Posted in Whathaveyou on March 26th, 2013 by H.P. Taskmaster
Crossing genre lines over a course of three days in Wroclaw, Poland, the fifth annual Asymmetry Festival is set to take place at the Centennial Hall from May 2 to May 4. The lineup includes native Polish acts — even Vader get a slot — alongside a host of others from around Europe and the US, from Ufomammut to Melvins Lite, Agalloch to razor-happy Norwegian black metallers Shining. I don’t know how many people reading this are going to make it to Wroclaw for the fest when it kicks off, but sometimes I just like to post about stuff happening in other places to remind myself it’s a big world and awesomeness isn’t relegated to any one geographic region or other.
Dig the Malleus poster and fest info below:
Asymmetry Festival 5.0
The 5th edition of Asymmetry festival will run from Thursday May 2 to Saturday May 4 2013, at the Centennial Hall in Wroclaw, Poland, marking 3 days with some of the bravest and most influential artists in heavy music.
Legendary and genre-defyning acts like MELVINS, MAYHEM and CULT OF LUNA are only some of the highlights of the diverse main stage program, also featuring oppressive sludge/noisecore of Belgian cult AMENRA, hypnotic gloomy cinematic excursions of THE KILIMANJARO DARKJAZZ ENSEMBLE, black metal undertones of SHINING and the almighty death metal of Polish fame VADER, just to name a few. 2 other stages will present bands that are highlights of the modern European scene. Above all it’s the music quality that is at the heart of the festival philosophy.
Taking place in an incredible venue – monstrous monument of modernism – Asymmetry Festival provides fans of alternative music with one-of-a-kind music and visual experience and amazing atmosphere. This is where fans and connoisseurs of heavy/experimental/noise music from east and west meet to enjoy unpretentious and relaxed vibe of real underground.
We aim to keep the spirit of alternative way of thinking alive by encouraging an open dialogue about art, music and its role in modern culture. Wroclaw itself is a beautiful city full of attractions, bars clubs and great parks to get some rest after the hyper loud concerts. It also offers countless possibilities of reasonably priced accommodation. All these makes Asymmetry and ideal gate away destination. It’s a chance to discover different, less commercial and more focused festival experience. This festival is organized be people who above all love music and want to create an event that brings music and fans together on a new, more experiential level.
02.05.2013 | main stage: Nevesis, Balázs Pándi , Agalloch, Mayhem, Matadorem, Vader.
03.05.2013 | main stage: IconAclass, The Kilimanjaro Darkjazz Ensemble, Shining, Cult of Luna, Astronautalis.
04.05.2013 | main stage: Von Magnet, Matallic Taste of Blood, Amenra, Melvins Lite, Ufomammut.
Festival pass (3 days) ticket – 50 euro Single-day ticket, 1st day (02.05.2013) – 24 euro Single-day ticket, 2nd day (03.05.2013) – 24 euro Single-day ticket 3rd day (04.05.2013) – 17 euro
Festival Pass and Single-day tickets are available atwww.asymmetryfestival.pland at Ticketpro, Eventim, eBilet oraz Ticketportal sale points. The prices will change after May 1st, check our website for actual prices.
The purchase of a ticket will grant the attendants various discounts around Wroclaw, including selected hotels and other accommodations, museums, art galleries, cafeterias, restaurants and other recreational spots.
Posted in Whathaveyou on January 8th, 2013 by H.P. Taskmaster
Bit of a roundup here of adds to the 2013 London Desertfest lineup. Since the New Year hit, Desertfest has announced a slew of bands for its second incarnation, among them American acts Cough and Witch Mountain, Greek rockers Planet of Zeus, Italian cosmic doomers Ufomammut and local slingers Whoremoan. Info follows culled from the Desertfest website:
Taking their cues from the Jedi knights of Sleep, Electric Wizard, Pink Floyd, Hawkwind and King Crimson, the ‘Mammut are heavier than a thousand Hubble telescopes, each lined with the mass of its own internal black hole. They’re also the masters of the long-player format; recent voyage Oro opus was so vast that it could not be confined to a single LP, and its two disks bolt together to form one glorious 94-minute riff labyrinth. Past conquests ‘Eve’, ‘Idolum’, ‘Lucifer’s Songs’, ‘Godlike Snake’ and ‘Snailking’ all spawned marauding, psychedelic orgies of aggressive, yet graceful and pace-varied prog-doom which set these Tortona natives up as one of Europe’s premier heavy music acts. Backed by the Malleus Rock Lab, their one-of-a-kind art-visuals project, Signors Vito, Urlo and Poia have set the controls for the heart of Camden and are preparing their battery of equipment to hurl you into another dimension this coming April at DesertFest 2013.
Cough smashed into worldwide acclaim within doom / sludge circles with the crushing 2008 début album Sigillum Luciferi, followed in 2010 with the fully engulfing psyche-sludge of Ritual Abuse (available on Relapse Records) and a split with the UK’s own doom titans The Wounded Kings. Encompassing monolithically pounding, horror-raising, weed-tuned riffs and vocals stylings ranging from classic occult doom to downright demonic, blackened screams of desperation, the band have proven they are a force to be reckoned with both in this realm and beyond. Having played across the U.S. in the last few years with the likes of Buzzov-en / Weedeater / Eyehategod, as well as even reaching to play a 2011 tour in Australia, Cough will most definitely be a must for any devotees of the heaviest tone with their appearance at The Underworld at DesertFest 2013″
The time is upon us for the arrival on our shores of the magnificent Doom beasts that are ‘Witch Mountain’. Hailing form Portland Oregon, these masters of their art blend crushing sludge riffs with the female classic rock vocal stylings of Uta Plotkin. Its a match made in heaven and one that should not be missed as they have been very hard at work producing not 1 but 2 EPs last year that have been amazingly received and its their first visit to the UK so expect walls to shake and foundations to crumble at the h_d_p/WPC stage!
Parisians set to romance Desertfesters with riffs, licks and pounding grooves. Abrahma was formed in Paris, back in 2005 under the original moniker Alchosonic. The French 4-piece are made up by Seb Bismuth:on Guitar/Vox, Nicolas Heller on Guitar and they are joined by the Colin brothers Guillaume on Bass and Benjamin on Drums. Signed to Small Stone Records, the Psych Rockers have recently released ‘Through the dusty paths of our lives’ which features a guest appearance by the legend that is Ed Mundell (Monster Magnet/Atomic Bitchwax). Very Heavy Rock is very much on the menu, with large amounts of psychdelia running throughout their music, so don’t miss out on the French invasion at Desertfest 2013.
Planet of Zeus
The Greek Stoners were formed way back in the year of 2000 in Athens, and are made up by four demigods, Babis/Vox & Guitars, Yog/Guitars, JayVee/Bass and Syke/Drums. It was 8 years until the they released their debut album ‘Eleven the Hard Way’ this was followed up in 2011 with ‘Macho Libre’. If you haven’t already experienced Planet of Zeus then expect plenty of stoner fuzz riding heavy on plenty of riff. They have shared the stage with many of the biggest bands on the scene like Monster Magnet, Karma to Burn, Hermano and not forgetting their apperance at Stoned from The Underground in Germany. By the power of Zeus do not miss your chance to see these heavy rock gods!
Veterans of 20 years by now, Canvey Island’s Whoremoan have been kicking out the jams since 1992 and working hard at it ever since. Having released a series of EPs and LPs, they keep the DIY punk ethic alive and stick it to the man by recording, producing and selling it all themselves. If you dig the relentless concrete-block barrage of bands like Helmet, a side-order of stoner groove and even a shot of Clutch-lovin’ southern rock, these guys will be just the ticket to a sore neck, a few whoremoans no doubt, and a delierously good time at Desertfest 2013!
Posted in Features on January 1st, 2013 by H.P. Taskmaster
Happy New Year to everyone around the world. It’s January 1, 2013, and to celebrate the New Year the best way I know how, I got right to work on tabulating the results of the 2012 Readers Poll. I’ve been tracking the results as they’ve come in over the course of December, and as you can see in the list below, it was a tight race for the top spot right up to the end.
Before we run down the finished list, I want to extend gratitude to each and every one of the 296 people who contributed their top 12 so this list could be put together. It’s an amazing response and I was super stoked that so many of you were able to take part. Thank you for that. Right from the first day the form went up, I knew this was going to be awesome, and it wound up exceeding my every expectation. It was a great sendoff to the year. Much appreciated.
Here are the results of the Top 20 of 2012 Readers Poll:
1. Om, Advaitic Songs – 108 votes
2. High on Fire, De Vermis Mysteriis – 106
3. Graveyard, Lights Out – 86
4. Neurosis, Honor Found in Decay – 65
5. Ufomammut, Oro – 63
5. Witchcraft, Legend – 63
6. Colour Haze, She Said – 56
6. Saint Vitus, Lillie: F-65 – 56
7. Kadavar, Kadavar – 49
7. Pallbearer, Sorrow and Extinction – 49
8. Orange Goblin, A Eulogy for the Damned – 46
9. Baroness, Yellow and Green – 39
10. Conan, Monnos – 38
11. Swans, The Seer – 35
12. Astra, The Black Chord – 31
13. Greenleaf, Nest of Vipers – 31
13. The Sword, Apocryphon – 31
14. Royal Thunder, CVI – 26
14. Wo Fat, The Black Code – 26
15. Ancestors, In Dreams and Time – 25
16. Torche, Harmonicraft – 23
17. Corrosion of Conformity, Corrosion of Conformity – 22
18. Enslaved, Riitiir – 19
19. Goat, World Music – 18
19. Melvins Lite, Freak Puke – 18
19. Soundgarden, King Animal – 18
20. Amenra, Mass V – 17
20. Samothrace, Reverence to Stone – 17
Witch Mountain, Cauldron of the Wild Rush, Clockwork Angels Stoned Jesus, Seven Thunders Roar Troubled Horse, Step Inside
Converge, All We Love We Leave Behind – 15 Mighty High, Legalize Tre Bags – 15 My Sleeping Karma, Soma – 15
Pretty wild to have Om and High on Fire so close, and they were tied for a long, long time, but Om retained an early lead and managed to pull it out in the end. As you can see, there were a number of releases that tied with others for their position. Seemed only fair to me to include all of them, and I also threw in those with 16 and 15 votes as well, just because it was close. In total, there were an astounding 1,200+ albums entered into consideration.
