The Obelisk Presents: THE TOP 30 ALBUMS OF 2016

Posted in Features on December 20th, 2016 by JJ Koczan

the obelisk top 30

Stuck with your assignments writing task? Call us and say ĎPhd Thesis Proposal Methodology,í and our expert writers will provide you best academic writing work at Please note: This post¬†is not culled in any way from the Year-End Poll, which is ongoing. If you haven‚Äôt yet contributed your favorites of 2016 to that, please do.

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I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.

Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.

The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal¬†second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.

This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.

Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to¬†push it along its winding and sometimes divergent-seeming paths.

I have no doubt you know what I mean. Let’s get to the list:

30. Talmud Beach, Chief

talmud beach chief

Released by How Can I Pay see here now is that ethical? Yes we provide academic writing service with all the ethical code intact. Svart Records. Reviewed Feb. 10.

Seems only fair to start with a record I couldn’t put down. Finnish trio¬† The Blog Impact Of Overpopulation School Speech Welcome towards the editing that is best Ė Proofreading Essay Services that may Undoubtedly Impress Your Tutors or Talmud Beach‘s second album and¬† Common Sense Media editors help you choose http://www.igm-bei-vw.de/?every-country-has-its-customs-essay. Online resources for tough assignments. Svart debut,¬† see it here from our technical experts. Request Ďdo my homeworkí assistance any time and we will provide help with any type of assignment. Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.

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29. Comet Control, Center of the Maze

comet control center of the maze

Released by research papers gmo - work with our writers to receive the excellent review following the requirements Stop getting unsatisfactory marks with these Tee Pee Records. Reviewed June 22.

Space is still the place. I’ve already highlighted closer “Artificial Light” from¬† DissertationHelp.ae is the most reliable and unique dissertation writing services in Dubai. Get GUARANTEED high grades With Paper Presentation On Operating Systems UAE Company! Comet Control‘s sophomore LP,¬† Homework Help Government Sites composed by professional writers. 100% originality, high quality, on-time delivery guaranteed! Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash¬†as it moved onward¬†toward that landmark conclusion.

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28. Droids Attack, Sci-Fi or Die

droids attack sci-fi or die

Self-released. Reviewed Feb. 17.

There was not a level on which Madison, Wisconsin’s Writing Research Paper On Skateboarding can be challenging for many students. In this tutorial, Theuniversitypapers provides tips and instructions on how to write Droids Attack didn’t make it clear they were going all-out, all-in on¬† We looked at all the best try heres and compared their features and pricing. Here is our in depth comparison and recommendations. Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation¬†that managed to make even a song called “Clawhammer Suicide” a classy affair. As¬†guitarist/vocalist¬† The best online Help Me Write A Song are known to have the most qualified dissertation writers UK ready to help you with all your academic problems. Brad Van said on the hidden title-track, “Death to false stoner thrash.” Buy Dissertation Copy - Stop receiving unsatisfactory marks with these custom dissertation recommendations Quick and trustworthy services from Droids Attack¬†brought that ethic and more to life across the entire record.

27. Beelzefuzz, The Righteous Bloom

beelzefuzz the righteous bloom

Released by One of the toughest things that students should manage during their academic years is assignment writing. essay to university for admission on the web can help Restricted Release and Stop asking yourself "Can someone http://www.loosecardiff.com/thesis-writing-help/"! We can and we will! Give us a brief information about your needs and stop worrying about it! The Church Within. Reviewed Aug. 2.

A winding road brought http://www.plurmac.mx/jacob-d-haskell-phd-thesis/ - All sorts of academic writings & custom papers. put out a little time and money to receive the paper you could not even dream about leave Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what¬†Beelzefuzz are doing and that continues to be true. Even as a first offering¬†from¬†a new lineup of the band,¬†The Righteous Bloom¬†took bold and exciting forward steps.

26. Foghound, The World Unseen

foghound the world unseen

Released by Ripple Music. Reviewed July 6.

Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for¬†Ripple Music, Baltimore’s¬†Foghound issued¬†The World Unseen as an answer to their 2013 debut,¬†Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they¬†made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their¬†songwriting. It was a kick in the ass you weren’t going to forget.

25a. Egypt, Endless Flight

egypt endless flight

Released by Doomentia Records. Reviewed Dec. 11, 2015.

Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.

25. 1000mods, Repeated Exposure To…

1000mods repeated exposure to

Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.

There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here)¬†found them, they seemed to hit a stride with¬†Repeated Exposure To… thanks in part to road time¬†and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable¬†crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement¬†along that path. 2017 might be a good time for them to test the waters with initial US shows.

24. Black Rainbows, Stellar Prophecy

black rainbows stellar prophecy

Released by Heavy Psych Sounds. Reviewed April 11.

Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes¬†Stellar Prophecy resonate as it does, but either way,¬†Black Rainbows brought together some of the year’s most efficient psychedelic immersion.

23. Borracho, Atacama

borracho atacama

Released by Kozmik Artifactz. Reviewed Nov. 14.

Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,”¬†Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.

22. The Golden Grass, Coming Back Again

the golden grass coming back again

Released by Listenable Records. Reviewed April 26.

Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie¬†is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on¬†Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground¬†that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.

21. Curse the Son, Isolator

curse the son isolator

Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.

For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff,¬†Curse the Son‘s¬†Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,”¬†the Connecticut three-piece of¬†guitarist/vocalist Ron Vanacore,¬†capital-‘d’ Drummer¬†Michael Petrucci and newcomer¬†bassist¬†Brendan Keefe¬†drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s¬†Psychache (review here), I expect to be returning to¬†Isolator over a longer term than this single year of release.

20. Neurosis, Fires Within Fires

neurosis fires within fires

Released by Neurot Recordings. Reviewed Sept. 21.

I feel like I need to explain myself here. Make no mistake, NeurosisFires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured,¬†Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through¬†Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.

19. Conan, Revengeance

conan revengeance

Released by Napalm Records. Reviewed Jan. 19.

Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after¬†2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made¬†Revengeance a decidedly expanded affair compared to¬†Conan‘s past work. Adding drummer¬†Rich Lewis to the mix was no minor shift either, and as much as¬†Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.

18. Baby Woodrose, Freedom

baby woodrose freedom

Released by Bad Afro Records. Reviewed Aug. 18.

Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc.¬†— Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his¬†take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its¬†Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before¬†Woodrose sends the next signal. Earth needs this band.

17. Geezer, Geezer

geezer geezer

Released by Ripple Music and STB Records. Reviewed Nov. 10.

I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but¬†Geezer¬†kept a collective hand on the controls¬†the whole voyage¬†and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.

16. EYE, Vision and the Ageless Light

eye vision and the ageless light

Released by The Laser’s Edge. Reviewed Nov. 17.

Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen¬†joining¬†founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and¬†found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.

15. Fatso Jetson, Idle Hands

fatso jetson idle hands

Released by Heavy Psych Sounds. Reviewed Oct. 3.

Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.

14. Hexvessel, When We are Death

hexvessel when we are death

Released by Century Media. Reviewed Feb. 5.

Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever¬†Hexvessel¬†went on their third full-length and¬†Century Media debut,¬†When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their¬†material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that¬†When We are Death¬†worked because of a universal quality in¬†songwriting and presentation allowing¬†for such drastic shifts without any risk of losing the audience.

13. Zun, Burial Sunrise

zun burial sunrise

Released by Small Stone Records. Reviewed Feb. 16.

Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in¬†vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in¬†Arce‘s guitar was an excellent showcase for his¬†patience and improvisational sensibilities, and the spaces¬†Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope¬†Garcia and¬†Timms return, and will hope for a duet.

12. Elephant Tree, Elephant Tree

elephant tree elephant tree

Released by Magnetic Eye Records. Reviewed Jan. 29.

One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as¬†Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.

11. Mos Generator, Abyssinia

mos generator abyssinia

Released by Listenable Records. Reviewed July 12.

If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground¬†as it went. Guitarist/vocalist/founder Tony Reed¬†brought heavy boogie to bear at a frenetic clip,¬†but¬†Abyssinia offset its early mania with later progressive stylization¬†on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their¬†furious creativity, it also brought them to places they’ve never been before in sound.

10. Slomatics, Future Echo Returns

slomatics future echo returns

Released by Black Bow Records. Reviewed June 29.

In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made¬†Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.

9. Wo Fat, Midnight Cometh

wo fat midnight cometh

Released by Ripple Music. Reviewed April 21.

