Posted in Features on July 6th, 2015 by H.P. Taskmaster
If 2015 ended tomorrow, I think you’d still have to say it was a pretty good year for heavy rock. Doom veered into a swath extremes — its own subgenres emerging almost one by one in a growing splinter that nonetheless continues to draw water from its roots — while the neo-stoner ignition of the West Coast continued its boom of new acts proffering classic groove. The East reveled in a progressive vision just waiting to be picked up by others, and in Europe, the ’70s traditionalist movement spread ever wider, essentially defining a modern sound in organic sounding, sometimes-vintage elements. Whether you’re going for crushing, oppressive barbarism or cosmos-bound blissouts, it is, in short, a good time to be alive.
Of course, 2015 doesn’t end tomorrow, and there’s still a whole lot of year to come. About half, as it happens. So, as has been the tradition around here for the last half-decade — and seems to be the tradition in a growing number of outlets; not taking credit or claiming to have invented anything, just noting a proliferation — it’s time to count down the best records of the year so far. There have been more than a handful of gems, and since in December I’m planning on doing a top 30, we’ll mark half the year with a top 15. Seems only fair.
Please note that this isn’t purely a critical evaluation, but a personal list, and that what I’ve put on most is as crucial a factor in my ranking as how important I think a given record is. You know the drill by now. Let’s go:
Kiev three-piece Stoned Jesus have a varied stylistic history, and their third outing, The Harvest was ultimately a success in large part because of its complete refusal to be defined. Atop a foundation of quality songcraft, the trio proffered a sound that was not necessarily experimental in terms of anti-structure noise or effects onslaughts, but bold in each of its forays outward from its heavy rock underpinnings.
It has consistently taken me a while to get a hold on what Freedom Hawk are up to. The steady elements in their sound are held to so firmly that on the first couple listens, it seems to just be more of the same. But the more one digs in, the more there is to be found, and with Into Your Mind, the Virginia Beach trio overcome losing a member to create their most progressive outing to date, flourishes of psychedelia melding easily with their signature style of sunshiny riffing.
Five albums deep, Germany’s My Sleeping Karma are an act unto themselves. Their progress has been natural, fueled by a clear, varied sense of exploratory will, and the results on this year’s Moksha were nothing short of stunning. Branching out their arrangements might not be new to them, but the inclusion of horns, drones, percussion, etc., amid the central guitar, bass, keys and drums lent an almost orchestral feel to the flow between the tracks, and one can only hope they continue on their current path, because it is unquestionably the right one.
So much potential, so much vitality at the heart of this debut from Death Alley. The Amsterdam-based four-piece (interview here) stormed out of the gate with a ripper of a debut, and just when you seemed to have it all figured out, they hit the ignition on a 12-minute full-impulse space rock thrust, a guest vocal appearance from Farida Lemouchi (a former bandmate of Death Alley guitarist Oeds Beydals in The Devil’s Blood) adding both mystique and emotional resonance to what was already a stunning track. With all the riotousness preceding, Black Magick Boogieland readily lived up to its righteous title.
Midwestern-turned-West-Coast heavy psych rockers Mondo Drag may have taken their time in releasing their self-titled sophomore outing, which followed their 2010 debut, New Rituals (review here), and was recorded in 2012, but it’s easy to imagine that’s because they wanted the circumstances to be as special as the album itself, recorded with a fleeting five-piece lineup that included the one-time rhythm section of Radio Moscow who wound up leaving to further their then-nascent project, Blues Pills. Even without that lineup shift as a factor, the late ’60s vibe Mondo Drag brought out across the release proved eminently listenable and has held up on repeat visits.
A gorgeous, shimmering and melodically resonant debut from the Dutch four-piece Cigale, their self-titled gracefully maintained tonal presence and warmth while also enacting a psychedelic sprawl and grooving serenity that acted like the landscape in which the songs took place. It was a rich, bright vibe, and an utter joy to behold, tracks like “Harvest Begun,” “Feel the Heat” and “Eyes Wide Shut” proving as memorable as they were inviting. Having two former members of the much-missed fuzz rock outfit Sungrazer may have initially turned some heads in their direction, but Cigale‘s first album proved they’re an outfit with their own personality, their own development to undertake, and already much to offer.
The awaited return of The Machine brought the band’s fifth album and a further-refined sense of maturity in their processes, as well as intrigue as to where they might be headed, two dual modes of open-ended jamming and more structured songwriting playing off each other in the extended “Chrysalis (J.A.M.)” and “Come to Light” and the more verse/chorus stylizations of “Dry End” and “Off Course.” To be perfectly honest, I doubt The Machine will ultimately pick one side over another, since if Offblast! proved anything it’s that they can easily handle either or both, but as they continue to grow, it’s encouraging to have their style establish itself as so multi-faceted.
First time I pressed play on Gravitron was a real “oh shit!” moment. The last release from NJ stalwarts The Atomic Bitchwax was 2011’s The Local Fuzz (review here), a single-song full-length instrumental riff onslaught that had its charm but was inherently divorced from the appeal of the band’s songwriting. Not only does Gravitron re-factor that in with songs like “Roseland,” “It’s Alright,” “Coming in Hot” and “Ice Age Hey Baby,” among others, but it hits with kick-in-the-ass production force and an all-out heaviness that 2008’s TAB4 showed the three-piece steering directly away from. Just a killer record. Utterly void of pretense. No bullshit. No need to rely on anything more than chemistry, and with the Bitchwax, that’s plenty.
7. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Right now, Brothers of the Sonic Cloth are my band to beat for Debut of the Year, and I’m quite frankly not sure how anyone is going to be able to do it, so if list time comes in Dec. and you see Tad Doyle‘s trio marked out as such, know that it’s been that way in my head for some time. The three-piece of Doyle, bassist Peggy “Pegadeth” Tully and drummer Dave French arrived with a roar, and even when their self-titled let up sonically, the atmosphere remained viscerally heavy. Six years having passed since the release of their first demo (review here), I wasn’t sure there was ever going to be an album, but then to have Brothers of the Sonic Cloth show up and enact such thorough demolition only made it more impressive.
It can’t possibly be a surprise to have Luminiferous show up somewhere on this list. The seventh long-player by High on Fire had all the rage and bombast in “Slave the Hive” and “The Black Plot” that have become the band’s hallmarks over their 17 years together, but branched out progressively as well in songs like “The Cave” and “The Falconist,” the latter of which was brazenly catchy and about as emotionally direct as the band has ever gotten, their general modus being — and in that song too, just to a lesser extent — a metaphor-laced lyrical approach. That song was a triumph and so was the album as a whole; the second collaboration with producer Kurt Ballou building on the rampaging victories of 2012’s De Vermis Mysteriis (review here) while also showing growth on the part of one of modern metal’s most pivotal bands.
Hitting more or less concurrent with a vinyl release of their prior album, 2013’s A Time of Hunting (review here), Kings Destroy‘s Kings Destroy is not at all coincidentally titled. Over the course of now three full-lengths, the New York five-piece — about whom I feign no impartiality, let it be noted — have distinguished themselves with a sound neither noise, nor doom, nor heavy rock, but drawing on elements of all three when it suits their purposes with chemistry built from years of being in bands together of various stripes and in various genres. What stands the self-titled out from their past work, in part, is that it is the closest they’ve yet come to capturing their live sound in the studio, and accordingly, it’s a volatile kind of heavy that bends aesthetic to its will rather than capitulating to expectations of any sort. I don’t think they’re done growing by any stretch, but Kings Destroy feels like an arrival front-to-back.