Once again, thanks to everyone for making this Readers Poll happen and for taking the time to be a part of it. Already looking forward to some fantastic things to come in 2013, so please stay tuned and keep your lists handy.
Posted in Features on December 20th, 2012 by H.P. Taskmaster
Please note: This list is my personal picks, not the Readers Poll, which is ongoing — if you haven’t added your list yet, please do.
As ever, I’ve kept a Post-It note on my wall all year long, and as the weeks and months have ticked away, I’ve added names of bands to it in preparation for putting together my Top 20 of 2012. There was a glut of excellent material this year, and I know for a fact I didn’t hear everything, but from bold forays into new sonic territory to triumphant returns to startling debuts, 2012 simply astounded. Even as I type this, I’m getting emails about new, exciting releases. It’s enough to make you lose your breath.
Before we get down to it and start in with the numbers, the hyperbole, etc., I want to underscore the point that this list is mine. I made it. It’s not the Readers Poll results, which will be out early in January. It’s based on how I hear things, how much I listened to each of these records, the impressions they left on me — critical opinion enters into it, because whether or not I want to I can’t help but consider things on that level when I listen to a new album these days — but it’s just as much about what I put on when I wanted to hear a band kick ass as it is about which records carried the most critical significance or import within their respective genres.
Over the last couple years, I’ve come to think of the #20 spot as where I put my sentimental favorite. That was the case with Suplecs last year, and in 2012, the return of Mos Generator earns the spot. The band being led by guitarist/vocalist Tony Reed, Nomadsmarked a rehifting of Reed‘s priorities from Stone Axe, with whom he’d proffered ’70s worship for several years prior, and wound up as a collection of some of my favorite heavy rock songs of 2012 — tracks like “Cosmic Ark,” “Torches” and “Lonely One Kenobi” were as strong in their hooks as they were thorough in their lack of pretense. But the bottom line is I’m a nerd for Reed‘s songwriting, playing and production (more on that to come), and at this point it’s not really something I can even pretend to judge impartially. Still, the record’s friggin’ awesome and you should hear it as soon as you can.
Seems like it would make sense to say Golden Void would be higher on the list if I’d spent more time with it — written up just a month ago, it’s the most recent review here — but the fact is I’ve sat with Golden Void‘s self-titled debut a lot over the course of the last month-plus, and I’ve been digging the hell out of it. Really, the only reason it’s not further up is because I don’t feel like I have distance enough from it to judge how it holds up over a longer haul, but either way, the Isiah Mitchell-led outfit’s blend of heavy psych, driving classic rock and retro style gave some hope for beefing up the US’ take on ’70s swagger — usually left to indie bands who, well, suck at it — and also showed Mitchell as a more than capable vocalist where those who knew him from his work in Earthless may only have experienced his instrumental side. A stellar debut, a wonderful surprise, and a band I can’t wait to hear more from in the years to come.
This was basically the soundtrack to my summer. From the catch-you-off-guard aggression in opener “I Spit on Your Grave” to the extended stoneralia of “Master of Nuggets” and the jammy “Southern Comfort and Northern Lights,” the follow-up to Wight‘s self-produced debut Wight Weedy Wight(review here) showed an astonishing amount of growth, and though it had the laid back, loose feel that distinguishes the best of current European heavy psych, Through the Woods into Deep Waterwas also coherent, cohesive and impeccably structured. I thought it was one of the year’s strongest albums when it was released, and its appeal has only endured — as much as I listened to it when it was warm over the summer, now in December I put it on wishing the temperature would change to match. The songs showed remarkable potential from the German three-piece and cast them in an entirely different light than did their first out. Really looking forward to where they might go from here, but in the meantime, I’m nowhere near done with Through the Woods into Deep Wateryet.
“Oh, Moon Queen! Flyin’ down the world on a moonbeam!” Somehow the first lines of the opening title-track to Lord Fowl‘s Moon Queen always seem to wind up stuck in my head. The Connecticut foursome made their debut on Small Stone with the loosely thematic full-length, and touched on a sense of unabashedly grandiose ’70s heavy rock in the process. That said, Moon Queenwasn’t shooting for retro in the slightest — rather, guitarist/vocalists Vechel Jaynes and Mike Pellegrino fronted the band’s classic sensibilities with a wholly modern edge, like something out of an alternate dimension where rock never started to suck. The classic metal guitar in “Streets of Evermore” and the swaying groove from bassist Jon Conine and drummer Don Freeman under the wandering leads of “Hollow Horn” made Moon Queenmore stylistically diverse than it might otherwise have been, but at its core, it was a collection of stellar heavy rock songs, unashamed of its hooks and unafraid to put its passions front and center. They packed a lot into a 47-minute runtime, but I’ve yet to dig into Moon Queen and regret having pressed play. Another band to watch out for.
It was impossible not to be swept up in the hype surrounding Pallbearer‘s Profound Lore debut, but one listen to Sorrow and Extinctionand it was clear that its resounding praise was well earned. By blending thickened psychedelic tonality and emotionally resonant melodies, the Little Rock, Arkansas, four-piece concocted the single most important American doom release of the year. Their efforts did not go unnoticed, and as they supported the album on tour, the swell of the crowds spoke to the right-idea-right-time moment they were able to capture in songs like the stunning “An Offering of Grief” and “The Legend.” There’s room for growth — I wouldn’t be surprised to find guitarist Brett Campbell‘s vocal range greatly developed next time out — but Pallbearer have already left a mark on doom, and if they can keep the momentum going into wherever they go from here, it won’t be long before they’re being cited as having a significant impact on the genre and influencing others in their wake.
I already singled out Kadavar‘s Kadavaras the 2012 Debut of the Year, so if you need any sense of the reverence I think the German trio earned, take whatever you will from that. There really isn’t much to add — though I could nerd out about Kadavar‘s ultra-effective retroisms all day if you’re up for it — but something I haven’t really touched on yet about the record: When I was out in Philly last weekend, the DJ cleverly mixed Kadavar into a set of early ’70s jams, and it was all but indistinguishable in sound from the actual classics. That in itself is an achievement, but Kadavar‘s level of craft also stands them out among their modern peers, and it was drummer Tiger‘s snare sound that I first recognized in “All Our Thoughts,” so right down to the most intricate details, Kadavar‘s Kadavarwas a gripping and enticing affair that proved there’s still ground to cover in proto-heavy worship.
The fuzz was great — don’t get me wrong, I loved the fuzz — but with Stubb‘s Stubb, it was even more about the songs themselves. Whether it was the interplay between guitarist Jack Dickinson and bassist Peter Holland (also of Trippy Wicked) on vocals for the chorus of “Scale the Mountain” or the thickened shuffle in “Soul Mover” punctuated by drummer Chris West‘s (also Trippy Wicked and Groan) ever-ready fills, there wasn’t a clunker in the bunch, and though it’s an album I’ve basically been hearing since the beginning of the year, its appeal has endured throughout and I still find myself going back to it where many others have already been forgotten. With the acoustic “Crosses You Bear” and more laid-bare emotionality of “Crying River,” Stubb showed there was more them than excellence of tone and with the seven-minute finale “Galloping Horses,” they showed they were ready to jam with the best. Truly memorable songs — and also one of the live highlights of my year.
Orange Goblin‘s purpose seemed reborn on their seventh album and Candlelight Records debut, A Eulogy for the Damned. Culling the best elements from their last couple albums, 2007′s Healing Through Fire and 2004′s Thieving from the House of God, the long-running London troublemakers upped the production value and seemed bent from the start on taking hold of the day’s sympathy toward their brand of heavy. With tales of alcoholic regret, classic horrors and a bit of cosmic exploration for good measure, they marked their ascent to the top of the British scene and took well to the role of statesmen, headlining Desertfest and proceeding to smash audiences to pieces around the continent at fests and on tours. Look for them to do the same when they bring the show Stateside in 2013 with Clutch. Their plunder is well earned, and I still rarely go 48 hours without hearing the bridge of “The Fog” in my head. Can’t wait to see them again.
While I still miss Los Natas, my grief for their passing has been much eased over the last two years by frontman Sergio Chotsourian‘s doomier explorations in Ararat. The first album, 2009′sMusica de la Resistencia(review here), ran concurrent to Los Natas‘ swansong, Nuevo Orden de la Libertad, but with II, the new three-piece came into their own, setting space rock synth against low-end sprawl, thick drumming and Chotsourian‘s penchant for experimenting with structure. Extended tracks “Caballos” and “La Ira del Dragon (Uno)” were positively encompassing, and showed Ararat not only as a distinct entity from Los Natas, but a turn stylistically for Chotsourian into elephantine plod, wide-open atmospherics and a likewise expansive creative sensibility. The acoustic “El Inmigrante” and piano-led “Atenas” offered sonic diversity while enriching the mood, and closer “Tres de Mayo” hinted at some of the melding of the various sides that might be in store in Ararat‘s future. If the jump from the first record to the second is any indicator, expect something expansive and huge to come.