After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff¬†Wo Fat gave a concise rundown of their appeal in the six-track Ripple¬†debut and sixth LP overall,¬†Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to¬†touch ground every now and again. Over the last two-plus years,¬†Wo Fat have become a point of influence for other, particularly American, acts — see labelmates¬†Geezer — and¬†Midnight Cometh assured that will be the case going forward too; a¬†status well-earned.

8. King Buffalo, Orion

king buffalo orion

Released by Stickman Records. Reviewed July 29.

Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with L√© Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished¬†King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears¬†scale of potential.

7. Wight, Love is Not Only What You Know

wight love is not only what you know

Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.

German outfit Wight answered significant anticipation¬†on their third album,¬†Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave¬†Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record¬†was right there in the title: It was all about love, and wherever¬†Wight went in a given track, they never lost sight of that.

6. Greenleaf, Rise Above the Meadow

greenleaf rise above the meadow

Released by Napalm Records. Reviewed Feb. 18.

A decade and a half¬†after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf¬†most embodied that ethic with Rise Above the Meadow, their sixth long-player¬†and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow¬†built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of¬†Trails and Passes, 2012’s¬†Nest of Vipers (review here) or 2007’s landmark¬†Agents of Ahriman (review here), but as¬†Greenleaf¬†shifted toward a style more reminiscent of¬†Holappa‘s later output¬†with¬†Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.

5. Brant Bjork, Tao of the Devil

brant bjork tao of the devil

Released by Napalm Records. Reviewed Sept. 15.

Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable¬†Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical¬†accomplishments from his days in¬†Kyuss,¬†Fu Manchu,¬†Che,¬†Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in¬†Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.

4. Asteroid, III

asteroid iii

Released by Fuzzorama Records. Reviewed Oct. 21.

What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the √Ėrebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from¬†guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know¬†Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way,¬†III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like¬†II¬†and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.

3. Gozu, Revival

gozu revival

Released by Ripple Music. Reviewed May 19.

Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor,¬†The Fury of a Patient Man (review here),¬†Gozu‘s fourth album overall and¬†Ripple¬†label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist¬†Marc Gaffney, guitarist¬†Doug Sherman, bassist¬†Joe Grotto and drummer¬†Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than¬†The Fury of a Patient Man or 2010’s¬†Locust Season (review here),¬†Gozu¬†came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival¬†was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there¬†is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.

2. Mars Red Sky, Apex III (Praise for the Burning Soul)

mars red sky apex iii praise for the burning soul

Released by Listenable Records. Reviewed Feb. 24.

It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while¬†pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s¬†Providence¬†EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun”¬†— each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of¬†Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning¬†to earth and on from here to who knows where next.

1. SubRosa, For this We Fought the Battle of Ages

subrosa for this we fought the battle of ages

Released by Profound Lore. Reviewed Aug. 26.

Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues¬†across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep —¬†SubRosa never lost their sense of poise, so that the defiance in the last movement of¬†“Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,”¬†the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took¬†For this We Fought the Battle of Ages¬†with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.

The Next 20

Like any good Top 30, mine goes to 50. Here is the next batch:

31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll

From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.

Honorable Mentions

Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:

Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
√ėresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment

And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:

Akris, Atala, Atomikyl√§, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsj√°, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.

Thank You

In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.

If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.

And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.

One more time: Thank you.

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The Golden Grass, Coming Back Again: Shine a Little Light

Posted in Reviews on April 26th, 2016 by JJ Koczan

the-golden-grass-coming-back-again

It’s much to The Golden Grass‘ credit that their second album, Coming Back Again, retains the ‘g’ at the end of the word “coming.” The Brooklynite trio seem to have a sense of just where the line is that would put them over-the-top, beyond belief, and they walk that line carefully throughout their sophomore long-player and Listenable Records debut as they did on their 2014 self-titled first outing (review here), released on Svart. That record’s primary contribution came via its overarching positivity — its material dared to be sweet, melodic, graceful, friendly and warm in a climate that reads authenticity mostly via the miserable, even as regards underground heavy music. The Golden Grass‘ boogie worked in direct opposition to that, and much to their credit at their beginning, they had the songwriting to back up their stylization. Fortunately, that remains true on Coming Back Again.