This one was almost a sneak-attack. German heavy psych forerunners Colour Haze released To the Highest Gods We Know, their 11th full-length, in Dec. 2014 on CD (the vinyl was in 2015, which is what we’re counting in this instance), with very, very little fanfare of any sort. There was a track premiere here that came shortly after the album was announced, but I think it was officially out less than a month after its existence was made public, which for a band of Colour Haze‘s stature and influence was surprising. Less devoted to grandeur than 2012’s 2CD She Said (review here), it nonetheless pushed the band’s sound forward and found them experimenting in their studio, particularly on the string-quartet-inclusive finale title-track, which offset jams like “Überall” and the laid back highlight “Call” with a rhythmic oddness that was somehow still Colour Haze‘s own. I couldn’t help but wonder where it was leading, but that doesn’t mean it wasn’t masterful in its own right.
Goatsnake didn’t have it easy going into their third album. It had been 15 years since their sophomore outing, Flower of Disease, 11 since their last EP, and five since they first started playing shows again. Expectations? Through the roof. Among heavy rock heads, a new Goatsnake was like seeing the mountaintop. I mean, a big fucking deal and then some. Then the record hits, and there’s just about no way it can live up to the anticipation, but god damn if Goatsnake not only finally put out a third album, but one that was better than I think anyone could’ve hoped for. Hearing Pete Stahl with however many backup singers he had on “Another River to Cross” et. al. was like finding an animal in its native habitat, and between his soul, Greg Anderson‘s riffs, bassist Scott Renner‘s low end rumble and drummer Greg Rogers‘ roll, Black Age Blues won almost immediately and then spent the rest of its 47 minutes throwing itself a victory party. “Elevated Man,” “House of the Moon,” “Jimi’s Gone,” “Grandpa Jones,” almost on a per-track basis, Goatsnake added to the reasons they’ve been so heralded despite a decade-plus’ absence from the studio.
On the level of achievement alone, Elder‘s Lore will be the album of the year for many, and there are times (such as right now) when I listen to it and question whether or not it isn’t also my pick for that honor, but wherever it falls on whatever list, far more important is what the Massachusetts/Rhode Island/New York trio manage to accomplish across their third LP’s formidable five-track/59-minute span, songs like “Compendium” and “Deadweight” bridging a rarely approached gap between heavy and progressive rocks while maintaining a flow consistent with the psychedelic vibing of 2011’s Dead Roots Stirring (review here) but grown outward in another aesthetic direction and no sooner setting foot on the ground than seeming to master it in a flurry of blinding turns, sprawling soundscapes and clarity of mind that found perhaps its greatest expression in the centerpiece title-track, the 15-minute “Lore” itself, which I’ve no doubt will stand among if not atop the best songs of 2015 when the year is over and encapsulates the ambition and the corresponding breadth of Elder‘s songwriting, the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan, and drummer Matt Couto rising as one of the East Coast’s most pivotal acts, with a sound completely their own.
1. Acid King, Middle of Nowhere, Center of Everywhere
I use the word “molten” pretty regularly to describe an album or song that seems to just ooze its way out of the speakers or shift seamlessly between its songs, but Acid King set an entirely new standard for the term with Middle of Nowhere, Center of Everywhere. Their first outing for Svart and their first release in a decade, its 55 minutes were a riff-rolling nirvana of lurching fuzz and tonal excellence, the guitar of Lori S. at the fore accompanied by Mark Lamb‘s bass and Joey Osbourne‘s drums, the swing of which propelled a highlight track like “Coming down from Outer Space” right back into it, while elsewhere on the record, “Silent Pictures,” “Red River” and “Infinite Skies” torched stoner conventions into a new space-biker rock, culminating in the heavy psych of “Center of Everywhere,” which seemed to emanate from the place it was describing, at once empty and full. More than just a welcome return after a long dearth of releases, Middle of Nowhere, Center of Everywhere found Acid King progressed even beyond where they were with 2005’s III, though more than anything else, what makes it my top pick for the year so far is the fact that I can’t seem to walk away from it for too long before going back, and ultimately, that’s what it all comes down to with his kind of thing. I’ve yet to find a standard to which these songs don’t live up.
A few others worth noting. The Sun Blood Stories album (streamed here) continues to resonate. Also Monolord, Valkyrie, Lamp of the Universe, Garden of Worm, Wo Fat‘s live record, The Midnight Ghost Train‘s Cold was the Ground and Ufomammut‘s Ecate. The Black Rainbows was a joy, as was Spidergawd‘s second LP, and while I still feel like I haven’t given it its due, the Sumac won many over and should get a mention. Steve Von Till‘s solo outing and the latest from Enslaved are worth seeking out as well for anyone who hasn’t heard them yet.
More to Come:
The year’s only half over, which is kind of a scary thought but true nonetheless. Watch out in the coming months for new stuff from Bloodcow, All Them Witches, Clutch, Graveyard, Zun, Sacri Monti (if that one’s not already out), Snail, Uncle Acid, and Kind. The new Kadavar is a sure-fire top tenner, and between that, the potential for a new Neurosis album and stuff like Magnetic Eye Records‘ Electric Ladyland [Redux], there’s no way the book is written on the best of 2015.
So stay tuned.
And if I’ve still got your attention, thanks for reading.
Posted in Reviews on May 28th, 2015 by H.P. Taskmaster
In the works on one level or another since the second half of 2013, The Machine‘s fifth album arrives in the form of the 50-minute Offblast! via Elektrohasch Schallplatten, and marks a distinct turn for the band. The delay? A mix of technical trouble during mixing and personal life, and while that could easily mean the jam-prone Dutch trio have another batch of songs in the works to follow it up, Offblast! nonetheless resonates with a maturity that even 2012’s Calmer than You Are (review here) or their 2013 split with likeminded countrymen Sungrazer (review here) couldn’t claim, their songwriting process proving more cohesive as they explore the roots of stoner and desert riffing on songs like “Dry End” or “Gamma” and keeping the instrumental chemistry that even their early work — 2007’s debut, Shadow of the Machine, 2009’s Solar Corona (on Nasoni) or their first for Elektrohasch, 2011’s 80-minute jamfest Drie (review here) — housed, the lead guitar work of David Eering (also vocals and recording) as much of a calling card as the band has amid the fleshed out roll and bounce provided by bassist Hans van Heemst — whose tone has always been The Machine‘s secret weapon and is most of all on Offblast! — and drummer Davy Boogaard, who shows himself again malleable to whatever the changes in the six included tracks might require of him, be it the quick stops early in “Off Course” or the jazzy ride work in the spacious midsection of “Chrysalis (J.A.M.),” the sprawling, 16:25 opener that acts as the record’s immersive and in some ways defining statement.
With six tracks, it would just about have to be the longest of the bunch, and it is (immediate points to them for starting with their longest cut), living up to its spelled-out parenthetical with a breadth to match its runtime, shifting between its raucous first half and more swinging second fluidly, launching its later movement with a quiet break with some choice, naturally-toned wah from Eering. His affinity for Hendrix shows itself early and often on Offblast! as it has throughout The Machine‘s five LPs, but the influence seems more like an afterthought to the band’s identity here than it ever has. By the time “Chrysalis (J.A.M.)” is over, one feels as though they’ve listened to an entire album, and in a way, it’s true, but that’s only the beginning of the tale, and before the Rotterdam natives bookend their latest with the similarly-directed but noisier-finishing 12-minute closer “Come to Light” (the name of the song submitted by yours truly), they dance with sandy demons on “Dry End,” “Coda Sun,” “Gamma” and “Off Course,” which don’t add up to the two extended pieces time-wise, but still provide some of Offblast!‘s most lasting impressions in their hooks, fuzzy drive, and flourishes like sitar in “Dry End” and Boogaard‘s snare work in “Coda Sun” — not to mention vocals, which neither the opener nor the closer has. It’s not so outlandish a scope for a band to have, with two bigger jams and more straightforward material to complement each other, but it’s much to The Machine‘s credit in how they’ve structured the album that it not only flows front-to-back, but is so hypnotic at the start and still so memorable by the end. If you’re looking for evidence of the band’s maturity, it’s right there.