Italian cosmic doom meganauts Ufomammut outdid themselves yet again with Oro, breaking up a single full-length into two separate releases, Oro: Opus Primum and Oro: Opus Alter. But the album — which I’ve decided to list as the single entity Oro rather than its two component parts basically to save myself some brain space — was more than just big in terms of its runtime. More importantly, Ufomammut were able to hold firm to their commitment to stylistic growth, drawing on their greatest triumph yet, 2010′s Eve (review here), the trio pushed themselves even further on their Neurot Recordings debut, resulting in an album worthy of the legacy of those releasing it. I don’t know if Oro will come to define Ufomammut as Eve already seems to have — dividing it as they did may have made it harder for listeners to grasp it as a single piece — but it shows that there’s simply no scaring the band out of themselves. Brilliantly tied together around a central progression that showed up in “Empireum” from Opus Primumand “Sublime” on Opus Alter, I have the feeling Ufomammut will probably have another album out before Oro‘s breadth has fully set in.
Behold the standard bearers of heavy. It wasn’t long after hearing UK trio Conan for the first time that I began using them as a touchstone to see how other bands stacked up, and to be honest, almost no one has. Led by the inimitable lumber provided by the tone of guitarist/vocalist Jon Davis (interview here), Conan stripped down their approach for Monnos, returning to Foel Studio in Wales to work with producer Chris Fielding — who’d also helmed their 2010 Horseback Battle HammerEP — and the resulting effort was both trim and humongous. Early tracks like “Hawk as Weapon,” “Battle in the Swamp” (an old demo given new life) and “Grim Tormentor” actually managed to be catchy as well as sonically looming, and the more extended closing duo of “Headless Hunter” and “Invincible Throne” showed that Conan could both use their tone to build forward momentum and plod their way into ultra-slow, ultra-grim despairing nothingness. Monnos affirmed Conan as one of the most pivotal acts in doom, and with new material and a home studio reportedly in the works, as well as further European touring on the docket for early 2013, their onslaught shows no signs of letting up. Right fucking on.
In some ways, it seems like the easiest thing in the world, but with My Sleeping Karma‘s fourth full-length, Soma, it really was just a question of a band taking their sound to a completely new level. The German heavy psych instrumentalists brought forth the sweetness of tone their guitars have harnessed over the course of their three prior offerings, but the progressive keyboard flourishes, the warmth in the bass, the tight pop of the drums — it all clicked on Somain a way that the other records hinted was possible and made the album the payoff to the four-piece’s long-established potential. Wrapped around the titular theme of a drink of the gods and with its tracks spaced out by varying ambient interludes, no moment on the album felt like it wasn’t serving the greater purpose of the whole, and the whole proved to be a worthy purpose indeed. Hands down my favorite instrumental release of the year and an effort that pushed My Sleeping Karma to the front of the pack in the crowded European heavy psych scene.
The damnedest thing happens every time I turn on Graveyard‘s third album, Lights Out, in that before I’m halfway through opener “An Industry of Murder,” I have to turn it up. The reigning kings of Swedish retro heavy wasted no time following up 2011′s stunning sophomore outing, Hisingen Blues(review here), and with the four-year gap between their self-titled debut and the second record, it was a surprise from the moment it was announced, but more than that, Lights Outshowed remarkable development in Graveyard‘s sound, offering elements of classic soul on songs like “Slow Motion Coundown” and “Hard Times Lovin’” to stand alongside the brash rock and roll of “Seven Seven” or the irresistible hook provided by “The Suits, the Law and the Uniforms” or the single “Goliath.” A landmark vocal performance from guitarist Joakim Nilsson and newly surfaced political bent to the lyrics hinted that Graveyard were nowhere near done growing, but seriously, if they put out four or five more records in the vein of Lights Out, I doubt there’d be too many complaints. Already one can hear the influence they’ve had on European heavy rock, and Lights Outisn’t likely to slow that process in the slightest.
Three drum hits and then the lurching “Let Them Fall” — the leadoff track on the first Saint Vitus studio album since 1995 — is underway, and it’s exactly that lack of pomp, that lack of pretense, that makes Lillie: F-65so righteous. Admittedly, it’s a reunion album. They toured for a couple years playing old material, then finally decided to settle in and let guitarist Dave Chandler (interview here) start coming up with a batch of songs, but you can’t argue with the results. They nailed it. With Tony Reed‘s perfect production (discussed here), Vitus captured the classic tonality in Chandler‘s guitar and Mark Adams‘ bass and kept to their sans-bullshit ethic: A short, 33-minute album that leaves their audience wondering where the hell that assault of noise just came from. Scott “Wino” Weinrich‘s presence up front was unmistakable with Chandler‘s punkish, no-frills lyrics (as well as his own on “Blessed Night,” the first song they wrote for the album), and drummer Henry Vasquez not only filled the shoes of the late Armando Acosta but established his own persona behind the kit. I hope it’s not their last record, but if it is, Saint Vitus came into and left Lillie: F-65as doom legends, and their work remains timeless.
Talk about a band who shirked expectation. Guitarist/vocalist Justin Maranga and I discussed that aspect of Ancestors a bit in an interview over the summer, but it’s worth underscoring. There was next to nothing in either of Ancestors‘ first two albums to hint at where they’d go with the third. Both Neptune with Fire and Of Sound Mind(review here) were rousing, riff-led efforts that headed toward a particular heavy sensibility, but it was with last year’s Invisible WhiteEP (review here) that the L.A. outfit began to show the progressive direction they were heading. And In Dreams and Timeis even a departure from that! It’s kind of a departure from reality as well, with the Moog/organ/synth mesh from Matt Barks and Jason Watkins (also vocals), dreamy basslines from Nick Long and hold-it-all-together drumming of Jamie Miller — since out of the band. Closer “First Light” was my pick for song of the year, and had the album been comprised of that track along, it’d probably still be on this list somewhere, but with the complement given to it by the piano sprawl of “On the Wind” and driving riffs and vocal interplay of “Correyvreckan” (if you haven’t heard Long‘s bass on the latter as well, you should), there was little left to question that this was the strongest Ancestors release of their career to date and hopefully the beginning of a new era in their sound. They’ve never been what people wanted them to be, but I for one like not knowing what to expect before it shows up, at least where these guys are concerned.
After what I saw as a lackluster production for 2010′s Snakes for the Divine, Oakland, CA, trio High on Fire aligned themselves with producer Kurt Ballou (Converge) for De Vermis Mysteriis and completely renewed the vitality in their attack. Built on the insistence of “Bloody Knuckles,” furious fuckall of “Fertile Green,” unmitigated piracy of “Serums of Laio” and eerie crawl in “King of Days,” De Vermis Mysteriis was both aggressive in High on Fire‘s raid-your-brain-for-THC tradition and extreme in ways they’ve never been before. Groovers like the instrumental “Samsara” and earlier “Madness of an Architect” offered bombast where the thrash may have relented, while “Spiritual Rites” proved that guitarist/vocalist Matt Pike (also Sleep; interview here), bassist Jeff Matz and drummer Des Kensell had arrived at a new threshold of speed and intensity. Whatever personal issues may have been in play at the time, High on Fire delivered a blistering full-length that stands up to and in many ways surpasses any prior viciousness in their catalog, and their level of performance on their current tour makes it plain to see that the band is ready for ascendency to the heights of metal. They are conquerors to the last, and if De Vermis Mysteriisis what I get for wavering, then I’ll consider my lesson hammered home in every second of feedback, tom thud and grueling second of distortion topped with Pike‘s signature growl.
When I interviewed interviewed Steve Von Till about Honor Found in Decay, the Neurosis guitarist/vocalist called the band “a chaos process” in reference to their songwriting. I have no trouble believing that, because while Neurosis stand among the most influential heavy metal bands of their generation — having had as much of an effect on what’s come after them as, say, Meshuggah or Sleep, while also having little sonically in common with either of them — it’s also nearly impossible to pinpoint one aspect of their sound that defines them. The churning rhythms in the riffing of Von Till and his fellow frontman, guitarist/vocalist Scott Kelly (interview here), Dave Edwardson‘s intensity on bass and periodic vocal, the assured percussive creativity of Jason Roeder and theexperimental edge brought to bear in Noah Landis‘ synth and sampling all prove to be essential elements of the whole. On Honor Found in Decay — and this isn’t to take away anything from any other particular member’s songwriting contributions — it would be Landis standing out with his greatest contributions yet, becoming as much a defining element in songs like “At the Well,” “Bleeding the Pigs” and “Casting of the Ages” as either Kelly or Von Till‘s guitars. Had I never seen the band before, I’d have a hard time believing Honor Found in Decay could possibly be representative of their live sound, but they are every bit as crushing, as oppressive and as emotionally visceral on stage — if not more so — as they are on the album, and while their legacy has long since been set among the most important heavy acts ever, period, as they climb closer to the 30-year mark (they’ll get there in 2015), Neurosis continue to refuse to bow to what’s expected of them or write material that doesn’t further their decades-long progression. They are worthy of every homage paid them, and more.
