest band”. The group delivers “one of the best live shows in all of modern, heavy rock,” leading to one reviewer stating that the band’s “epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn’t afraid to take its listeners on a ride for which they may never return.”

Each member of EARTHLESS has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and has also occupied the drum throne in Rocket From The Crypt and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin’ Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove — through sheer rock power — why they are considered the cream of the modern day heavy psych scene.

FREAK VALLEY FESTIVAL – 4th-5th-6th June 2015

FVF tickets are selling like Blues Pills vinyls already – get yours in time – the first 3 editions have been sold out early!!
We are selling tix to all parts of this planet!!

Tickets: www.freakvalley.de | Only 66€ for 3 days incl. Camping!!

Hardtickets now @ our onlineshop: http://shop.rockfreaks.de/

Also: http://kozmik-artifactz.com/ | Kozmik Artifactz

FREAK VALLEY FESTIVAL: No Fillers – Just Killers

Goatsnake – Earthless – Crippled Black Phoenix – The Vintage Caravan – Electric Moon – Gas Giant – Monkey3 – Danava – Egypt – Siena Root – Bröselmaschine – Sigiryia – Kamchatka – Purson – Dead Man – Mountain Witch – Tuber – Valley of the Sun – Tombstones – more tba soon!!

http://www.merchlackey.com/earthless/
https://www.facebook.com/earthlessrips
https://twitter.com/earthlessrips
http://teepeerecords.com/bands/earthless/index.php

Earthless, From the Ages (2013)

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The Skull Announce December Tour Dates

Posted in Whathaveyou on November 25th, 2014 by H.P. Taskmaster

Fresh off the Tee Pee Records release of their debut, For Those Which are Asleep (review here), Chicago’s The Skull will hit the road mostly in the Midwest starting Dec. 11. They’ll make it as far east as Baltimore — which if you’re looking at a map is pretty far east, at least as the US goes — before swinging back around to Ohio and Indianapolis and so on as they head toward a hometown gig Dec. 19 at Reggies in Chicago and a stop at The Metal Grill in Cudahy, Wisconsin, a venue they’ve played before as part of Days of the Doomed fest.

Though I won’t get to catch them this time out, I’ll keep my fingers crossed this is just the first leg of more to come as The Skull set about giving their record its due. Having just put out one of 2014’s finest doom albums, they’ll hopefully be riding pretty high when they open up this run in Pittsburgh.

The PR wire brings the announcement:

the skull tour dates

THE SKULL: December U.S. Tour Dates Announced

THE SKULL — the heavy doom-rock band featuring original TROUBLE members, vocalist Eric Wagner and drummer Jeff “Oly” Olson, alongside longtime former TROUBLE bassist Ron Holzner with SACRED DAWN guitarist Lothar Keller and former PENTAGRAM guitarist Matt Goldsborough – have recently announced a December U.S. tour to promote their debut record, “For Those Which Are Asleep” released worldwide this month (November 4) via Tee Pee Records. Confirmed tour dates are listed below.

December 11 – 31st Street Pub – Pittsburg, PA
December 12 – Metro Gallery – Baltimore, MD
December 13 – The Foundry Concert Club – Lakewood, OH
December 14 – Rock Star Pro Arena – Dayton, OH
December 15 – The 5th Quarter Lounge – Indianapolis, IN
December 17 – Fubar – St. Louis, MS
December 18 – Brauerhouse Lombard – Lombard, IL
December 19 – Reggies – Chicago, IL
December 20 – the Metal Grill – Cudahy, WI

https://www.facebook.com/troubletheskull
https://twitter.com/troubletheskull
http://theskullusa.com/
http://teepeerecords.com/

The Skull, “The Touch of Reality”

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The Skull, For Those Which are Asleep: Out from the Shadow