“Dry End” (3:06) and the winding “Coda Sun” (5:34), Eering‘s vocals compressed and watery for use as another element in the psychedelic overtones, are met by “Gamma” and “Off Course,” both over six minutes, and while one comes to feel by the end of the latter that The Machine are setting the listener up for a return to heady reaches in “Come to Light” — and they are, make no mistake — both retain a distinctive feel. “Gamma” is marked out by van Heemst‘s bassline, which emerges in the second half of the song and seems to pay direct homage to Queens of the Stone Age‘s “You Can’t Quit Me Baby” from their 1998 self-titled. That album makes a solid comparison point for the tonal impression of Offblast! overall, as it happens, so the feel is purposeful and The Machine take the familiar line and work in layers of guitar building in volume en route back to a last measure of the chorus. While it has a longer solo from Eering, “Off Course” follows a similar structure, but its vibe carries some of the punkish undertone the band held aloft on their 2013 split thanks to the sharp starts and stops and an added layer in the chorus either of piano or keys (or something that sounds like them) deep in the mix, giving further urgency to the already forward progression. And when they get there, “Come to Light” is a more gradual unfolding than was “Chrysalis (J.A.M.),” but the end result carries no less vitality, the dynamic between Eering, van Heemst and Boogaard writ large over its organic and laid back but still engaging course. Perhaps most satisfying of all is that while it works on varying levels between its songcraft and its jams, Offblast! comes across with no lack of cohesion or choppy shifts. As “Come to Light” inevitably descends to effects noise and feedback to end the album, it seems to do little more than highlight the level of execution that The Machine have brought to their fifth outing and the satisfying path down which their development has led them and those who’ve been fortunate enough to follow along the way. If you’ll pardon the cliché, it was worth the wait.
Here is the Music Player. You need to installl flash player to show this cool thing!
The second hour starts a little early this time around, and what I mean by that is when you’re like five minutes into hour two and trying to figure out on the tracklisting below what improv-sounding brilliant cut you’re hearing, pay careful attention to when hour one ended. Just 11 seconds from the start of the second half of the podcast. So yeah, that 18-minute wonder gets filed under hour one instead, but it comes with a wink and a nod. I just couldn’t bring myself to file something under hour two without a one at the front of the time stamp, which shows you how sad and compulsive I am because I’ve only been time-stamping these podcasts for two months now. What a dork.
It’s good stuff this. Always is, I suppose, but starting out with Goatsnake into The Machine and then on from there, it builds a flow that makes some sense one into the next in a way that, listening back to it after I put it together, was especially satisfying. Hopefully you agree as you make your way though.
As always, hope you enjoy:
0:00:00 Goatsnake, “Grandpa Jones” from Black Age Blues
0:04:36 The Machine, “Coda Sun” from Offblast!
0:09:55 Galley Beggar, “Pay My Body Home” from Silence and Tears
0:18:51 Steve Von Till, “Night of the Moon” from A Life Unto Itself
0:25:48 Venomous Maximus, “Through the Black” from Firewalker
0:29:42 Black Pyramid, “Open the Gates” from Dead Star 7”
0:34:59 Ape Skull, “A is for Ape” from Fly Camel Fly
0:39:54 Sunder, “Deadly Flower” from Demo
0:43:53 Eternal Fuzz, “Sea Change” from Nostalgia
0:47:37 Geezer, “Long Dull Knife” from Long Dull Knife
0:53:31 Fogg, “Joy of Home” from High Testament
0:59:49 Shiggajon, “Sela” from Sela
1:18:07 Blown Out, “Thousand Years in the Sunshine” from Planetary Engineering
1:34:01 Les Lekin, “Loom” from All Black Rainbow Moon
1:47:14 Undersmile, “Knucklesucker” from Anhedonia
Two weeks after the initial announcement of their awaited fifth album’s Summer release date, Dutch heavy rock trio The Machine unveil a new video from Offblast!, for the song “Coda Sun.” Directed by guitarist/vocalist David Eering, it’s a trippy performance clip captured at Elektra in Sliedrecht and is the premiere audio to be made public from the upcoming full-length, which will be out on Elektrohasch and finds the three-piece of Eering, bassist Hans van Heemst and drummer Davy Boogaard grooving easily around a fuzzed-out central riff, watery vocals trailing the turns as a jammy vibe pervades following an initial verse/chorus split, an extended guitar solo taking hold and carrying the track through the better part of its second half before a quick return to the verse provides a neat bookend reminding of the songwriting still at work no matter how far out The Machine are willing to let their wanderings roam.
I’ll have a review of the album at some point soon, but “Coda Sun” is a welcome first look from The Machine, whose evolution beyond 2012’s Calmer than You Are (review here) stands them out from the heavy psychedelic pack in terms of their chemistry and the fluidity of their jams. I don’t at all mind telling you I’ve been looking forward to the album for some time, and between its lengthy jams at the front and back and the flowing earliest Queens of the Stone Age vibes that persist between, it’s one that’s been well worth looking forward to. So, with the June 1 release date solidified and the promise of more to come, please find the video for “Coda Sun” below, and enjoy:
The Machine, “Coda Sun” official video
There were some technical difficulties during the mixing stage (a.k.a. the phasing phase), a number of various things had to be sorted out, band members were having babies, etc. In other words: it took a while but it’s finished. Needless to say, we’re very proud to present you the final details of Offblast!.
Although we had a lot of positive reactions after posting the April Fools version of the artwork, we still decided to proceed with Jakob Skøtt’s beautiful piece. Wait until you see the fold out vinyl cover. Speaking of vinyl: due to a popular demand for wax discs, the production time for the LP will take a couple of months. But hey, it will be summer by then so we’ll take it easy.
The Machine – Offblast! Elektrohasch Records CD – June 1, 2015 LP – August XX, 2015
01 – Chrysalis (J.A.M.) [16:25] 02 – Dry End [03:05] 03 – Coda Sun [05:34] 04 – Gamma [06:48] 05 – Off Course [06:36] 06 – Come To Light [12:11]
Recorded and produced again by David, we’re super happy with the final result. It is by far our best sounding album to date. And we’re most certainly not done yet.
Posted in Whathaveyou on May 5th, 2015 by H.P. Taskmaster
If you were to go back and look at the two latest posts prior to this one about Dutch trio The Machine, you’d see that it was the 2015 and 2014 most anticipated albums lists, respectively. Their fifth full-length, the title of which has been revealed to be Offblast!, has now been given June (CD) and August (LP) release dates through Elektrohasch, and arriving three years after 2012’s Calmer than You Are (review here), it serves as the longest stretch between outings The Machine have had since they made their debut with 2007’s Shadow of the Machine.
In that 2014 list linked above, I remarked that they were hosting a contest on Thee Facebooks for naming their next record and that my contribution was Come to Light, which sounded all spacey and psychedelic but was also a reference to The Big Lebowski, as was the title Calmer than You Are. They didn’t use it for the name of the album, obviously, but apparently they liked the idea well enough to use it for the final track. Very much looking forward to checking out the closer, “Come to Light,” and thanks to The Machine for the shout and giving me credit for the title.
Artwork by Jakob Skøtt of Causa Sui and details about the release follow, courtesy of the band:
You guys got teased for what is it? Over a year? We can finally give you an update about our new album, which we already dubbed our very own Chinese Democracy.