It’s hard for me to properly convey just how happy listening to Greenleaf‘s Nest of Vipersmakes me, and I’ve got several false starts already deleted to prove it. The Swedish supergroup of vocalist Oskar Cedermalm (Truckfighters), guitarists Tommi Holappa and Johan Rockner (both Dozer), bassist Bengt Bäcke (engineer for Dozer, Demon Cleaner, etc.) and drummer Olle Mårthans (Dozer) last released an album in 2007. That was Agents of Ahriman, which was one of my favorite albums of the last decade. No shit. Not year, decade. With a slightly revamped lineup and Dozer‘s maybe-final album, 2008′s Beyond Colossal, and the never-got-off-the-ground side-project Dahli between, Nest of Viperslanded this past winter and with the shared membership, Karl Daniel Lidén production and consistency of songwriting from Holappa (interview here), I immediately saw it as a sequel to the last Dozer, but really it goes well beyond that. Tracks like “Dreamcatcher,” “Case of Fidelity,” “The Timeline’s History” and soaring opener “Jack Staff” show that although they’d never really toured to that point and been through various lineups over the years, Greenleaf was nonetheless an entity unto its own. Cedermalm‘s vocals were a triumph, Mårthans‘ drumming unhinged and yet grounded, and guest appearances from organist Per Wiberg and vocalists Peder Bergstrand (Lowrider/I are Droid) and Fredrik Nordin (Dozer) only enriched the album for repeat listens, which I’m thrilled to say it gets to this very day. If I called it a worthy successor both to Dozer and to Agents of Ahriman, those words alone would probably fall short of conveying quite how much that means on a personal level, so let its placement stand as testimony instead. This is one I’ll be enjoying for years to come, and when I’m done writing this feature, this is the one I’m gonna put back on to listen through again. It has been, and no doubt will continue to be, a constant.
Go figure that the Om record two albums after the one called Pilgrimagewould feel so much like a journey. Further including multi-instrumentalist/vocalist Robert A. A. Lowe (also of experimental one-man outfit Lichens) alongside the established core duo of drummer Emil Amos (also of Grails) and bassist/vocalist Al Cisneros (also of Sleep), as well as incorporating a range of guest appearances from the likes of Grayceon‘s Jackie Perez Gratz on cello and Worm Ouroboros‘ Lorraine Rath (who appeared on 2010′s God is Goodas well) on flute, Om fleshed out what was once a signature minimalism to the point of being a lush, constantly moving and markedly fluid entity. Cisneros, as the remaining founder and lead vocalist, served as a unifying presence in the material — his bass still was still very much as the center of “Gethsemane” or the more straightforward and distorted “State of Non-Return” — but those songs and “Addis,” “Sinai” and gloriously melodic closer “Haqq al-Yaqin” amounted to more than any single performance, and where prior Om outings had dug themselves deep into a kind of solitary contemplation, Advaitic Songslooked outward with a palpable sense of musical joy and a richness of experience that could only be called spiritual, however physically or emotionally arresting it might also prove. I’ve found it works best in the morning, as a way to transition from that state of early half-there into the waking world — which no doubt has more harshness in mind than the sweet acoustics and tabla at the end of “Haqq al-Yaqin” — so that some of that sweetness can remain and help me face whatever might come throughout the day. A morning ceremony and a bit of meditation to reorder the consciousness.
Didn’t it have to be Colour Haze? Didn’t it? Two discs of the finest heavy psychedelic rock the world has to offer — yes I mean that — plus all they went through to get it out, the drama of building and rebuilding a studio, recording and re-recording, pressing and repressing, what else could it have been but She Said? After two-plus years of waiting, I was just so glad when it actually existed. Late in 2008, the Munich trio released All, and that was my album of the year that year as well (kudos to anyone who has that issue of Metal Maniacs), but I feel like even if you strip all that away and take away all the drama and the band’s influence, their standing in the European scene, guitarist/vocalist Stefan Koglek (interview here) fostering next-gen talent on Elektrohasch and whatever else you want or need to remove, She Said still holds up. Just the songs themselves. The extra percussion layered in with Manfred Merwald‘s drums on “She Said,” the horns and Duna Jam-ambience on “Transformation,” the unpretentious boogie of “This” on disc one, or the rush of “Slowdown” on disc two and the culmination the whole album gets when the strings kick in on “Grace.” Those strings. God damn. Suddenly a 2CD release makes sense, when each is given its own progression, its own destination at which to arrive, and tired as I am I still tear up like clockwork when I put on “Grace” just to hear it while I type about it. Beautifully arranged, wonderfully executed, She Saidcouldn’t be anywhere but at the top spot on this list. The warmth in Koglek‘s guitar and Philipp Rasthofer‘s bass on “Breath” and the way their jams always seem to have someplace to go, I feel like I’m listening to a moment exquisitely captured. There isn’t a doubt in my mind Colour Haze are the most potent heavy rock power trio in the world, and that their chemistry has already and will continue to inspire others around them, but most importantly, She Saidmet the true album-of-the-year criteria in not seeming at all limited to the confines of 2012 — as though it had some kind of expiration date. Not so. Even though I’ve already been through them more times than I know or would care to share had I counted, I look forward to getting to know the songs on She Saidover the years to come, and as I have with Colour Haze‘s works in the past, seeing their appeal change over time the way the best of friends do. It couldn’t have been anything but Colour Haze. Whatever hype other albums or bands have, for me, it’s this, and that’s it.
If this list went to 25, the next five would be:
21. Snail, Terminus
22. Revelation, Inner Harbor
23. Wo Fat, The Black Code
24. Groan, The Divine Right of Kings
25. Caltrop, Ten Million Years and Eight Minutes
Honorable mention goes to: Trippy Wicked and the Cosmic Children of the Knight (another one about whom I have a hard time being impartial), Mighty High, At Devil Dirt, Bell Witch, Samothrace, Enslaved, Viaje a 800, and Larman Clamor.
Also worth noting some conspicuous absences: Witchcraft, Swans, Baroness, Royal Thunder, The Sword, Torche. These albums garnered a strong response and have done well in the Readers Poll looking at the results so far, but please keep in mind, this is my list, I took a night to sleep on it, I stand by it and I’ve got my reasons for selecting what I did. You’ll find about 5,000 words of them above.
Thank you as always for reading. If you disagree with any picks, want to add your own take on any of the above, or anything else — really, whatever’s cool — please leave a comment below.
Whatever medium you enjoy music through, LPs, CDs, digital, tapes, reel-to-reel, Edison cylinders, the fact of the matter is that artwork — the visual representation of the album — makes a huge difference in the overall impression a record makes. There are bands who slave away for months negotiating fine details with artists and there are bands who snap a picture of themselves and throw it out front on their way to grab their next beer. Both methods have yielded classic results.
As 2012 winds down, I thought it might be fun to go back to the start of the year and take a look at some of the best album art that accompanied some killer albums. This isn’t the Best Albums list, just some of what I think is the Best Art. I’ll try my best to keep my reasons short as we go along alphabetically:
Alcest, Les Voyages de l’Âme
The sort of gloomy lushness that artist Fursy Teyssier brought to the cover for Alcest‘s Les Voyages de l’Âme was breathtaking from the first glance. Teyssier (also of Les Discrets; interview here) wonderfully captured the morose beauty in Alcest‘s music and painted a masterpiece that transcended “rock art” as much as the album itself transcended black metal or any other genre in which one might try to pigeonhole it.
The sentinel that has now graced the cover of the last couple Conan releases has mirrored the British act’s ascent in joining the ranks of great heavy metal mascots. Tony Roberts, who drew the piece on the cover of Monnos, has become an essential part of the band’s mythology, meeting their ultra-crushing tonality with visuals that seem to work in atmospheres no less oppressively brutal. If art was ever heavy, it was heavy here.
A pretty simple idea, but wonderfully executed, the front of Portland neo-traditionalists Doomsower‘s debut EP, 1974, came from an EPA photo documentary project that took place the same year. I picked it for this list not because it was so intricate or anything like that, but proof that sometimes something that seems basic can also be just right for the songs — the rails parallel, but joining, seeming to indicate Doomsower‘s journey undertaken.
Electric Moon, The Doomsday Machine
The question wasn’t so much would there be an Electric Moon cover on this list, but which one? The prolific German heavy psych jammers have a cache of treasure in the work of bassist Komet Lulu, and when it came time to choose from among the several recordings the band released in 2012, The Doomsday Machine stood out as a departure from the bright colors and classic psychedelia, being a painting by Lulu‘s father, Ulla Papel. Here’s to genetics.
Groan, The Divine Right of Kings
Having also handled Groan‘s split with Finnish trad doomers Vinum Sabbatum, W. Ralph Walters outdid himself with Groan‘s full-length follow-up, The Divine Right of Kings. With strong References to Hieronymus Bosch‘s vision of hell, Walters visualized the band’s move into classic metal and mixed it with manic get-stoned-and-stare kitchen-sinkery much as Groan continued to consort with brash heavy rock and doom. Walters‘ work on Blue Aside‘s The Moles of a Dying Race was no less distinct an achievement.
Larman Clamor, Frogs
Aside from thinking frogs are awesome in general, I was stoked to see how incredibly well Alexander von Wieding‘s art for his band Larman Clamor‘s 2012 offering fit the music. Otherworldly, darkly psychedelic and caked in haze, the dead stare of the frankenfrog on the front of Frogs perfectly matched von Wieding‘s swampy, bluesy style and looked even better on vinyl. Having also contributed to records by Lord Fowl, Wo Fat, Cortez and others this year, von Wieding has made himself one of the most essential heavy rock artists the world over.
Neurosis, Honor Found in Decay
Were it not for the discussion about the process of putting it together in the interview I did with Neurosis guitarist/vocalist Steve Von Till at the end of October, Josh Graham‘s cover for Honor Found in Decay — especially being so similar in idea to his work on Soundgarden‘s King Animal — probably wouldn’t have made this list, but knowing the level of construction that went into making the piece, from painting the jawbones to using artifact arrowheads from Slovakia, I couldn’t help but see it in a different light. Graham‘s ended his association with Neurosis, but if this is how he went out, they couldn’t have asked for more.