Posted in Reviews on November 5th, 2014 by H.P. Taskmaster

the skull for those which are asleep

What began as former members of Trouble getting together to play Trouble songs on stage every now and again, mostly at fests like Days of the Doomed and Stoner Hands of Doom, takes on new life with the release of a debut album. The Skull, named for Trouble’s 1985 sophomore outing and invariably linked to that band’s legacy in both sound and personnel — vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson are former members — set a difficult task in distinguishing themselves from three-fifths of the lineup’s former act with For Those Which are Asleep, on Tee Pee Records, but ultimately, the album seems to be less about “not being Trouble and more about giving an honest take on a classic sound. By that I mean The Skull, lineup completed by guitarists Lothar Keller (Sacred Dawn) and Matt Goldsborough (ex-Pentagram), are neither trying to sound like Trouble nor not sound like Trouble. They’re working in a traditional doom style that Trouble helped to establish on the 10-track/50-minute offering, but songs like “The Touch of Reality,” “Send Judas Down” and “Till the Sun Turns Black” don’t feel like they’re beating a dead stylistic horse. If anything, The Skull sounds vibrant — or as vibrant as doom will allow, anyway — across the new, original songs, and with the key element of Wagner‘s voice working in their favor, they push a lot of what worked best about the moody stretches on the last Wagner-fronted Trouble album, 2007’s Simple Mind Condition, to heavier and more foreboding places, fueled by burly riffing and metallic groove equally comfortable in faster or slower paces.

For those who’ve mourned the loss of Trouble as they were — of course, they’ve continued on and released their The Distortion Field full-length (review here) last year — The Skull are about as close as it seems likely to get. Opener “Trapped inside My Mind” sets expectations high with stellar guitar interplay from Keller and Goldsborough, a speedy chug and Wagner pushing his voice into his trademark higher register delivery. At this point, he’s clearly more comfortable with the mid-range sorrowfulness of “Sick of it All” or the downer-suited drawl of “Send Judas Down,” one of For Those Which are Asleep‘s most effective hooks, but his voice continues to have the power and resonance in the higher-pitch parts to carry them ably. “The Touch of Reality” (streamed here) follows the opener with a lurching nod and representative lead work and gives way in turn to the depressive “Sick of it All,” the airy verse of which seems like the first moment of the album that steps back for a more dynamic breath. Wagner excels at conveying this kind of downtrodden emotionality — to put “defeat” as a specialty seems cruel, but the fact is he’s good at it — and “Sick of it All” is a particularly crushing lyric, the organ-laced “The Door” picking up with layers of piano, acoustic and electric guitar to preview some of what the title-track will hold on side B, Olson‘s kick a steady foundation beneath. More morose than dramatic, there’s still a sense of richness to the arrangement that serves the song well, and the more raucous, riffier “Send Judas Down” follows suit to snap the listener back to reality and close out the album’s first half in rocking fashion, the starts and stops of the verse thrusting into a crash-filled chorus of Sabbathian doom that moves into an airy midsection jam before eventually returning to a stripped-down verse redux and solo-topped chorus finale.

the skull

“A New Generation” and “Till the Sun Turns Black,” which open the second half of For Those Which are Asleep, are the two shortest cuts on the album, each at 4:11 (“Trapped inside My Mind” and “The Touch of Reality” were pretty close), and Wagner once again touches on the higher register for the first of them as he makes his way smoothly into the chorus of the straightforward chugger. Some off-mic shouting and a count-in start “Till the Sun Turns Black,” giving an in-studio feel that’s somewhat jarring for how full the production is but that works with the track’s livelier, more upbeat vibe. Both it and “A New Generation” before are catchy, no frills cuts that emphasize the timeless approach The Skull have taken on their debut, but things open up further stylistically with “For Those Which are Asleep,” the longest song at 7:14, which like “The Door” before it blends acoustics and electrics and a grander sense of arrangement to match its emergent consuming, plus-sized riff. Verses marked out by Olson‘s fervent hi-hat transition sharply into said riff, KellerGoldsborough and Holzner obviously pushing for maximum impact as Wagner remains relatively calm over top. A midsection solo bridges back to the verse and a final chorus that move into a stopping finish that sounds closer-worthy and could’ve easily been the end of the album. It’s not. After the long fadeout of its title-track, For Those Which are Asleep rounds out with “Sometime Yesterday Mourning” and the Trouble cover, “The Last Judgment,” which were released earlier this year as The Skull‘s debut studio recordings on a CD single through Tee Pee (streamed here). I’m pretty sure the versions included here are the same Billy Anderson-recorded ones that appeared before, so it’s kind of curious that they’d be tacked on and not even referred to as bonus tracks or something like that, but there you go. “Sometime Yesterday Mourning” is no less welcome now than it was in Spring, and the Trouble song is likewise an excellent take on the track which originally appeared in 1983 on the Metal Massacre IV compilation.