There were some technical difficulties during the mixing stage (a.k.a. the phasing phase), a number of various things had to be sorted out, band members were having babies, etc. In other words: it took a while but it’s finished. Needless to say, we’re very proud to present you the final details of Offblast!.
Although we had a lot of positive reactions after posting the April Fools version of the artwork, we still decided to proceed with Jakob Skøtt’s beautiful piece. Wait until you see the fold out vinyl cover. Speaking of vinyl: due to a popular demand for wax discs, the production time for the LP will take a couple of months. But hey, it will be summer by then so we’ll take it easy.
The Machine – Offblast! Elektrohasch Records CD – June 1, 2015 LP – August XX, 2015
01 – Chrysalis (J.A.M.) [16:25] 02 – Dry End [03:05] 03 – Coda Sun [05:34] 04 – Gamma [06:48] 05 – Off Course [06:36] 06 – Come To Light [12:11]
Recorded and produced again by David, we’re super happy with the final result. It is by far our best sounding album to date. And we’re most certainly not done yet.
We’re also in the middle of editing a music video for the track Coda Sun, you can expect that one within a week or two.
Oh and remember the album title contest we once had? That was just for our own fun. We already had this title. HA! JJ Koczan sort of won the thing though… Thanks for Come To Light!
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
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
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.
Guitarist/vocalist PaulAllen, formerlyof TheHeads,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 Fuzz, Allen 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
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
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
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
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
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 French, Brothers 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
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‘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
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 Lewis. Davis‘ 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
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
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
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
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
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
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 Lore. Elder on Thee Facebooks, Armageddon Shop, Stickman Records.
18. 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
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
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
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
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
Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small Stone, The 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 Hubbard. Grotto 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 Grotto, Hubbard, 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
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
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
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
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 Pyramid, Blackwolfgoat, 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
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
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
The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse Records, Poisoned 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
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
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
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
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
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
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
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 Saley, Pentagram 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
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
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 Peter. Saturnalia Temple on Thee Facebooks, The Ajna Offensive.
40. 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
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
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
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
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. 1. Stoned Jesus on Thee Facebooks, on Bandcamp.
45. 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
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
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
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 (Elder, Earthless, Wo Fat, Gozu 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
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 Ochs, Freedom 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
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
Listed as the “bastard spawn” of The Gates of Slumber, Wretch 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 Simon, Clark 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
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. Egypt, Endless 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 Graveyard, Greenleaf, The 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 Pee, El 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.
At best, this stuff is a crapshoot. Until something’s just about in your hand, you never really know when or if it’s going to come out. But they’re fun, and it’s exciting to think of good music being released, so you do it anyway. On the whole, I don’t think I did that badly between the two lists. Of course there was stuff that wasn’t anticipated — Colour Haze‘s new album, To the Highest Gods We Know, walks by and waves en route to its Dec. 15 release date — but for what we got, it worked out well.
That’s the general overview, but because I hold myself to a standard of accountability more rigorous than, say, my nation’s torture-happy secret police, here’s a full rundown of the list as it was, now (as then), presented alphabetically and with the titles listed as they were at the time:
42 of 2014’s Most Anticipated Albums — REVISITED!
1. Acid King, TBA: Word is Acid King‘s first in 10 years was mastered last month and will be out in Feb. 2015 on Svart.
2. Alcest, Shelter: Was way less post-black metal than their prior stuff, and I think it threw a lot of people off. Not a bad record (review here), but worked against lofty expectations.
3. All Them Witches, TBA: I remember including this because they said they were going back into the studio. Turned out they were recording the Effervescent EP/jam (review here). No regrets.
4. Alunah, TBA: Their new one was their Napalm Records debut, Awakening the Forest (review here). It was awesome. Score one for the list.
5. Blackwolfgoat, Drone Maintenance: Yeah, it was cheating to include this since I was there when it was recorded. Still a killer record though.
7. Conan, Blood Eagle: What does complete dominance sound like? Sounds like Conan to me.
8. Eggnogg, You’re all Invited: Was dying to hear what the Brooklyn trio came up with. No word on it yet.
9. Elder, Live at Roadburn 2013: Still don’t have a copy of this. Maybe I can pick one up when I get their forthcoming third studio album, Lore, out early next year.
10. 40 Watt Sun, TBA: More like “MIA” than TBA. Anyone heard from these guys?
11. The Golden Grass, TBA: Their self-titled debut (review here) was one of the finest first-albums I heard all year.
12. Greenleaf, Trails and Passes: Any Greenleaf is a treat. Trails and Passes (review here) was no exception.
13. Grifter, The Return of the Bearded Brethren: Solid follow-up (review here). Grifter‘s humor and lack of pretense serves them well.
14. Hull, TBA: Well, they had the Legend of the Swamp Goat single (review here) to coincide with their Euro tour. Waiting on the album.
15. Lowrider, TBA: I wouldn’t mind if this materialized right now. Or now. Or now. Or 2015. Or 2016.
16. The Machine, TBA: Might’ve jumped the gun on this. Hopefully in 2015.
17. Mars Red Sky, TBA: Easily one of the year’s best records. Stranded in Arcadia (review here) continues to get regular spins.
18. Mos Generator, Electric Mountain Majesty: A highlight of early 2014. Darker record (review here), but inarguable songwriting.
19. Mr. Peter Hayden, Archdimension Now: Fitting end to their trilogy and hopefully not their last outing.
20. Pallbearer, TBA: Their Foundations of Burden has topped year-end lists already. It’s still on my desktop. I’ve barely listened to it.
21. Papir, IIII: Very, very good. They seem to be developing, but IIII (review here) was a satisfying chronicle.
22. Pilgrim, TBA: Can’t say II: Void Worship (review here) wasn’t a win for the band since they did a month on the road with Spirit Caravan. Maybe overshadowed by more recent stuff, but a quality record.
23. Radio Moscow, Magical Dirt: Their incendiary heavy blues was in top form on Magical Dirt (review here). Glad I got to see them live once or twice (or 18 times) as well this year.
24. Sigiriya, Darkness Died Today: Also residing on my desktop. A vocalist switch caught me off guard and I feel like I still haven’t given it a fair shot.
25. Sixty Watt Shaman, TBA: Really? I had Sixty Watt on the list? That seems ambitious. No doubt they’ll have something new eventually, but that was a pretty high expectation it would be out this year.
26. Skraeckoedlan, Gigantos: If this came out, no one told me. Seems like not yet.
27. The Skull, TBA: A stunner. As much as I looked forward to it, For Those Which are Asleep (review here) exceeded the excitement.
28. Sleep, TBA: Included as wishful thinking. Their The Clarity single (review here) was something to celebrate.
29. Slough Feg, Digital Resistance: I was really looking forward to this one. Kind of fell off with Digital Resistance (review here) after a while. Hard to argue with Slough Feg though.
30. Snail, Feral: Waiting on it for 2015.
31. Steak, TBA: The London four-piece followed two strong EPs with Slab City(review here), as heartfelt a showing of desert rock loyalty as I’ve heard.
Damn, this was a long list.
32. Stubb, TBA: I had my doubts it would arrive, but Stubb‘s Ripple Music debut, Cry of the Ocean (review here), found welcome when it did.
33. SunnO))) & Ulver, Terrestrials: One of two collaborations SunnO))) would have out in 2014. Heard a lot about it at the beginning of the year. Less now.
34. Tombs, Savage Gold: Good band, doing interesting stuff. I have a hard time transitioning from appreciating it to actually being a fan.
35. Triptykon, Melana Chasmata: Sorry, but when Tom G. Warrior puts out a record, you hop to. I didn’t review it to save myself having to buy a copy, but dug it anyway.