I had spent some serious time with Summoner‘s Phoenix by then, had been in talks with the band about releasing it on The Maple Forum, but it wasn’t until I held the LP in my hands at SHoD and really saw the Alyssa Maucere cover in-person that I realized what I was looking at. And once you see it, it’s not really subtle at all. Get it yet? There’s a cock and balls on the right side. I gotta give it to the Boston outfit and to Maucere for sneaking and yet not at all sneaking that one in there. Hey, if you don’t appreciate some phallic humor every now and again, you’re probably not going to start a website called The Obelisk.
Ufomammut, Oro: Opus Primum & Oro: Opus Alter
Is it cheating to include both covers from Ufomammut‘s Oro two-album series? Probably. Do I give a shit? Not in the slightest, because the Italian collective — who for visual purposes go by the name Malleus — tapped into new territory of psych art with the pieces for Oro: Opus Primum and Oro: Opus Alter, manifesting the idea of “psychedelic metal” in the actual style and inks used, while also contrasting dark and light and conveying the permanent nature of gold itself and the notions of hypnotic ritual that show up in their music. These covers were proof that Ufomammut are more than just the masters of their sound.
Another Tony Roberts creation, but in a completely different style from Conan‘s Monnos above, the bleak cover of UK nautical doomers Undersmile‘s 80-minute debut LP Narwhal seemed to embody everything the band had to offer on the album. It was dark, with hard drawn structural lines, but also sprawling, encompassing every panel of the digipak and running into the liner much as Undersmile‘s oceanic themes ran into every minute of the music, crushingly heavy or minimalist and ambient. Less about the titular creature within and more about the sea itself, it conveyed an utter hopelessness and the smallness of humanity when set against something so massive as the sea.
There were plenty more I could’ve included here — records from High on Fire, Om, Graveyard, Wight, Caltrop, Ancestors, Samothrace, Vulture and several others all are worthy of honorable mention, but for one reason or another, these were the standouts to me and I hope you agree that even in this go-ahead-and-download-it age of immediate convenience, the visual art remains pivotal to an album experience.
Someone you think got left out? If you’ve got any suggestions to add, agreements or disagreements, I’d love to get a discussion going in the comments, so please, have at it.
I’m not sure how much there is left to say about the magnitude of the work Italian space doom trio Ufomammut has done. The sense I get now in listening to the two full-length albums that comprise the whole of Oro, their Neurot Recordings debut, is that they’ll probably have another record out before this one is fully comprehended. One might have said the same thing about 2010′s Eve as well, but that doesn’t make it any less true.
Broken into the two parts Oro – Opus Primum(review here) and Oro – Opus Alter(review here), Ufomammut‘s latest outing has them continuing to plunder the reaches of tonal space. Their sounds are far-out psychedelic even as they seem to bear a tectonic crunch, like plates moving continents. Bassist/vocalist/keyboardist Urlo, guitarist/keyboardist Poia and drummer Vita have persistent as a set trio since 1999, and have never failed to outdo their prior work on the subsequent outing.
The strata that’s put them into, however, is entirely their own. Eve– which was preceded by 2008′s Idolum, also one of that year’s best — was one long composition broken into individual pieces. Orois one album broken into two releases. Do you see where this is going? In a few years, Ufomammut will be issuing 10LP box sets each time out. Maybe not, but what matters most of all is that as the scale of their work has expanded, so has their creative scope, and Orois the most vibrant Ufomammut release to date. One would have to expect no less.
I waited to interview the band until Oro – Opus Alterwas released so that the full project could be discussed, and today I have the sincere pleasure of hosting both that Q&A and a video premiere for Ufomammut‘s self-made clip for the track “Sulphurdew.” Similar to how opening track “Empireum” from Oro – Opus Primum made its way to the public, “Sulphurdew” arrives as a YouTube clip constructed by the Malleus Rock Art Lab, of which Urlo — who fielded these questions — and Poia are a part.
You’ll find both the “Sulphurdew” video and the complete Q&A after the jump. Please enjoy.
Posted in Reviews on August 16th, 2012 by H.P. Taskmaster
Earlier this year, Italian space doom trio Ufomammut favored the world with the first half of their Neurot Recordings debut. Oro – Opus Primum (review here) remains a stunning achievement in an increasingly long string of them. 2010’s Eve (review here) was one of that year’s best, and 2008’s Idolum, 2005’s Lucifer Songs and 2004’s Snailking were resounding triumphs as well. Even their first album, 2000’s Godlike Snake (reissued in 2006) impressed in its scope, as did their 2007 collaboration with Lento, and like the universe their sound threatens to encompass at nearly every turn, Ufomammut seem on a course of endless expansion. The second half of Oro, appropriately dubbed Opus Alter, completes the two-part cycle and underscores how right it was for the band to break up the release in the first place. Taken as a whole, the two albums total 10 tracks and 94 minutes of overwhelming tonality, far-off echoing vocals and crushing psychedelic grooves. Oro is an astounding achievement from one of the most pivotal doom acts going. Make no mistake, its every thunderous moment rattles the ground on which it stands, but metaphorically and – if you turn the volume up loud enough to really let bassist Urlo’s low end shine through – literally. But released with Opus Primum and Opus Alter together as the double-album Oro, it might also have simply been too much. Instead, Opus Alter, which is about nine minutes shorter, is a fitting complement to its predecessor, and one that both affirms the ongoing growth of the band as that album presented it and continues to hint at further progression to come. Ufomammut did it right – two remarkable halves of a larger tracklist released in installments so that not a moment seems wasted and their listeners can fully appreciate what they’re doing. No single member of the band, be it Urlo, guitarist Poia or drummer Vita, is really doing anything so different on Opus Alter than they were on Opus Primum – it’s just that now the album has a second half.
It’s a strong one. Urlo and Poia provide prominent keys and synth work even before the doomed sub-shuffle of the instrumental “Oroborus” (one day I’m going to make a list of all the metal songs about ouroboros and the various spellings they use; perhaps this one is a pun on the album’s title) takes full hold, but once it does, there’s no doubt who you’re listening to. The song gets heavy twice. At 2:11, guitars kick in and it seems like the build established is hitting its peak, but then 30 seconds later, the bottom drops out on the low end and Oro – Opus Alter has truly begun. Ufomammut affect a landmark heavy psych build, and for a few minutes it seems like the song is going to live up to its name, just devour itself until there’s nothing left but the various swirls and noises that have come to be such a huge part of Ufomammut’s encompassing ambience, but a little before five minutes into the song’s total 7:55, there’s a break and the bass leads to a faster riff and beyond, to devastatingly heavy plod that finds Vita half-timing it on the drums, his cymbals nonetheless ringing clear the band’s crushing intent. They are so. Fucking. Heavy. The chugging guitar crashes cold, but noise fills out the break between “Oroborus and the subsequent “Luxon,” which – like all the tracks on Opus Alter safe for closer “Deityrant” – also starts quietly, gradually unfolding from its ambience. Deep, slow guitar chords announce “Luxon”’s stomp, and vocals are murky, far off and, to start, indecipherable, but like a distant chorus, they make themselves known anyway before at 1:45, the full breadth of the rumble kicks in and everything else plays off of that. Vocals remain obscure, as is Ufomammut’s wont, but come to the fore over a blissfully stoner groove led by Urlo’s swaying bassline and rounded out by Poia’s own low end. Of the material here, the opening of “Luxon” is among the most effective, though, and its development of parts isn’t exactly linear as opposed to one-into-the-next, but its flow is unquestionable, and there isn’t a turn Ufomammut present that seems out of place or confusing. That holds true as well going into the 12:19 centerpiece, “Sulphurdew,” which gets underway with a churning guitar figure filled out by synth noise and a steady beat from Vita until they reach the next plateau of their build. There are marked changes – another layer of guitar here, crash cymbals introduced here – but they occur in a steady progression of measures, almost so that you expect something to come without knowing exactly what.
Posted in Whathaveyou on August 6th, 2012 by H.P. Taskmaster
One of the most anticipated records still to come before the end of 2012, the second installment of Ufomammut’s Oro – Opus Alter is beginning to take shape. Check out the cover art for the album and PR wire info below:
Ufomammut unleash second teaser, reveal artwork, tracklisting and announce more tour dates in support of ORO: Opus Alter
Having previously announcing the arrival of the second installment of ORO – Opus Alter, which is to be released on 17 September on Neurot Recordings, we can now proudly unveil the delectable cover art for this next chapter brought to you once again by the unstoppable force that is the Malleus art collective…
We can also reveal the full tracklisting for this release which is as follows:
As with all previous Ufomammut albums, the concepts behind ORO are expansive and multi-faceted, mutating the Italian palindrome which translates to “gold” with the Latin translation of “I prey.” ORO explores the concept of knowledge and its power; the magical stream controlled by the human mind to gain control of every single particle of the world surrounding us. ORO is the alchemical process to transform the human fears into pure essence; into Gold. Although ORO‘s two chapters will be released months apart from each other, they must be considered as a single track in which the musical themes and the sounds appear and reappear, mutate and evolve, progressively culminating in the crushing final movement. ORO is an alchemic laboratory in which substances are flowing, dividing and blending themselves in ten increments from the alembics and stills, culminating into the creation of Gold.
Opus Alter is going to fulfill and widen the perspective of the new work of Ufomammut. Starting where Opus Primum ended, Opus Alter evolves deeper into devastatingly powerful new territory, where chaos is metamorphosed by cacophonous sound, until the final notes resonate, knowledge is forged and Ufomammut strike gold.