That the Trouble song and first single also found their way onto the full-length makes for a startling end, but I won’t discount their value or that of the material before them. The Skull‘s debut benefits greatly from the pedigree and experience of the band’s members, and there’s no getting around the band’s link to Trouble – nor do I think they’re asking their audience to; they do close with that cover after all — but For Those Which are Asleep also marks the beginning of a branching out from that foundation, and hopefully it’s just the start of a progression that continues to take on a life of its own as it moves forward. For now, within classic doom, I can’t think of anything I could ask from these players that it doesn’t deliver.

The Skull, “The Door”

The Skull on Thee Facebooks

Tee Pee Records

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The Skull Premiere “The Touch of Reality” from For Those Which are Asleep

Posted in audiObelisk on October 20th, 2014 by H.P. Taskmaster

the skull

November 4 marks the release date for For Those Which are Asleep, the debut full-length from Chicago doom five-piece The SkullTee Pee Records, known more these days for psychedelic rock (NaamWeird OwlEarthless) than the sort of traditional Sabbathry in which The Skull traffic, will be handling the CD/LP, and if The Skull are something of an odd fit, one can certainly say extenuating circumstances apply.

With three-fifths of the band’s lineup — bassist Ron Holzner, drummer Jeff “Oly” Olson and vocalist Eric Wagner – culled directly from US doom legends Trouble, no doubt many of those who approach The Skull‘s first long-player will do so with a firm expectation of what’s in store. In some ways, those expectations will be right, but with guitarists Lothar Keller and Matt Goldsborough (ex-Pentagram) each playing a significant tonal role, For Those Which are Asleep sets its own course through doomly traditions.the skull for those which are asleep Wagner‘s inimitable vocal style, semi-spoken and subdued on “Send Judas Down” and “The Touch of Reality” and pushing into higher-register theatrics on the title-track and “Sometime Yesterday Mourning” — which, coupled with a cover of Trouble‘s “The Last Judgment,” was released earlier this year as a single (streamed here) to herald the album’s coming — to further the band’s utterly classic sound, modern and crisp in its production in a way that coincides with some of the album’s more forward-thinking moments, The Skull not just interested in paying homage to Trouble‘s legacy, which is how they started, but in moving ahead and building on it as well.

Today I have the extreme pleasure of debuting the track “The Touch of Reality.” It’s the second cut on For Those Which are Asleep behind “Trapped Inside My Mind” and it slips easily into one of the record’s most satisfying grooves, Olson smoothly riding the rhythm in Keller and Goldsborough‘s riffing, given heft by the breadth and ever-dynamic bass-work of Holzner while Wagner holds court over top. With The Skull, one of doom’s most enduring legacies breathes new life, and For Those Which are Asleep is as resounding a wake up call as one could ask. Heads and headbangers alike will be pleased.

Please find “The Touch of Reality” on the player below, followed by some info off the PR wire, and enjoy:

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

THE SKULL — the new band featuring original members Eric Wagner (vocals) and Jeff “Oly” Olson (drums) of American doom metal legends TROUBLE alongside longtime TROUBLE bassist Ron Holzner, guitarist Lothar Keller (SACRED DAWN) and former PENTAGRAM guitarist Matt Goldsborough will release their debut album For Those Which Are Asleep on November 4 via Tee Pee Records, the NYC independent record label known for releasing landmark albums from acts such as High on Fire, Graveyard, Earthless and Sleep.