36. Truckfighters, Universe: I feel like this one picked up steam as the year went on. I didn’t go back to it as much as its predecessor, but Universe (review here) was a logical next step for them.
37. Valley of the Sun, Electric Talons of the Thunderhawk: Nothing to complain about with the Ohio three-piece’s debut (review here) or the effort they put into supporting it throughout the year.
38. Weedeater, TBA: Nope. At least I knew it at the time.
39. Wolves in the Throne Room, TBA: Surprised a lot of people when Celestite (review here) was a companion piece for their last record instead of a new album proper, myself included.
40. The Wounded Kings, Consolamentum: 2014 was quite a year for doom, and The Wounded Kings were right there at the start. This lineup may be gone, but Consolamentum (review here) holds up.
41. Yawning Man, Gravity is Good for You: Rumor is guitarist Gary Arce has a few projects in the works for next year. Not sure if this is one of them or not.
42. YOB, TBA: We certainly know how this worked out, don’t we? If the votes in the Readers Poll are anything to go by, yes. Clearing the Path to Ascend (review here) was a landmark, and this won’t be the last year-end list around here on which YOB make a showing.
The list from July had a few winners on it as well — Apostle of Solitude, Blues Pills, Bongripper, Brant Bjork, Earth, Lo-Pan, The Well, Witch Mountain, etc. — but I think we’ve probably got enough as it is.
With the year starting to wind down, I’ll be putting together my Top 30 Albums of 2014 in the next week or so. Please keep an eye out for that, and thanks for reading.
Posted in Features on January 13th, 2014 by H.P. Taskmaster
Getting ready to type this list is like standing on the precipice of a canyon. Maybe that’s a little dramatic, but you get the idea. Last year was an all-out assault of music. I couldn’t have heard it all even if I’d wanted to, and while it’ll probably be June before I feel like I’m sufficiently caught up on 2013, the new-car-smelling rush of 2014 is already underway.
And the only thing to do is press on — though I’ve tried on several occasions, I can’t seem to stop time and review everything that I’m fortunate enough to encounter — and that means glancing ahead to what’s coming in 2014. I know I said so before, but once again, Happy New Year.
One of my favorite things to do is to look forward to a new album. I consider it a sign of the endurance of the human spirit not only that new creative works are being completed and distributed at such a constant rate, but that we can still anticipate the resonance of those works upon their arrival. I don’t mind telling you this is the largest of any such list I’ve ever written for this site. Even as I start it, I’m finding more to add, and I’m sure when it’s done it won’t be complete. So it goes.
There’s more to say, but I’ve delayed enough. We’ll go alphabetically, which is only unfortunate because it puts YOB last. Thanks in advance for reading.
1. Acid King, TBA
We start the same place we started in 2013, with Acid King. The San Francisco giants have sworn up and down they’ll have a new record out this year, and while I’ve yet to see any solid word of its coming manifest, I remain hopeful that it happens. Of course, that was also pretty much the case going into 2013, but they toured Europe last fall and even came out to the East Coast for a show and played some new material (review here), so if it’s to be that IIIfinally gets a follow-up some nine years later, it’s worth keeping an eye out ahead of time. Acid King on Thee Facebooks.
2. Alcest, Shelter
To be released this coming week on Prophecy Productions, the fourth Alcest full-length, Shelter (review here), is billed as a major sonic turn away from the France-based outfit’s black metal influences toward brighter sonic fare. It is that, but the nostalgic melodies and crucial emotionality that has always been the root of Alcest’s sound remains intact. It will be interesting to see what the response is upon its release, but Shelteris an early point of fascination for 2014. Alcest on Thee Facebooks.
3. All Them Witches, TBA
I’m not sure what they’re doing in the studio, if it’s a single, an EP or a full-length album, but this past weekend, on Jan. 11, Nashville heavy psych rockers All Them Witches posted the above picture with the simple tagline “Recording.” Fair enough. It seems soon for them to have another LP after 2013’s excellent Lightning at the Door (discussed here), but that album seemed to arrive soon after 2012’s Our Mother Electricity (reissued by Elektrohasch in 2013; review here), so who knows? It’ll be fun to find out either way. All Them Witches on Bandcamp.
4. Alunah, TBA
UK doomers Alunah will make their debut on Napalm Records with yet-untitled third album. With wider distribution at their disposal than that received by their 2012 outing, White Hoarhound (review here), I wouldn’t be surprised to see Alunah really leave a mark on 2014, but more fascinating to me than how many people get to hear it is how the band — who’ve swapped out bassists since their last outing — will follow-up the tremendously memorable songs on White Hoarhound. No doubt they can do it, it’s just hard not to be impatient. Alunah on Thee Facebooks.
5. Blackwolfgoat, Drone Maintenance
I was fortunate enough to be invited down to Amps vs. Ohms in Boston when Blackwolfgoat (aka Darryl Shepard, also of Black Pyramid, The Scimitar, ex-Hackman, Roadsaw, etc. and a new project I don’t think I’m allowed to talk about yet) was tracking the follow-up to 2011’s Dronolith, which was released on this site’s in-house label, The Maple Forum. Raw tracks can sometimes prove to tell little about the finished product of an album, but each piece on Drone Maintenancethat I heard had a distinct atmosphere, and “Cyclopean Utopia” was heavy enough on its own to warrant inclusion here. Rumor also has it that Black Pyramid offshoot The Scimitar will release a studio debut this year. Blackwolfgoat on Bandcamp.
6. Causa Sui, Live at Freak Valley
Holding the promise of over 90 minutes of live-recorded material from the 2013 Freak Valley festival in Germany, Causa Sui‘s Live at Freak Valley will see release through the band’s own El Paraiso Records and should provide further insight as a companion piece to their 2013 studio full-length, Euporie Tide. As that album boasted such an engaging live and progressive feel, successfully meshing desert and krautrock influences, I’d expect no less from the live outing, which though they’ve put out studio jams before — their three-volume 2008-2009 Summer Sessionsis a joy worthy of the season — is their first official concert recording. El Paraiso Records website.
7. Conan, Blood Eagle
Six devastating tracks that both continue Conan‘s sonic dominance and usher in a new era for the band. Not only is their second full-length, Blood Eagle, their debut on Napalm Records, but it’s also the first Conan LP to be recorded at Skyhammer Studios, which was built and is owned by guitarist/vocalist Jon Davis. Producer Chris Fielding worked with the band previously on 2012’s Monnos (review here) and 2010’s Horseback Battle Hammer EP (review here), and Blood Eagle benefits from that now familiar collaboration, bridging the gap between the faster, catchy sides of Monnos and the complementing ultra-plod of its longer tracks. Album opener “Crown of Talons” also ranks among the heaviest things they’ve ever done, and “Foehammer” takes it’s name from Gandalf’s sword, Glamdring, so I don’t know what more you could ever ask of a full-length than that. Conan on Thee Facebooks.
8. Eggnogg, You’re all Invited
With the addition of bassist Corey Dozier to the rhythm section with drummer Jason Prushko, Brooklynite doom-funk stompers Eggnogg have been able to move vocalist Bill O’Sullivan to guitar from bass, giving Justin Karol a chance to act all the more as a lead player. How this new four-piece dynamic might play out on You’re all Invited — or even if Dozier played on it — remains to be seen, but from what I’ve caught live, it’s turned them into a thicker, fuller-sounding band, and on new material and old, Eggnogg are coming into their own. They’re still a better band than they know, and one hopes they can get some road time in as well as release the LP to continue to refine their approach. Eggnogg on Thee Facebooks.