Stay tuned for more details regarding the release and tour are announced. Meanwhile check out the following confirmed dates so far:
AUGUST 13. ITA . Musica W Festival – Castellina Marittima (PI)SEPTEMBER 01. ITA . Rock in Riot Festival – Martinengo (BG)OCTOBER 04. D – Leipzig, UT Connewitz 05. D – Berlin, Bi Nuu – TBC 06. SWE – Malmo – Krank 09. FI – Turku , Klubi 10. FI – Tampere, Klubi 11. FI – Helsinki, Kuudes Linja 13. NOR – Oslo, Betong 15. D – Kiel, Alte Meierei 16. D – Koln, Underground – TBC 17. NL – Tilburg, 013 18. B – Kortrijk, De Kreun 19. NL – Utrecht, Ekko 21. UK – Birmingham, Supersonic Festival 23. F – Paris, Glazart – TBC 24. F – Poitiers, Le Comforte Moderne 25. F – Bordeaux, Heretic club – TBC 27. P – Porto -Amplifest (Hard Club)
We’re more than halfway through 2012, and we’ve already seen great releases from the likes of Orange Goblin, Pallbearer, Conan, C.O.C., Saint Vitus and many others, but there’s still a long way to go. The forecast for the next five months? Busy.
In my eternal and inevitably doomed quest to keep up, I’ve compiled a list of 13 still-to-come releases not to miss before the year ends. Some of this information is confirmed — as confirmed as these things ever are, anyway — either by label or band announcements, and some of it is a little bit vaguer in terms of the actual dates, but all this stuff is slated to be out before 2013 hits. That was basically my only criteria for inclusion.
And of course before I start the list, you should know two things: The ordering is dubious, since it’s not like I can judge the quality of an album before I’ve heard it, just my anticipation, and that this is barely the beginning of everything that will be released before the end of 2012. The tip of the fastly-melting iceberg, as it were. If past is prologue, there’s a ton of shit I don’t even know about that (hopefully) you’ll clue me into in the comments.
Nonetheless, let’s have some fun:
1. Colour Haze, She Said(Sept./Oct.)
I know, I know, this one’s been a really, really long time coming. Like two years. Like so long that Colour Haze had to go back and remake the album because of some terrible technical thing that I don’t even know what happened but it doesn’t matter anymore. Notice came down yesterday from guitarist/vocalist Stefan Koglek that the recording is done and the long-awaited She Saidis on the way to be pressed on vinyl and CD. Got my fingers crossed for no more snags.
2. Enslaved, RIITIIR (Sept. 28)
The progressive Norwegian black metallers have put out 10 albums before it, and would you believe RIITIIRis the first Enslaved album that’s a palindrome? Kind of cheating to include it on this list, because I’ve heard it, but I’ve been through the record 10-plus times and I still feel like I just barely have a grasp on where they’re headed with it, so I think it’ll be really interesting to see what kind of response it gets upon release. Herbrand Larsen kills it all over these songs though, I will say that.
3. Mos Generator, Nomads(Oct. 23)
Hard for me not to be stoked on the prospect of the first new Mos Generator album since 2007, especially looking at that cover, which RippleMusic unveiled on Tuesday when it announced the Oct. 23 release date. It’s pretty grim looking, and even though Mos once put out a record called The Late Great Planet Earth, I’ve never thought of them as being particularly dark or doomed. I look forward to hearing what Tony Reed (Stone Axe, HeavyPink) has up his sleeve for this collection, and if he’s looking to slow down and doom out a bit here, that’s cool too. I’ll take it either way.
4. Ufomammut, Oro – Opus Alter(Sept.)
No, that’s not the cover of Oro – Opus Alter, the second half of Italian space doom grand masters Ufomammut‘s Oro collection — the first being Opus Primum (review here), which served as their Neurot Recordings debut earlier this year. That cover hasn’t been released yet, so I grabbed a promo pic to stand in. I’m really looking forward to this album, though I hope they don’t go the Earth, Angels of Darkness Demons of Lightroute and wind up with two records that, while really good, essentially serve the same purpose. I’ve got my hopes high they can outdo themselves once again.
5. Witchcraft, Legend(Sept. 21)
I guess after their success with Graveyard, Nuclear Blast decided to binge a bit on ’70s loyalist doom, signing Witchcraft and even more recently, Orchid. Can’t fault them that. It’s been half a decade since Witchcraft released The Alchemist and in their absence, doom has caught on in a big way to their methods. With a new lineup around him, will Magnus Pelander continue his divergence into classic progressive rock, or return to the Pentagram-style roots of Witchcraft‘s earliest work? Should be exciting to find out.
6. Wo Fat, The Black Code(Nov.)
After having the chance to hear some rough mixes of Texas fuzzers Wo Fat‘s Small Stone debut, The Black Code, I’m all the more stoked to encounter the finished product, and glad to see the band join the ranks of Lo-Pan, Freedom Hawk and Gozu in heralding the next wave of American fuzz. Wo Fat‘s 2011 third outing, Noche del Chupacabra (review here), greatly expanded the jammed feel in their approach, and I get the sense they’re just beginning to find where they want to end up within that balance.
7. Blood of the Sun, Burning on the Wings of Desire(Late 2012)
As if the glittering logo and booby-lady cover art weren’t enough to grab attention, Blood of the Sun‘s first album for Listenable Records (fourth overall) is sure to garner some extra notice because the band is led by drummer/vocalist Henry Vasquez, better known over the past couple years as the basher for Saint Vitus. Whatever pedigree the band has assumed through that, though, their modern take on classic ’70s heavy has a charm all its own and I can’t wait to hear how Burning on the Wings of Desire pushes that forward. Or backward. Whatever. Rock and roll.
8. Swans, The Seer(Aug. 28)
This one came in the mail last week and I’ve had the chance to make my way through it only once. It’s two discs — and not by a little — and as was the case with Swans‘ 2010 comebacker, My Father Will Guide Me up a Rope to the Sky(review here), the far less cumbersomely titled The Seeris loaded with guest contributions. Even Jarboe shows up this time around, doing that breathy panting thing she does. Unnerving and challenging as ever, Swans continue to be a litmus for how far experimentalism can go. 3o years on, that’s pretty impressive in itself.
9. Swallow the Sun, Emerald Forest and the Blackbird(Sept. 4)
Apparently the Finnish melo-doom collective’s fifth album, Emerald Forest and the Blackbird, came out earlier this year in Europe, but it’s finally getting an American release in September, and as I’ve always dug the band’s blend of death metal and mournful melodicism, I thought I’d include it here. Like Swans, I’ve heard the Swallow the Sun once through, and it seems to play up more of the quiet, weepy side of their sound, but I look forward to getting to know it better over the coming months.
10. My Sleeping Karma, Soma (Oct. 9)
Just signed to Napalm Records and tapped to open for labelmates Monster Magnet as they tour Europe performing Spine of Godin its entirety this fall, the German four-piece are set to follow-up 2010′s Tri(review here) with Soma. Details were sketchy, of course, until about five minutes after this post initially went up, then the worldwide release dates, cover art and tracklist were revealed, so I updated. Find all that info on the forum.
11.Eagle Twin, The Feather Tipped the Serpent’s Scale(Aug. 28)
Way back in 2009 when I interviewed Eagle Twin guitarist/vocalist Gentry Densley about the band’s Southern Lord debut, he said the band’s next outing would relate to snakes, and if the cover is anything to go by, that seems to have come to fruition on The Feather Tipped the Serpent’s Scale, which is set to release at the end of next month. As the first album was kind of a mash of influences turned into cohesive and contemplative heavy drone, I can’t help but wonder what’s in store this time around.
12. Hooded Menace, Effigies of Evil(Sept. 11)
You know how sometimes you listen to a band and that band turns you on in their liner notes to a ton of other cool bands? I had that experience with Finnish extreme doomers Hooded Menace‘s 2010 second album, Never Cross the Dead (review here), except instead of bands it was hotties of ’70s horror cinema. Needless to say, I anxiously await the arrival of their third record and Relapse debut, Effigies of Evil. Someone needs to start a label and call it Hammer Productions just to sign this band.
13. Yawning Man, New Album (Soon)
Make no mistake. The prospect of a new Yawning Man album would arrive much higher on this list if I was more convinced it was going to come together in time for a 2012 release. As it is, Scrit on the forum has had a steady stream of updates since May about the record — the latest news being that it’s going to be a double album — and Scrit‘s in the know, so I’ll take his word. One thing we do know for sure is that the band in the picture above is not the current Yawning Man lineup. Alfredo Hernandez and Mario Lalli out, Greg Saenz and Billy Cordell in. Bummer about the tumult, but as long as it’s Gary Arce‘s ethereal guitar noodling, I’m hooked one way or another.
Since we closed with rampant speculation, let me not forget that somewhere out there is the looming specter of a new Neurosis album, which the sooner it gets here, the better. Perhaps also a new Clutch full-length, though I doubt that’ll materialize before 2013. And that’s a different list entirely.
Thanks for reading. Anything I forgot or anything you’d like to add to the list, leave a comment.
Posted in Features on June 25th, 2012 by H.P. Taskmaster
The last couple years, I’ve done a top five of the first half, and that’s cool, but as I sat down the other day to make the list that follows, I realized the numbers didn’t work. If I’m going to finish 2012 off with a top 20 — which unless a piano falls on my head between now and then I am — then half of that is 10. Half a year, half a top 20. I was never much for math, folks.