Written and recorded this past spring, For Those Which Are Asleep features ten tracks of elemental Heavy Metal and is the first full length album to feature Wagner, Holzner and Olson since the 1995 release of TROUBLE’s critically acclaimed LP Plastic Green Head. The new record’s greatest strength is how well it captures the apocalyptic trudge that Trouble delivered from the first downbeat of their 1984 debut, but now unequivocally propelled by the hallmarks of a hungry new band fueled by new blood. The mighty voice of Wagner is on full display; the vocalist proving on For Those Which Are Asleep that he still wields an eerie power at the mic. Titanic riffs abound as Keller and Goldsborough weave ominous atmospheres over the molten, crushing core of Holzner and Olson’s sinister strut. Make no mistake, THE SKULL are in complete command of their craft and have capably created a modern classic; a recording where atmosphere is established as drums crash, guitars blare and stories are told.

For Those Which are Asleep on iTunes

The Skull on Thee Facebooks

Tee Pee Records

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Naam Announce Extended Hiatus

Posted in Whathaveyou on October 9th, 2014 by H.P. Taskmaster

Just days after returning from a month-long European tour, Brooklyn four-piece Naam have effectively announced they’re calling it quits. The heavy psych/space rock forerunners have left the door open — or maybe that’s just wishful thinking — to regrouping at some point, but their headlining slot at the previously-announced Sludgefeast next month will serve as their final live appearance. No word as yet on whether the members of the band, guitarist/vocalist Ryan Lee Lugar, bassist John Preston Bundy, drummer Eli Pizzuto and keyboardist John Weingarten, will pursue other projects. I guess it’s early for that kind of thing.

Naam made their debut in 2009 with the Kingdom EP (review here), which sounds raw now compared to what the band would become over the course of their tenure but is nonetheless a landmark in the development of Brooklyn’s heavy scene. Signing to Tee Pee RecordsNaam released their self-titled debut full-length later that year (discussed here) and through years of work on the road, positioned themselves both among the label’s best acts and among Brooklyn’s most quality exports.

They’d go on to put out a 7″ of Nirvana covers, another EP in 2012’s The Ballad of the Starchild (review here) and a follow-up full-length in last year’s Vow (review here), which affirmed their status at the fore of American heavy space rock, the addition of Weingarten‘s keys not only distinguishing Vow from its predecessor, but becoming a crucial element in the band’s sound. More touring ensued — I think the best show I ever saw them play was at Desertfest London in 2013 — and Naam pushed their sound even further into cosmic manipulations earlier this year on a split with The Flying EyesBlack Rainbows and White Hills (review here). At the time, that seemed to herald continued growth and a new experimental bent in their approach that one hoped would continue on their next album.

Whether or not Naam regroup at some point, their legacy is set in their two albums and slew of other releases — they have a physical pressing of their Live in Berlin EP coming next year — but also in the grind they did on the road, touring for a month at a clip either in Europe or the US, pushing themselves to and apparently past the brink in an effort to get their music to as many people as possible. Their greatest statement was always made on stage, and as much as it’s a bummer to think they won’t have another studio outing anytime soon, the thought of not seeing them live again is even more of a downer. Brooklyn’s brand of heavy would not be what it is today without Naam‘s example to follow.

They announced the end thusly:

naam

We regret to inform you all that we have decided to take a very long hiatus and will not be performing or writing for many years and possibly ever again. We love all of you and greatly appreciate all of the support and good times you have given us over the years.

We will be playing our final show on November 15th in Brooklyn, New York at Sludgefeast with our buddys White Hills. We suggest buying your tickets now at the link below. We plan on going out with a bang.

Thanks again for everything and we will see you around. Peace.

http://www.ticketfly.com/purchase/event/683149?utm_medium=460163
https://www.facebook.com/KingdomOfNaam
https://twitter.com/Naamsongs

Naam, Vow (2014)

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audiObelisk Transmission 039

Posted in Podcasts on August 26th, 2014 by H.P. Taskmaster

Click Here to Download

 

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

This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.

Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.

First Hour:
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)

Second Hour:
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)

Total running time: 1:53:47

 

Thank you for listening.

Download audiObelisk Transmission 039

 

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The Skull Debut Album For Those Which are Asleep Coming Nov. 4

Posted in Whathaveyou on August 21st, 2014 by H.P. Taskmaster

Don’t put 2014 to bed yet! After releasing their debut single earlier this year (review here), The Skull will issue their first full-length, For Those Which are Asleep, on Nov. 4 via Tee Pee Records. I’m in genuine suspense to hear how the Trouble offshoot — vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson hailing from the seminal Chicago doomers — pay homage to their origins and even more how guitarists Lothar Keller and Matt Goldsborough (ex-Pentagram) distinguish themselves in tone and style and thus plot a new course for The Skull distinct from that of the band to whom they were originally formed as a tribute.

The title fascinates as well. The phrase “for those which are asleep” would seem to speak of things not human, otherwise it would be “for those whom are asleep.” Not sure if it’s meant to speak of an personify inanimate objects or if it’s just an odd turn of phrase, but it’s one more thing to add intrigue — if only to grammar dorks — about the album.

The Skull have the unenviable task of driving from Montreal to Delaware next weekend to appear at the Wings of Metal and Vultures of Volume festival. Bit of a hike that I’m sure will prove worth their while.

A certain PR wire has specifics:

the skull for those which are asleep

THE SKULL to Release For Those Which Are Asleep November 4

Metal Band Featuring Former Members of Doom Legends TROUBLE and PENTAGRAM Finalize Debut LP

THE SKULL — the new band featuring original members Eric Wagner (vocals) and Jeff “Oly” Olson (drums) of American doom metal legends TROUBLE alongside longtime TROUBLE bassist Ron Holzner, guitarist Lothar Keller (SACRED DAWN) and former PENTAGRAM guitarist Matt Goldsborough will release their debut album For Those Which Are Asleep on November 4 via Tee Pee Records, the NYC independent record label known for releasing landmark albums from acts such as High on Fire, Graveyard, Earthless and Sleep.

Written and recorded this past spring, For Those Which Are Asleep features ten tracks of elemental Heavy Metal and is the first full length album to feature Wagner, Holzner and Olson since the 1995 release of TROUBLE’s critically acclaimed LP Plastic Green Head. The new record’s greatest strength is how well it captures the apocalyptic trudge that Trouble delivered from the first downbeat of their 1984 debut, but now unequivocally propelled by the hallmarks of a hungry new band fueled by new blood. The mighty voice of Wagner is on full display; the vocalist proving on For Those Which Are Asleep that he still wields an eerie power at the mic. Titanic riffs abound as Keller and Goldsborough weave ominous atmospheres over the molten, crushing core of Holzner and Olson’s sinister strut. Make no mistake, THE SKULL are in complete command of their craft and have capably created a modern classic; a recording where atmosphere is established as drums crash, guitars blare and stories are told.

For Those Which Are Asleep track listing:

1.) Trapped Inside My Mind
2.) The Touch of Reality
3.) Sick of It All
4.) The Door
5.) Send Judas Down
6.) A New Generation
7.) Till the Sun Turns Black
8.) For Those Which Are Asleep
9.) Sometime Yesterday Mourning
10.) The Last Judgment

This month, THE SKULL will pay tribute to TROUBLE’s landmark debut Psalm 9 (which Wagner and Olson co-wrote and performed on) in celebration of the 30th Anniversary of the record’s release. THE SKULL will perform the influential album in its entirety at both the Wings of Metal Festival (Aug. 29 in Montreal) and the Vultures of Volume Festival (Aug. 30 in New Castle, Delaware) as headliners of each gathering. The band has also been confirmed to perform the full album at Barcelona’s Day of Doom Festival on October 10. Additional shows are expected to be announced as well.