9. Elder, Live at Roadburn 2013
Granted it’s been available through Burning World Records digitally since last November, but Elder‘s Live at Roadburn 2013 is set for physical issue early this year through the label, and having stood in front of the stage to witness the set myself at Het Patronaat in Tilburg and then seen the line running outside the venue and down the block, I can tell you it’s a beast. Put it on vinyl with cover art by Adrian Dexter and maybe a photo or two by yours truly and you’ve got a good way to get a preview for what their sets at the two Desertfests might hold this year. Elder on Thee Facebooks.
10. 40 Watt Sun, TBA
Speaking of Roadburn, emotive UK doomers 40 Watt Sun are set to make a return appearance at the fabled fest in the Netherlands, and the word was they’d do so with material from the follow-up to their 2011 Metal Blade debut, The Inside Room (review here), which established the band, led by guitarist/vocalist Patrick Walker (Warning), as a deeply affecting act with a rich sonic texture. No word of an exact release date for the sophomore effort yet, but one expects it will receive no shortage of fanfare prior to and upon its arrival. 40 Watt Sun on Thee Facebooks.
11. The Golden Grass, TBA
Brooklyn trio The Golden Grass‘ One More Time b/w Tornado debut single was one of the best short releases of 2013, and the sunshiny classic heavy rockers will look to follow it with a first long-player this year. Recording is completed — the tracking was helmed by Andréa Zavareei, who also did the 7″ — and so is mixing, done by Jeff Berner (Naam, etc.), so with mastering in progress, hopefully it’s not too long before The Golden Grass can offer a right-on cure for wintry blues. It will be interesting to hear how they sustain and work within their positive vibes over the course of a complete LP. The Golden Grass on Thee Facebooks.
12. Greenleaf, Trails and Passes
Trails and Passes will be Greenleaf‘s first outing since 2003’s Secret Alphabets not to be fronted by Oskar Cedermalm (also of Truckfighters) and also finds the Swedish unit both with a new drummer (hello, Sebastian Olsson) and down from two guitars to one. It was five years between their third album, 2007’s Agents of Ahriman and 2012’s Nest of Vipers (review here), so with a quicker turnaround and a stripped-down songwriting approach that seems geared more toward a live-sounding heavy rock presentation, Greenleaf could easily be positioning themselves as a full(er)-time touring act. The more the merrier. Greenleaf on Thee Facebooks.
13. Grifter, The Return of the Bearded Brethren
UK power trio Grifter surprised some with the quality of songwriting on their 2011 self-titled debut (review here), the lacking pretense of which was in proportion to its classic heavy rock influence, but The Return of the Bearded Brethren, which is set to release on Ripple Music, won’t have the advantage of sneaking up. If they’re throwing down a gauntlet, the confrontational pose of the shirtless tattooed beardo on their LP cover would seem to indicate it’s a considerable one indeed, but I wouldn’t be shocked if Grifter made following up on their self-titled sound as easy as they made infectious hooks sound the last time out. Grifter on Thee Facebooks.
14. Hull, TBA
Down from a five-piece to a foursome after having lost one of their three guitars since the release of 2011’s stellar second LP, Beyond the Lightless Sky (review here), 2014 marks an interesting point for singular Brooklyn post-thrashers Hull. With a Roadburn appearance slated and a limited vinyl reissue of their 2007 Viking Funeral debut EP in hand, they’ll look to bring their conceptual songwriting into a new presentational arc, and while that’s a fascinating prospect, I’m also looking forward to their new album because it promises to be heavy as fuck whenever it happens to arrive, hopefully by the end of the year. Hull on Thee Facebooks.
15. Lowrider, TBA
Were this list numbered in anticipatory rather than alphabetical order, Lowrider would be much closer to the top than lucky number 13. The Swedish four-piece will be recording their first outing since 2000’s genre-landmark Ode to Io this year after reuniting on stage at Desertfest 2013 — they’ll return to London next month with Dozer — and while I don’t know if it’ll be out by the time 2014 is done, I do know that the sheer prospect of a new Lowrider makes this year much better than it would be otherwise. I already invited myself to Sweden for an in-studio. More to come. Lowrider on Thee Facebooks.
16. The Machine, TBA
A couple weeks back, Dutch heavy psych rockers The Machine — whose split with now-defunct countrymen Sungrazer (review here) was my favorite short release last year — held a poll on their Thee Facebooks page to name their upcoming fifth album, which will follow 2012’s Calmer than You Are (review here) on Elektrohasch. My suggestion? Come to Light. It has the advantage of sounding psychedelic with an undertone of enlightenment to speak to the band’s continuing progression and it keeps with the prior album in being a reference to The Big Lebowski. No word on whether or not they’ll use it, but I’ve got my fingers crossed. The Machine’s website.
17. Mars Red Sky, TBA
Currently in the mixing stage, the second Mars Red Sky long-player will arrive on the heels of 2013’s Be My Guide EP (review here) and the Bordeaux fuzz trio’s self-titled 2011 debut (review here) and a host of tours and festival appearances. While their plans to record in the California desert reportedly didn’t pan out, the trio put much of the album to tape over the course of a week in Brazil following dates in South America, so it should boast plenty of sunshine either way. The album is due for release in April — a pro-shot live video of the new song “Satellites” was recently unveiled — and Mars Red Sky will also play at Hellfest in their native France in June. Mars Red Sky on Bandcamp.
18. Mos Generator, Electric Mountain Majesty
The Washington trio’s first album for Listenable Records and their second since picking back up after several years of inactivity while guitarist/vocalist Tony Reed concentrated on Stone Axe, Electric Mountain Majesty is done and mastered as of Jan. 5. Recorded by Reed himself, it will follow a pair of live outings in 2013 (reviews here and here) and 2012’s infectious return, Nomads(review here). I am fully prepared to have these songs stuck in my head for most of 2014, so bring it on. A March release has been floated, which would come ahead of an appearance at Freak Valley in late May. Mos Generator on Thee Facebooks.
19. Mr. Peter Hayden, Archdimension Now
Triumphantly creative Finnish cosmic doomers Mr. Peter Hayden will complete a trilogy with Archdimension Now that began with 2010’s Faster than Speed (review here) and 2012’s single-song 68-minute LP, Born a Trip (review here). Crushing tones and a formidable scope don’t seem like unreasonable expectations, though what really interests me is how the Satakunta five-piece will expand on the sound of their last album, which still seems to reveal something new each time I put it on. Their new single “We Fly High,” was streamed here recently and bodes well. Mr. Peter Hayden on Bandcamp.
20. Pallbearer, TBA
Pallbearer have toured hard since their 2012 debut, Sorrow and Extinction (review here), hit a nerve with doomers across the globe, and the four-piece from Arkansas are set to begin recording their next LP (presumably) for Profound Lore in February. If that puts a release for sometime in late Spring/early Summer, I would imagine it will come coupled with no shortage of live dates, since the band seems most at home on tour. Should be intriguing to have a document of how all that stage time has manifested in solidifying and adding confidence to their approach, and this is another one preceded by much anticipation. Pallbearer on Thee Facebooks.
21. Papir, IIII
It would seem I have some purchases to make in order to catch up with Danish heavy psych jammers Papir. Aside from their recent collaboration with Electric Moon, the upcoming IIII will sure enough be their fourth album. Available now to preorder through El Paraiso Records, it is a vinyl-ready 47 minutes of smoothly shifting transitions between lush atmospherics and driving fuzz-heavy rock, ready to stand in line with progressive European instrumentalists like 35007, My Sleeping Karma and indeed their label honchos, Causa Sui. I had caught wind of 2013’s IIIpreviously, but deeper back catalog investigation is definitely warranted. Papir on Thee Facebooks.