The three-piece of guitarist/vocalist Michael Rafalowich, drummer/vocalist Adam Kriney and newcomer bassist/vocalist Frank Caira present six tracks/38 minutes conveniently split across two sides, tracked by Jeff Berner at Galuminum Foil Productions, and geared to be as friendly, welcoming and accessible as possible, while also retaining a sense of heft to the tones and rhythmic push — if you want people to dance, give them a shove — and exploring a newfound progressive flourish in the instrumental chemistry that marks a clear, mindful step forward from the debut two years ago. That answers a big question coming into the album, since it was plain from the effort the band put into their presentation that they had no intention of standing still creatively, but it was up in the air how that progression would manifest. It’s manifested as progress. Go figure.

Crucially, as Coming Back Again moves The Golden Grass‘ sound ahead from where it was, that doesn’t come at the expense of the feelgood atmosphere or the melodic richness overall. If anything, even as the emotional context broadens with some more wistful lyrics, it deepens both the atmosphere and level of performance, as opener “Get it Together” (video premiere here) launches with an immediate rhythmic movement leading to a call and response verse from¬†Rafalowich and¬†Kriney, whose harmonies have only become more engaging. Psychedelic lead guitar in a quick break prefaces jams to come, but the band is looking to start out with earthier fare, and the boogie is as strong as the hook in “Get it Together.” It’s not until the break after about four minutes in that the guitar and drums begin to signal some of the sonic shift¬†Coming Back Again will really present, building to a psych-prog swirl atop¬†Caira‘s rock-solid bassline before¬†Rafalowich‘s dream-tone lead takes hold, shifting back to ground in a tambourine-inclusive gallop that finishes the song. That’s a lot of ground to cover in about two minutes’ time, but¬†The Golden Grass masterfully guide “Get it Together” to a sunshiny melodic finish and the tones fade just in time to let the jazzier “Reflections in the Glass” take hold with a smooth entrance.

the golden grass

Caira shines in the transition between verses, along with some keys and interwoven layers of acoustic and electric guitar — the band once again making complex ideas sound simple — and¬†Rafalowich and¬†Kriney execute a thoughtful vocal arrangement to add to the lushness, both easing back for a more gentle delivery than the harder rocking “Get it Together,” but still finding resolution in the last moments of “Reflections in the Glass,” guitar, bass and drums rounding out deceptively complex turns that meet head on with the launch of side A finale, “Shadow Traveler,” more immediately psychedelic. As one of two cuts on¬†Coming Back Again over eight minutes, one might expect full-on prog exploration, but at least in its early going, “Shadow Traveler” is some of the rawest boogie here on offer,¬†Rafalowich calling out both himself and¬†Kriney in the lyrics — “Hey now here comes¬†Adzo/He gonna show you how to swing” — and so he does, in one of the album’s most resonant choruses and subsequent grooves.

Much of the second half of the song is given to an extended psych jam,¬†Rafalowich and¬†Kriney trading lines back and forth referencing other songs on the album — “Get it Together,” “Reflections in the Glass,” the forthcoming “Down the Line” and closer “See it Through” — in a manner classic and brilliant in how it positions the first-time listener with an immediate familiarity with what they’ve just heard. After a finishing wash and crash, side B begins with the interlude “Hazy Daybreak”; two and a half-minutes interplay between far-back airy electric and progressive acoustic guitar, quiet drums, finger snaps, shaker, etc., that, sadly, doesn’t meet with any vocal harmonies on its brief path. I would not be surprised if next time, i.e., on the next album, the case turns out to be different, but if¬†The Golden Grass are telegraphing future experimentation, they’re no less clearheaded about it than they are with their more established movements on¬†Coming Back Again, such as the building tension of the opening to “Down the Line,” which becomes a defining piece for the album in more than just its 9:45 runtime, an early chug and vocal harmonies giving due sense of motion to the chorus “Going down the line.”