But the important thing is I got there in the end, and with a full top 10, I have a little more room to nerd out on what I think are some (not all) of the best releases of the last six months. And just so I can say I said it twice, these are my personal picks, based on what I’ve listened to most as much as whatever estimation of aesthetic value I might make. Let’s get to it:
10. Witch Mountain, Cauldron of the Wild
If you’re asking yourself, “Hey, wasn’t Witch Mountain‘s Cauldron of the Wild just reviewed the other day?” you’re right, it was. That’s why it’s number 10 — because I know it’s a really good record, but I’m not sure yet what the replay value will be as the year progresses. Let it say something that I didn’t want to make this list without including the third album from the Portland doom bluesers, but without the benefit of a little distance from the songs (I still have “Shelter” stuck in my head from reviewing it, though that may prove a permanent scenario), I thought it better to play it cautious than be overly excited. Sometimes it’s hard to restrain the geek within, and I know I’m not the only one Cauldron of the Wild has had that effect on.
9. Caltrop, Ten Million Years and Eight Minutes
Deceptively progressive and study on repeat visits, the newest full-length from North Carolina’s Caltrop, Ten Million Years and Eight Minutes, is an album that doesn’t bow to accessibility but gets there naturally on its own anyway. The music the four-piece makes is technically complex, but the use they put that complexity to is warm and inviting, where so much prog feels cold and showy. Maybe that’s the Southern heat working its way into the tracks, but either way, with the varied work of multiple songwriters and a consistency of atmosphere running throughout, Ten Million Years and Eight Minutes helped me make the transition out of winter and into the warmer weather. I continue to think of Caltrop as a woefully underrated band.
8. Stubb, Stubb
The self-titled Superhot Records debut from London-based trio Stubb (review here) was a simple case of fuzz done right. The rhythm section here also had a strong outing on Superhot in the form of Trippy Wicked and the Cosmic Children of the Knight‘s Going Home (review here), but partnered up with guitarist/vocalist Jack Dickinson, the bass/vocals of Pete Holland and drums of Chris West formed a power trio inspired by classic rock but not imitating it, which is increasingly rare. Their stoner groove was straightforward and heartfelt and the songwriting on tracks like “Mountain” and “Hard Hearted Woman” left absolutely nothing to be desired. I consider myself lucky for having seen them live, and doing so only increased my appreciation for the album.
7. Ararat, II
Sergio Chotsourian‘s second album in post-Los Natas project Ararat (review here) was both more cohesive than its 2009 predecessor, Musica de la Resistencia (review here), and thicker. Indeed, it was his bass tone that made the rumble in extended tracks like “Caballos” and “La Ira del Dragon (Uno)” so indispensable. Ararat has a different dynamic than did Los Natas, but hearing the beginning of what will hopefully be a long process of development has been part of the fun of listening to the band so far. Still, it’s the songs themselves more than their context that stand out, and every time I listen to “Lobos de Guerra y Cazadores de Elefantes,” I swear it seems like my brain is going to turn into liquid and start seeping out of my ears. It’s hard not to dig a record that makes you feel that way.
6. Ufomammut, Oro: Opus Primum
I’ll admit, this one’s a bit of a running gag I have with myself. Ever since I put Ufomammut‘s Eve as the number six on my top 10 of 2010, I’ve regretted it, and the thing about Oro: Opus Primum is (review here) that it’s only half the album, with Oro: Opus Alter still to come as the second part of their Neurot Recordings debut. So when I was wondering where to stick this thing on the list, the number that immediately came to my head was six and there it stands. Amazing to think that we’ll get another Ufomammut record before the year’s out. I look forward to hearing that, and in the meantime, there have been several occasions for which nothing has seemed quite doomed enough that Oro: Opus Primum has fit just right. Ufomammut have been and continue to be something really special.
5. Orange Goblin, A Eulogy for the Damned
What’s not to like about the prospect of a new Orange Goblin record? Nothing, that’s what. With killer songs like “Acid Trial,” “The Fog,” “The Filthy and the Few” and blistering leadoff single “Red Tide Rising,” A Eulogy for the Damned (review here) was the first highlight of 2012 and a fitting summation of much of what’s always been awesome about the band, who’ve become godfathers of the British heavy underground. The production on the album is cleaner than the band comes off live, but the energy in the tracks is undeniable, and it’s with that that Orange Goblin justify the five-year wait since 2007′s Healing through Fire last tore the heavy rock scene a new arsehole. They might be real rock ‘n’ roll’s best kept secret at this point, and their seventh album sends the damned out with a fitting tribute from some of their own kind.
4. Conan, Monnos
Try though I may — and I should probably say here that I haven’t tried — I still can’t get the riff to “Grim Tormentor” from Conan‘s Monnos (review here) out of my head. The album, which was the follow-up to 2011′s split with Slomatics and 2010′s mighty Horseback Battle Hammer debut, found the British trio bringing their songwriting up to a level to match Jon Davis‘ monstrous guitar tone, furthering their dual vocal approach between Davis and bassist Phil Coumbe while upping the pace somewhat on the album’s first half lend fleetness to the stomp in Paul O’Neil‘s drums. Monnos‘ second half was more ethereal, slower, swampier, with the morose “Golden Axe” paving the way for “Headless Hunter” and “Invincible Throne” to level everything in their path with atmosphere as dense as their musical weight. Easily the heaviest album I’ve heard so far this year.
3. Greenleaf, Nest of Vipers
Whenever I do these lists, I hit a point where on a given day they’re all number one. Sometimes it’s just between two albums. In 2010, it was six. This list, so far into 2012, it’s three, and Swedish heavy rock supergroup Greenleaf‘s Nest of Vipers (review here) is the first of them. I’ve been stoked on this record since before I heard it, and while that probably doesn’t do much to argue for my impartiality on the matter, I also don’t give a crap, because Greenleaf fucking rules. I’ll have an interview in the weeks to come with guitarist Tommi Holappa (also ex-Dozer) about the band, and once again, this is definitely one that is going to reappear on the top 20 come December. Not a doubt in my mind. I wasn’t sure the band would be able to live up to 2007′s landmark Agents of Ahriman, but the more I listen to Nest of Vipers, the clearer it becomes that they did precisely that.
2. Ancestors, In Dreams and Time Brilliantly melodic, rife with complexity of emotion and execution, Los Angeles-based Ancestors‘ third album, In Dreams and Time, was the full-length answer to last year’s blissfully melancholic Invisible White EP. Finding the band mature, progressive and worshiping the song rather than the form, they transcended genre as easily as they embarked on it, crafting a wash of melody in Moog, synth, organ, guitar and vocals alike in their richest arrangements yet, culminating in what’s probably the single best extended guitar solo I’ve heard in the last five years on 19-minute closer “First Light,” a song that’s got so many ups and downs contained within its runtime that it’s practically an album unto itself. A gorgeous record and one that has enriched my excitement for Ancestors as they continue to throw creativity in the face of expectation and not look back either on what they’ve done before or what others think they should be doing.
1. Saint Vitus, Lillie: F-65
I’m more than happy to confess that part of my enduring affection for Lillie: F-65 comes from the fact that it’s Saint Vitus‘ first album in 17 years. If you want to tell me which part of that isn’t a totally valid reason to make it number one on this list, I’ll listen. It might not change my mind about the album, which arrives following three successfully reunited years touring and doing shows together. Led as ever by the stripped-down songwriting of guitarist Dave Chandler (interview here), Saint Vitus perfectly reinvigorated their most classic methods on Lillie: F-65 (review here) without sounding like they were wearing a suit that didn’t fit. The Tony Reed-produced album was the first to be fronted by Scott “Wino” Weinrich since 1990′s V, and proved that the chemistry between he and Chandler is a huge part of what has made the band legendary in American doom these last several decades. Together with bassist Mark Adams and drummer Henry Vasquez, Chandler and Wino issued the greatest of 2012′s doom triumphs so far, and in a mere fucked-up, feedback-soaked 33 minutes silenced every reunion naysayer with ears to hear their distant scream. Saint Fucking Vitus.
Wouldn’t be a list without a fair bit of honorable mentions. First to Snail, whose Terminus will probably end up on the year-end list when the time for that arrives, and also to C.O.C., High on Fire, Les Discrets, Wino & Conny Ochs and Electric Moon. Been a pretty good year so far. Here’s to the next six months of it.
Posted in Reviews on April 3rd, 2012 by H.P. Taskmaster
One of the most fascinating and satisfying aspects of Italy’s Ufomammut throughout the course of their career has been the seemingly willful drive to top themselves with each new release. Whether it was the jump from 2000’s Godlike Snake debut to 2004’s landmark Snailking or the experimentation in style and tone that would commence with 2005’s Lucifer Songs before solidifying on 2008’s Idolum (a collaboration with Lento was released in 2007 as well, furthering the experimental and ambient bent), the trio of Urlo (vocals, bass, synth), Poia (guitar, synth) and Vita (drums) have never yet failed to go bigger and grander sound-wise while also proportionately expanding their creative breadth. With 2010’s Eve (review here), Ufomammut embarked on the challenge of creating an album out of a singular longform work. It was a natural step for the band after Idolum, and they weren’t the first to confront that task – see Sleep’s Dopesmoker for a formative example. But where Sleep’s magnum opus would also serve as their swansong, Ufomammut did not fall apart after Eve, instead finding the climate of the heavy underground welcoming them to their greatest success yet. Eve made numerous year-end lists (including mine) and thrust Ufomammut to what could only be considered their rightful place among doom’s current elite and most groundbreaking acts. Listening, the album made you want to start a band that sounded just like it.