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The Skull, “Sometime Yesterday Mourning” b/w “The Final Judgment” (2014)

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Joy Premiere “Miles Away” from Under the Spell of…

Posted in audiObelisk on August 7th, 2014 by H.P. Taskmaster

The gnarly flows like wine all through Joy‘s Tee Pee Records debut, Under the Spell Of…, and the trio rip into an assortment of classic heavy rock jams comprised of tripped out explorations, psychedelic and organic in kind. A trio based out of San Diego, the bluesy circles they run offer a touch of earlier Radio Moscow, but with longer songs — all but two over six minutes and one of those is the album’s intro — Joy distinguish themselves with a raw sense of killing it for the sake of killing it, and the only real question is whether they named themselves after the joy they get in creating this sonic thrust or the joy they give crowds lucky enough to watch them do it. Maybe both.

Guest spots show up throughout Under the Spell Of…‘s eight tracks/46 minutes including Hawkwind‘s Nik Turner, Parker Griggs of the aforementioned Radio Moscow and Astra‘s Brian Ellis, who also produced, and each of them mesh smoothly with the classic power trio dynamic of guitarist/vocalist Zach Oakley, bassist Justin Holson and drummer Paul Morrone, honed over the two years since they made their self-titled, self-released debut in shows alongside the likes of EarthlessHarsh Toke and Mystery Ship. To wit, an early groover like “Evil” subtly draws back the initial charge of “Miles Away” and “Confusion,” setting up the later boogie of “Driving Me Insane,” which smooths progressive shifts in tempo and rhythm with tossoff-style ease. Supreme shuffle ensues, and after the quieter, semi-acoustic sojourn “Death Hymn Blues,” closer “Back to the Sun” feels like a victory lap touting the parsecs traveled since the record’s psyched-out launch in the intro “Under the Spell” and “Miles Away.”

Under the Spell Of… doesn’t make a show of nuance, but it’s there for those who want to hear it, nestled into the airtight, live-sounding performances, particularly West Coast take on heavy psych and blown out echoes of “Miles Away,” which you can hear on the player below. Its seven minutes only comprise a small piece of what Joy have to offer, but I think you’ll find it’s almost impossible not to get lost in it once you start out, and in that, it definitely represents the spell that trio are looking to cast.

Good vibes and busted amps:

Joy will release Under the Spell Of… on Aug. 19 through Tee Pee Records. More info at the links.

Joy on Thee Facebooks

Tee Pee Records

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Naam Announce European Tour Dates and New Live in Berlin EP

Posted in Whathaveyou on August 1st, 2014 by H.P. Taskmaster

Brooklyn cosmic rock originals Naam are headed back to Europe next month. They made two trips over last year in support of their 2013 sophomore Tee Pee Records full-length, Vow (review here), and will bring with them a new free live EP, Live in Berlin, that was presumably recorded on one or the other of those runs. Between that EP, Vow‘s continued resonance in the consciousness of their audience and their participation in Heavy Psych Sounds‘ four-way split with Black RainbowsThe Flying Eyes and fellow New Yorkers White Hills, they’ve got plenty of cause to spend some time abroad, and from this tour it looks like they’ll be making the most of it.

Of particular note are appearances at this year’s ReverenceBlizzard Mountain and Up in Smoke festivals. As we begin to move out of summer and into the fall, the common perception is that festival season is over, but it’ll be October as Naam close out this run — though they warn that this is an “initial” batch of dates, which could just as easily mean more will be added — at Up in Smoke in Pratteln, Switzerland, so clearly summer-only rules no longer apply. I’m a little surprised the four-piece aren’t sticking around another week to play Desertfest Belgium after doing London (review here) and Berlin in 2013, but if there are more dates to come, I wouldn’t rule anything out entirely just yet.