22. Pilgrim, TBA
Just before they left to tour Europe with Windhand, Providence, Rhode Island, doomers Pilgrim recorded their sophomore full-length at Moonlight Mile Recording in scenic Jersey City, NJ. After the huge response garnered — and, I should say, earned — by their 2012 debut, Misery Wizard, the band jumped from Alan Averill of Primordial‘s Metal Blade imprint, Poison Tongue Records, to Metal Blade proper for the new one, which along with Pallbearer, 40 Watt Sun, Serpent Venom and The Wounded Kings (and no doubt others) makes a prospect for a thoroughly doomed 2014. So be it. Pilgrim on Thee Facebooks.
23. Radio Moscow, TBA
As I type these words, heavy rockers Radio Moscow are mixing their yet-untitled fourth album (fifth if you count 2012’s 3 & 3 Quarters, which was comprised of early unreleased material) at Big Fish Recording in Encinitas, CA. Details on the release are sketchy at best at this point, and by that I mean nil, but at least there’s progress being made, and since it’s still January, it seems entirely likely the album will surface one way or another in the next 11 months, barring disaster. The bombastic blues jammers led by Parker Griggs toured Europe last fall and rumor is there’s a run in the works for the US at the end of February into March. Radio Moscow on Thee Facebooks.
24. Sigiriya, Darkness Died Today
What’s not to like about a new Sigiriya album? The UK four-piece premiered “Tribe of the Old Oak” from Darkness Died Todayhere last month, and in addition to the considerable pipes of new vocalist Matt Williams, the track showcased a somewhat moodier psychedelic vibe from the band, who continue to distance themselves from Acrimony, of which bassist Paul Bidmead, guitarist Stuart O’Hara and drummer Darren Ivey were members, while also exploring new avenues from those of Sigiriya‘s debut, 2011’s Return to Earth(review here). I haven’t heard the whole thing yet, but they set a high standard last time. Sigiriya on Thee Facebooks.
25. Sixty Watt Shaman, TBA
Reason to Live, was released by Spitfire Records (remember them?) in… wait for it… 2002. Some 12 years ago. Now, these dudes have been kicking around in other bands since Sixty Watt Shaman sort of melted away in the manner that underrated bands often unfortunately do, but with the announcement of their appearances this year at Desertfest (info here) in April and The Eye of the Stoned Goat 4 in May (info here) came word of a new studio release. EP or LP unknown at present. As killer as Reason to Live was, it just doesn’t seem fair to expect Sixty Watt Shaman to be the same band they were more than a decade ago. As such, I don’t know what’s coming, but I’m keen to find out. Sixty Watt Shaman on Thee Facebooks.
26. Skraeckoedlan, Gigantos
The 2011 debut from upstart Swedish heavy-hitters Skraeckoedlan, titled Äppelträdet (review here), was recorded by Oskar Cedermalm of Truckfighters and had much of that band’s fuzzy compression in blend with their own Mastodon-ic plod. It was a combination that worked so well I thought for sure the young outfit would return to Studio Bombshelter for their next outing, but no dice. As a result, I’m not sure what to expect from Gigantos, but I dug what I heard in a recent live video from them, so we’ll see how it turns out when the LP is done and I’m not about to judge either way until then. Skraeckoedlan on Thee Facebooks.
27. The Skull, TBA
I have no interest in downplaying any of the original members of Trouble‘s contributions to that legendary Chicago doom band (nor the work they’re doing now or those contributing to it), but there can be no question that Eric Wagner‘s voice is a signature element, and right now, that’s something The Skull has over the outfit from whence they sprang. Add to that Ron Holzner‘s bass and Jeff “Oly” Olson‘s drums and you’re well on your way to some foundational heavy. Among the best signs is that The Skull were recording with Billy Anderson (Sleep, the Melvins, Acid King, etc.), who obviously knows his shit and is likely to capture their sound as it should be: Completely doomed. Also keep an eye out for Wagner‘s side-project, Blackfinger, who have an LP coming. The Skull on Thee Facebooks.
28. Sleep, TBA
This would be the mother of them all, I guess. A new Sleep album. In addition to hinting at new studio outings by his own three-piece Om and Matt Pike‘s High on Fire, bassist/vocalist Al Cisneros let it slip casual-style in an interview somewhere that Sleep were working on new material, thus snapping my Thee Facebooks feed in half. Fair enough. Working on material doesn’t mean we’ll see a record this year, or at all, but obviously if there’s a chance a new album might happen (I’ve been nerding out about the idea for a while; see here and here), it would be proof of justice in the universe. Seems an obvious thing that Billy Anderson would record this as well, and all the better. Can the Sons of Sabbath prove there’s life after Dopesmoker? For now, only the Antarcticans know. Sleep’s website.
29. Slough Feg, Digital Resistance
Slated for release through Metal Blade — they’re taking preorders — what if I’m not mistaken is the 32nd Slough Feg LP is due on Feb. 18. As much as I’m looking forward to the release of the record itself, having very, very much enjoyed 2010’s The Animal Spirits (review here), I’m even more interested to see if I finally get up the gumption to interview guitarist/vocalist Mike Scalzi. Something about a dude who doubles as a philosophy professor and who’s been putting out records in his band since I was nine and long before anyone gave a shit I’ve always found intimidating. We’ll see if I’m up to it this year. @Slough_Feg.
30. Snail, Feral
Last summer, West Coast riffers Snail announced the departure of guitarist Eric Clausen, which means that their fourth outing, Feral, will be their first as the trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut full-length (reissue review here). Should be interesting to see how the shift to their original lineup changes the tenor of Feral as opposed to their two albums with Clausen, 2009’s comebacker Blood (review here) and 2012’s Terminus (review here), but as the first audio from the record begins to surface, Snail‘s sound seems to still very much have its core intact. Terminusbrought in something of a rawer heavy metal influence coming off the languid, dreamy Blood, but as they’ve been back together now for going on half a decade, no doubt a few more twists are in store. Snail on Thee Facebooks.
31. Steak, TBA
Quickly emerging at the fore of London’s enviable up and coming heavy rock scene — and, in the case of guitarist Reece Tee, helping shape it as one of the architects of Desertfest — Steak are set to debut this year on Napalm Records with what will be their first full-length following two EPs, 2012’s Disastronaught (review here) and 2013’s Corned Beef Colossus (review here). They’ve put in time on tour — they’ll play in Spain with Monster Magnet and in London with Lowrider and Dozer in February — and seem to be ready to take the next step in releasing an album, and after the conceptual elements of both EPs, I’m eager to see where the next chapter of their story goes. Steak on Bandcamp.
32. Stubb, TBA
Tracking is to begin a few weeks from now for Stubb‘s second album at Jon Davis of Conan‘s Skyhammer Studios. After the release of their 2013 single, Under a Spell (review here), and the departure of drummer Chris West, guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland acquired Tom Fyfe to fill the position, and subsequently found a label home on Ripple Music. It’ll be a different Stubb than they were on their 2012 self-titled debut (review here), but the fuzz runs strong in them however the changes might manifest in the finished product from the studio, and I can’t even think of “Under a Spell” without hearing the chorus in my head, so yeah, I’m on board.Stubb on Thee Facebooks.
33. SunnO))) & Ulver,Terrestrials
A collaboration between drone lords SunnO))) and Norwegian post-black metal progenitors Ulver probably isn’t the kind of thing that’s going to make you crush a beer can on your forehead and call your bros to come over and check it out (actually, I don’t know what kind of music does that, but it probably sucks), but Terrestrials has the potential to be one of 2014’s most unique releases all the same. After Ulver‘s delving into orchestral minimalism on 2013’s Messe I-IX, it’s really anyone’s best guess what this will sound like when it comes out on Feb. 4. SunnO))) explored some cinematic ground with 2009’s Monoliths and Dimensions (review here), but still, to speculate seems like setting myself up to be a fool later. Southern Lord Recordings website.