After the initial¬†Kriney-led verses,¬†Rafalowich takes the fore through a section past three and a half minutes in that is the departure point for an extended jam careening through psychedelic lead work and rumbling into quiet bass, drums and sparse guitar noise as it moves into the song’s midsection — the foundation of a¬†subdued dream-prog sequence that moves back to reality via¬†Kriney‘s toms and eventually, skillfully, brings back the verse and chorus to close out with emphasis on the control that was never lost. That makes closer “See it Through” something of a victory lap, though a subtly moodier take in the lyrics — plus another noteworthy performance from¬†Caira¬†— also serve as distinguishing factors. And they find room for a boogie jam as well, pushing toward the last hook with handclaps, interspliced layers of fuzz and bass, cowbell, snare and so on as they execute one final round of deceptively tight rhythmic turns while sounding like they’re smiling all the while. The push ends with a “woo!” and that’s about all that needs to be said.

As much as it affirms what¬†The Golden Grass accomplished their first time out,¬†Coming Back Again also leaves that record behind in terms of its ambition and the chemistry in development between¬†Rafalowich,¬†Kriney and¬†Caira, who by no means sounds as new to the band in these tracks as he was when they were recorded. With a grander scope that still sounds definitively natural,¬†The Golden Grass strike a rare balance between accessibility and progressive drive in cuts like “Shadow Traveler,” “Reflections in the Glass” and “See it Through” that, along with “Hazy Daybreak,” set a context for future growth while giving their audience songs¬†that, in the present, are¬†worth returning to the way one enjoys visiting good friends. They’re working toward forward movement sonically, but¬†The Golden Grass remain a band with a deeply individual take on heavy rock, and there’s nothing else out there quite like them.

The Golden Grass, Coming Back Again (2016)

The Golden Grass on Thee Facebooks

The Golden Grass on Bandcamp

The Golden Grass at Listenable Records

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The Golden Grass Premiere Video for “Get it Together”

Posted in Bootleg Theater on March 9th, 2016 by JJ Koczan

the golden grass (Photo by Andrea Zavareei)

It’s not long into¬†The Golden Grass‘ forthcoming second album,¬†Coming Back Again — out April 15 on¬†Listenable Records — that the Brooklynite trio revive the sunshiny spirit of their 2014 self-titled debut (review here), and likewise, it’s not much longer after that that they begin to showcase the progression of their sound they’ve enacted over the two years since that record came out. “Get it Together” opens¬†Coming Back Again and couches a relatively simple, friendly lyrical message in a complex vocal arrangement with the refined harmonies of guitarist¬†Michael “Professor Plum Brandy” Rafalowich and drummer¬†Adam “Adzo” Kriney and newcomer bassist/vocalist¬†Frank “The Fireball” Caira topping the first of¬†the outing’s easy-flowing grooves. Tonally, structurally and conceptually engaging, “Get it Together” is about a minute in before¬†Rafalowich dives into an airy psychedelic lead, and with a particularly choice hook, the opener sets a warm tone to which the rest of¬†Coming Back Again seems only too glad to live up.

the-golden-grass-coming-back-againThe video trips out some DIY performance footage, and¬†proves even more¬†how far The Golden Grass have gone to develop their sound. Before they introduce the key progressive stylization in the back half of “Get it Together” that will be fleshed out across the LP, we can see in the video that Caira joins Rafalowich and Kriney on vocals. Of the three (that we know of) bassists who’ve played with The Golden Grass since their first record, he’s the only one to contribute as a singer as well. I’d imagine a good portion of the material for Coming Back Again was written or at least in progress before he was announced as joining back in December, after the band had already been confirmed for Freak Valley 2016 this May in Germany, but he was there when it was recorded, so I’d be interested to find out where his voice appears between the recognizable styles of Kriney and Rafalowich, who’s where in the harmonies and how that will continue to develop from here. If you think that sounds like an interview question, you’re probably right.

April 15 is the North American release, April 22 is the European release for¬†Coming Back Again by¬†The Golden Grass, who have European tour dates to be announced and more to come all around.¬†You can see and hear “Get it Together” on the player below, followed by more particulars on the album, courtesy of the PR wire.

Please enjoy:

The Golden Grass, “Get it Together” official video

Listenable Records is proud to release the stunning new sophomore full-length, Coming Back Again, from Brooklyn, New York-based psychedelic rock trio THE GOLDEN GRASS this April.