It’s past time to start thinking of Naam as one of the US’ finest heavy psych exports, and great to see them getting out again:

Naam European Tour 2014

02.09 Berlin 8MM (DJ Set)
05.09 Oslo Psych Fest
06.09 Naumburg Sallepartie
07.09 Kassel Secret Show
08.09 Munich Feierwerk
09.09 Karlsruhe Alte Hackeri
10.09 Dresden Ost Pol
11.09 Lisbon Reverence Warm Up
12.09 Valada Reverence Festival
14.09 London The 100 Club
17.09 Mannheim 7 ER Club
18.09 Jena Kulturbanhof
19.09 Berlin Swamp Fest
20.09 Rotterdam Baroeg Open Air
23.09 Copenhagen Loppen
26.09 Helsinki Bar Loose
27.09 Oulu Nuclear Night Club
30.09 Hamburg Hafenklang
02.10 Chambery Blizzard Mountain Festival
03.10 Weil der Stadt Kloster
04.10 Pratteln Up in Smoke Festival

https://www.facebook.com/KingdomOfNaam
https://twitter.com/Naamsongs
http://teepeerecords.com/

Naam, Vow (2013)

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30 Before ’15: Records Not to Miss Before the New Year Hits

Posted in Features on July 8th, 2014 by H.P. Taskmaster

Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.

Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.

Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.

In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.

If I left something out you’re dying to hear, please let me know in the comments.

Thanks in advance for reading:

 

1. Alunah, TBA (Sept.)


Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.

2. Apostle of Solitude, Of Woe and Wounds (Oct.)


These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.

3. Blackwolfgoat, Drone Maintenance (Aug. 26)


Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.

4. Blues Pills, Blues Pills (Aug. 5)


The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.

5. Bongripper, Miserable (July 7)


You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.

6. Botanist, VI: Flora (Aug. 11)


I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.

7. Brant Bjork, TBA (TBA)


When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.

8. Earth, Primitive and Deadly (Sept.)


The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.

9. Electric Wizard, Time to Die (Sept.)


“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.

10. Fever Dog, Second Wind (TBA)


Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.

11. Goat, Commune (Sept. 23)


Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.

12. Grifter, The Return of the Bearded Brethren (Aug. 11)


UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.

13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)


Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.

14. Ides of Gemini, Old World New Wave (Sept. 16)


Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.

15. John Gallow, Violet Dreams (Aug. 4)


Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.

16. John Garcia, John Garcia (Aug. 5)


A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.

17. King Buffalo, TBA (TBA)


Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.

18. Kings Destroy, Kings Destroy (TBA)


Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.

19. The Kings of Frog Island, V (Fall)


Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.

20. Lonely Kamel, Shit City (Sept. 9)


I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.

21. Lo-Pan, Colossus (Oct. 7)


Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.

22. Novembers Doom, Bled White (July 15)


One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.

23. Pallbearer, Foundations of Burden (Aug. 19)


Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.

24. The Skull, TBA (TBA)


For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.

25. Snail, Feral (TBA)


Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.

26. Steak, Slab City (Sept. 9)


After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.

27. Stubb, Cry of the Ocean (TBA)


It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.

28. Torche, TBA (TBA)


Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.

29. The Well, Monomyth (Late Summer)


I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.

30. Witch Mountain, Mobile of Angels (Sept.)

Please note: The original cover art with this post was not final and has been replaced with the above band photo.

Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.

31. YOB, Clearing the Path to Ascend (Sept. 2)


Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2012’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.

Other Notable Mentions

Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:

Acid King — Were listed in January, but their record has a Feb. 2015 release date.

Bright Curse — Second album recorded at Skyhammer Studios.

Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.

Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.

40 Watt Sun — There was some word of this early in the year, but nothing since.

Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.

It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.

Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.

Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.

Lowrider — They’re working on it, but don’t hold your breath to have it out by December.

The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.

NachtmystiumCentury Media releases their final album, The World We Left Behind, on Aug. 5.

Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.

Pink Floyd – Believe it when I see it, but I honestly couldn’t care less either way if I tried.

Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.

Sun Voyager — Upstate NY youngsters had hinted at new recordings.

Again, if I forgot anything — and I’m sure I did — please let me know in the comments.

Thanks for reading.

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