34. Tombs, Savage Gold
For their third album for Relapse, Brooklyn three-turned-four-piece Tombs headed south to Florida to record with Hate Eternal‘s Erik Rutan. If vague Thee Facebook posts are anything to go by, the resulting LP is 57:18 and titled Savage Gold. I’m not sure when it’ll be out, but as the follow-up to 2011’s widely and loudly lauded Path of Totality, whatever it’s called and whenever the new Tombs shows up, chances are it’s going to receive as much extremity as it doles out. Tombs on Thee Facebooks.
35. Triptykon, Melana Chasmata
Heirs to the black, shiny and probably spiky throne of Celtic Frost, ultra-dark metallers Triptykon will answer 2010’s Eparistera Daimones (review here) with Melana Chasmata, which though it’s somewhat easier to type is no doubt even more gleefully excruciating a listen. As with the debut, they’ll mark the release with an appearance at Roadburn (info here). No audio has surfaced yet, but with a release date set for April 24, that can’t be too far off. Will Tom G. Warrior push Triptykon further away from their Celtic Frost lineage? I don’t know, but if there’s beauty in darkness, he’s the one to find it. Triptykon on Thee Facebooks.
36. Truckfighters, Universe
Feb. 4 is the stated release date for Universe (review here), the fourth album from Örebro fuzzdudes Truckfighters. The Swedish three-piece explore ground that at the same time is more emotionally complex than their last outing, 2009’s Mania (review here), and also more straightforward in the songwriting, resulting in a collection of tracks not necessarily as upbeat as some of what they’ve done in the past, but ultimately working toward a different kind of realization. No doubt hard touring will follow throughout the rest of this year, so if you want to catch Truckfighters, you’re likely to get your chance. Truckfighters on Thee Facebooks.
37. Valley of the Sun, Electric Talons of the Thunderhawk
Like Truckfighters, Midwestern heavy rockers Valley of the Sun will issue their new album, the somewhat cumbersomely-titled Electric Talons of the Thunderhawk on Fuzzorama Records, and the two acts are slated to tour together in Europe from Feb. 8 through March 14 ahead of Valley of the Sun‘s April 1 release date. If you contributed to their crowdfunding campaign, you might already have a copy of Electric Talons of the Thunderhawkon vinyl, but either way, the official release is worthy of note, particularly for as much growth as the full-length (their debut) shows from 2011’s already-impressive The Sayings of the Seers (review here). Valley of the Sun on Thee Facebooks.
38. Weedeater, TBA
Not certain how to tell you this, but I’m not sure we’re going to see a new Weedeater album this year. Between the North Carolina sludgers’ busy tour schedule and Season of Mist reissuing their other four albums, it seems like an awful lot for Weedeater to then also write and record a follow-up to 2011’s Jason… the Dragon (review here). I’m not saying it can’t be done — hell, for all I know they’ve finished writing and the studio is booked — but if a new Weedeater arrives, although it was mentioned with their West Coast tour dates that start this week, right now it seems like it would be later in 2014 or maybe early 2015 by the time it gets here. Hey, I could be wrong. I’d prefer it that way. Weedeater on Thee Facebooks.
39. Wolves in the Throne Room, TBA
They put out BBC Session 2011 Anno Domini last year as a kind of holdover release, but last month brought news of new songs for 2014, which would be Wolves in the Throne Room‘s first since Celestial Lineage in 2011. They toured their heaviest yet that record, so a bit of a break wasn’t necessarily out of order, but for an act who inspire the kind of loyalty that Wolves in the Throne Room do, three years can be a long time. Not much by way of specifics on the new release, whether it’s a full-length or not, when they might record, where, or when it might surface, but we know they’ve got new material, and that’s a step. Wolves in the Throne Room’s website.
40. The Wounded Kings, Consolamentum
Due Feb. 24 on Candlelight, Consolamentum is the fourth long-player in the tumultuous career of British progressive doomers The Wounded Kings, who despite a seemingly endless series of lineup shifts have managed to release their four albums in a span of six years. With guitarist/founder Steve Mills at the core and the eerie but powerful vocals of Sharie Neyland over top, The Wounded Kings have tapped into a doom quick to separate itself from the pack, and Consolamentum conjures some of their most oppressive atmospherics yet, with expansive cuts like “Gnosis” and “The Silence” fed into by ambient passages and interludes. The Wounded Kings on Thee Facebooks.
41. Yawning Man, Gravity is Good for You
Desert legends Yawning Man released a split with Fatso Jetson in 2013 — only appropriate, since the two acts share Mario Lalli — but Gravity is Good for You, like whatever Acid King might have in store, is a holdover from last year’s list. Guitarist Gary Arce of the long-running and hugely influential instrumental jammers has reportedly been in the studio with Lalli and Third Ear Experience drummer Erik Mouness (video surfaced), but there’s yet to be concrete word on when Gravity is Good for You, reportedly a double album and the band’s follow-up to 2010’s Nomadic Pursuits(review here), might be finished. Got my fingers crossed it’s this year. Yawning Man on Thee Facebooks.
42. YOB, TBA
Feels like a terribly long way to go only to get to one of the albums I’m most looking forward to hearing, but the alphabet works in mysterious ways sometimes. On Jan. 7, Eugene, Oregon, überdoomers YOB posted the following on their Thee Facebooks: “Had an amazing YOB practice. The new songs are fully in focus. 2 mega DOOM bludgeoners, one “faster” song, and the most beautiful arrangement we’ve ever written to close. 4 songs, 55 minutes.” Last I heard, they were to begin recording for their seventh (man, time flies) LP this week with a release in the months to follow, and since YOB haven’t put out an album since 2004 that I didn’t pick it as my Album of the Year, you can bet your ass I’m looking forward to what they do next. Particularly that part about “the most beautiful arrangement we’ve ever written.” Sold. YOB on Thee Facebooks.
Others to keep an eye on, some mentioned above, some not:
Ararat, III (Another 2013 holdover) The Atlas Moth, The Old Believer (Out in June) Brant Bjork, Jakoozi Blackfinger, Blackfinger Godhunter, City of Dust Ice Dragon (Some older releases are being physically pressed and new stuff is never far off) King Buffalo (Their demo ruled) King Dead (First audio just surfacing, but holds promise) Lo-Pan (Been a while in the making at this point, hopefully 2014) Pet the Preacher, The Cave and the Sunlight The Proselyte (EP coming on Gypsyblood Records) Rainbows are Free, Waves ahead of the Ocean Saint Vitus (Began writing last Fall) Salem’s Pot, Lurar ut dig på prärien The Scimitar (Debut from Black Pyramid offshoot) Seedy Jeezus (Recording in Australia now with Tony Reed) Serpent Venom, Of Things Seen and Unseen Spirit Caravan (Nothing announced but you never know)
Various Artists, Songs of Townes Van Zandt Pt. II Wino & Conny Ochs (Maybe, maybe not) The Wisdoom, Hypothalamus Wo Fat (New album recorded)
I’m quite positive that the first thing to happen after this is posted is that someone will chime in with something I forgot. At least I hope that’s what happens. As large as this list has turned out to be (much, much larger than I thought it would be when I started taking notes for it), there’s no way it could cover everything, and I hope if there’s an upcoming release in particular that you’re looking forward to, you’ll please let me know in the comments.
Thank you so much for reading and for all of your support. Here’s to an amazing 2014.