A truly serpentine journey where the epic glory and might of ’70s psychedelia, the sun-drenched warmth of Laurel Canyon’s golden country/folk era and sheer blues-based Southern rock boogie give way to exploratory landscapes, lysergic prog arrangements and a swinging jazz touch, the six-track follow-up to the band’s 2014 self-titled Svart Records debut, was tracked by Jeff Berner at Galuminum Foil Productions.

In support of their forthcoming new album, THE GOLDEN GRASS will embark on their third European tour this coming May which already includes an appearance at the legendary Freak Valley Festival.

Coming Back Again will be available on CD, limited edition colored vinyl and digitally on April 15th in North America and April 22nd in Europe with preorders, track teasers and tour dates to be unveiled in the weeks to come.

Coming Back Again Preorder

The Golden Grass on Thee Facebooks

The Golden Grass on Bandcamp

Listenable Records

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The Golden Grass Unveil Album Art and Info; Coming Back Again Due in Spring

Posted in Whathaveyou on February 19th, 2016 by JJ Koczan

the golden grass

Really, what else were Brooklyn feelgood heavy rockers The Golden Grass going to call their second record but Coming Back Again? There was about zero chance any other title would cut the mustard. The trio will release the album, which is the follow-up to their 2014 self-titled debut (review here), as their first outing for Listenable Records, and to support it they’ll head back to Europe to play Freak Valley 2016 and more besides.

That’s not much of a surprise, but what is is the sound of the album itself, which has a decidedly more progressive stance than did its predecessor. These guys have had a keen eye on their style and approach the whole time, so it makes sense that they’d purposefully push themselves forward creatively, but the real kicker is they manage to pull off classically proggy turns without losing at air of optimism that made the debut such a joy. More to come.

Til then, art and info from the PR wire:

the golden grass coming back again

THE GOLDEN GRASS: Brooklyn, New York-Based Psychedelic Rock Trio To Release Coming Back Again Full-Length This Spring Via Listenable Records; Artwork + Track Listing Revealed

Listenable Records is proud to release the stunning new sophomore full-length, Coming Back Again, from Brooklyn, New York-based psychedelic rock trio THE GOLDEN GRASS this April. A truly serpentine journey where the epic glory and might of ’70s psychedelia, the sun-drenched warmth of Laurel Canyon’s golden country/folk era and sheer blues-based Southern rock boogie give way to exploratory landscapes, lysergic prog arrangements and a swinging jazz touch, the six-track follow-up to the band’s 2014 self-titled Svart Records debut, was tracked by Jeff Berner at Galuminum Foil Productions.

“Our new album is definitely the most adventurous and sonically exploratory music we’ve ever made,” comments the band of Coming Back Again. “At the same time, it is our most melodic and vocally/lyrically focused as well. The overall feel is like an upbeat psychedelic heavy rock ‘n’ roll journey, with dense progressive arrangements that really transport the listener through all of the sonic dimensions of THE GOLDEN GRASS universe. It’s quite a fun record; it really swings. We’re super proud of how it was produced and the flow of the album is a real trip. Most importantly, the energy within the group really explodes from the speakers. As far as the progression of the group since we formed, this record is the perfect statement of where we are right now, and we couldn’t be happier to share that joy with our listeners! Keep on grassin’…”

Coming Back Again Track Listing:
1. Get It Together
2. Reflections In The Glass
3. Shadow Traveler
4. Hazy Daybreak
5. Down The Line
6. See It Through

Influenced by the likes of such American rock legends as The James Gang, The Allman Brothers and Grand Funk Rainroad, the soulful British psych/mod of The Move, The Pretty Things and The Action, and the heavy umph of Budgie, Blue Cheer and Blackfoot, THE GOLDEN GRASS synthesizes their influences into a seamless, memorable, and high-energy performance that screams from the past but is a welcome and much needed presence in the now.

In support of their forthcoming new album, THE GOLDEN GRASS will embark on their third European tour this coming May which already includes an appearance at the legendary Freak Valley Festival.

Coming Back Again will be available on CD, limited edition colored vinyl and digitally on April 15th in North America and April 22nd in Europe with preorders, track teasers and tour dates to be unveiled in the weeks to come.

http://www.facebook.com/thegoldengrass
http://www.thegoldengrass.bandcamp.com
http://www.facebook.com/listenablerecs
http://www.listenable.net

The Golden Grass, Live at Capitol Theatre, NY, July 25, 2015

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