But in following it up, Ufomammut are truly in uncharted territory, which makes the arrival of Oro so much more exciting. Aligned now to Neurot Recordings for the first time (their own Supernatural Cat imprint has a hand in it too, from what I understand, and of course their Malleus alter-ego handled the artwork), Urlo, Poia and Vita have reasoned out a plan that – in keeping with their track record to date – is bigger than Eve, more of an ambient wash, more cosmically crushing and psychedelic in its weight, but most of all, more patient. Patient enough, in fact, that they’ve split the album in half. Oro arrives over the course of 2012 in two parts, subtitled Opus Primum and Opus Alter. It’s a risky move, bifurcating and delivering the singular idea over the course of two distinct pieces. The most recent example I can think of is Earth’s Angels of Darkness, Demons of Light on Southern Lord, and I would argue that over time, the thrill of the second piece was lessened by the fact that the musical ideas had already been presented on the first – as though the band had preempted itself. Ufomammut cover a huge expanse of stylistic ground on Oro: Opus Primum, but the question remains to be answered how Opus Alter will push these ideas even further. In a way, it’s unfair to critique the work they’re doing here, because it’s like trying to judge a painting before the sketch is colored in. You have the context and the basic form, but the complete narrative remains to be told. Certainly one’s tendency to default to hyperbole when it comes to Ufomammut’s work – “They sound like planets breaking!!!!” etc. (apologies if anyone has actually said that; it just came to me because it’s how I actually think they sound) – feels premature as regards the five tracks and 51 minutes the band presents here. They might sound like planets breaking on the über-lurching centerpiece “Infearnatural,” but the public hardly yet knows if that will continue on Opus Alter’s material and thus serve as a viable statement for Oro as a whole.
While it’s a tough spot for reviewing Oro or trying to get a sense of what Ufomammut might do on the second part of this album that’s not just pure conjecture, it’s not as though Opus Primum is lacking substance at all. Quite the opposite. It may sound like half an album and leave one with a feeling that there’s conclusion yet to come, that imbalance is justified by the method of release Ufomammut have undertaken. The opening track here, “Empireum,” is essentially a 14-minute build up; an introduction to the yet-partially-obscured whole of Oro. It begins with a low end boom, subtle like a far off shutting down before creepy synth lines and backing noise – along with Vita’s slowly faded in drums – introduce the figure that will typify the song. As well as setting the course atmospherically for the rest of Opus Primum, “Empireum” also shows how patient Ufomammut have become within their songwriting. Perhaps it’s the extra space a two-album release provides them, but although the band has not wanted for ambience across their last several releases – Eve, Idolum and the Lento collaboration – “Empireum” pushes almost immediately further into the atmospheric. They’ve never been about catchy pop hooks or anything like that, and they’ve certainly made excellent use of peaks and valleys over the last decade, but in searching through their catalog, instances of this kind of patience are few and far between, even on some of their most extended material, be it the whole of Eve or cuts like “Demontain” from Snailking, which split its 28 minutes with a long break, or “Void” from Idolum, which followed a course less linear in its construction. “Empireum” unfolds smoothly, gradually, and seems for the first eight minutes-plus like it’s swallowing you in one piece, mostly because it is.
It opens up, finally, to its payoff, and rides and continues to build on its churn for about half of the remaining five minutes, before Vita’s drumming provides percussive underscore for sustained, airy chords from Poia and Urlo, and the synths come back slower to remind of the song’s beginning. That figure shows up later on “Magickon” as well, and I wouldn’t be at all surprised if it was the last thing of substance (outro noise notwithstanding) one hears at the close of Opus Alter when that hits, though Ufomammut have never held much allegiance to doing what’s expected of them. The ambience that closes “Empireum” crashes into the droning, thickened riff that commences “Aureum,” which at 12:28 joins with the opener in accounting for more than half of Opus Primum’s runtime. Perhaps more characteristically Ufomammut in its giant space-tinged feel and gargantuan tone – Poia and Urlo joined together with periodic thuds from Vita backing them – it’s still almost two and a half minutes before the song is under way with its more doomed groove. Ultimately, it’s riffs like this that have earned Ufomammut their reputation as one of the heaviest bands in the world, and listening to “Aureum” run its course, I can hardly disagree with that assessment. When Urlo’s vocals start, seeming to drift in echoes in and out from another dimension, indeed the world itself seems small compared to the physicality of this material. They are cosmic doom, earning and helping to define what that means every step of the way. “Aureum” switches at about five and a half minutes to a more complex, winding riff, but loses none of its momentum, cutting to just the guitars and synth at six minutes to introduce the progression that will eventually slam back into what, for lack of better designation, seems to be the verse.
Today I have the distinct pleasure and honor to unveil the first full-song audio and accompanying video from Italian space-doom masters Ufomammut‘s Neurot Recordings debut, Oro – Opus Primum. The track, dubbed “Empireum,” is the opener and longest cut of the album and sets the stage for the first of the two massive chapters in the Oro saga with just under 14 minutes of unbridled tension and impossible-seeming build.
As the title suggests, Opus Primum is the first part of the overall work, and likewise, “Empireum” is the first part of the first part, so you have to understand, what you’re hearing over the course of these 14 minutes is the beginning of the beginning. The song has a cycle of its own, and stands on its own as does the whole album, but Ufomammut‘s ambitions — which have developed as much as their sound has progressed over the course of the band’s six prior full-lengths, including 2010′s single-song 44-minute onslaught, Eve (review here) — are bigger with Oro than any single part, or even the whole of Opus Primum can convey.
So as you listen, and as the all-consuming tonal morass of “Empireum” begins to wrap itself around you, please know that it’s just the opening movement of what Ufomammut have in store on Oro – Opus Primum, and that even that is only half the incredible tale they’re telling — the second part of which will be revealed later this year with Oro – Opus Alter.
With this in mind, I humbly submit “Empireum” and the unsettling visuals crafted specifically for it:
Special thanks to the band, to Earsplit PR and to Neurot Recordings for allowing me to host this first premiere. It means more to me than I can say and I consider it a validation of the work I put in on this site. Really. Thank you.
Ufomammut is comprised of guitarist Poia, bassist/vocalist Urlo (also synth) and drummer Vita.Oro – Opus Primum is set for release April 13 on Neurot Recordings, with Oro – Opus Alter to follow later in 2012. For more from Ufomammut, check out their website, find them on Thee Facebooks, or hit up the label’s site here.
Posted in Whathaveyou on January 31st, 2012 by H.P. Taskmaster
If you heard that girlish squeal a little bit ago, don’t worry, it was just me reacting to the latest PR wire teaser of info about the forthcoming two-part Neurot Recordings debut by Italian space doom progenitors Ufomammut. Oro: Opus Primum is due out April 17. Here’s the latest, including the Malleus (of course) cover art, which you can click to enlarge:
More details on Oro: Opus Primum –the first installment of the new two-album series from Italy’s supernatural doom sorcerers, Ufomammut — have this week been confirmed.
Already known for their attention to detail with each release, including meticulous, quality artwork and packaging as expansive and layered as every obliterating Ufomammut release is musically, this time they take it one notch higher and have completed a massive two-part album, set for release months apart.
Now confirmed for release in the UK on April 9th, throughout the rest of Europe on April 13th, and in North America April 17th, this week the artwork and track listing for the incredibly anticipated first installment of the series — Oro: Opus Primum — have been unveiled for the first time:
Oro: Opus Primum Track Listing: 1. Empireum 2. Aureum 3. Infearnatural 4. Magickon 5. Mindomine
More details on the album will be released in the weeks ahead as the world awaits the arrival of Ufomammut’s latest art. The second chapter in this monolithic two-part album, Oro: Opus Alter, will be released sometime in September with more details to be unveiled throughout the months following OpusPrimum.
2012 will see Ufomammut expanding their touring circles wider across the face of the planet in support of Oro. Stay tuned throughout the year as more details on the release and the act’s tour schedule are confirmed.
I’ve said a couple times now that I only like comps after the fact. When they’re first released and they need to be reviewed, they’re a pain in my ass, and they sit and sit and nag on me until I finally write them up. It’s not until a few years later, when the material is rare as hell and a few of the bands have collapsed, that I’m even remotely interested. You say Welcome to MeteorCity has a different version of a song from Lowrider? Sign me up.
For a while now I’ve been trying to chase down a copy of Bastards Will Pay: A Tribute to Trouble to absolutely no avail. Amazon, eBay, Gemm, physical stores, stoner and doom distros — nobody’s got this friggin’ thing. And yeah, I know I can just type it into Google and download it. I don’t wanna do that. I want to own it. I like my little plastic discs, thanks. You keep the cloud.
To quell my tributary jones and in the meantime hear a couple badass bands, I recently placed an order on the cheap for a copy of Blue Explosion: A Tribute to Blue Cheer on Black Widow Records out of Italy. Released in 1999 and featuring the likes of Drag Pack and Norrsken, among others who don’t exist anymore, it fits my law of comp appreciation perfectly. I don’t even know Garybaldi, but their version of “Fresh Fruit and Iceburgs” is killer and doomed and gives me something to look up tonight while I’m sitting on my ass, so that’s an immediate plus.
Perhaps best of all, though, is that Blue Explosion is bookended by Pentagram. And not just any Pentagram — it’s Joe Hasselvander on all the instruments and Bobby Liebling on vocals, and that’s it. They were working with Black Widow at that point (released Review Your Choices in ’99 and Sub-Basement in 2001 with the duo lineup), and so the disc opens with a nine-minute version of “Doctor Please” on which Hasselvander pretty much just jams with himself. It’s amazing, and his tones are unbelievably heavy. Internal Void follows with “Parchment Farm” and it’s like a one-two punch out of the Doom Capitol.
And Norrsken (the Swedish band from which both Witchcraft and Graveyard were born) are indeed a highlight — they present “Pilot” with expectedly killer vintage sounds — but Natas doing “Ride with Me” and Rise and Shine‘s take on “Sun Cycle” are also standouts, and “Peace of Mind” might be the most purely psychedelic I’ve ever heard Ufomammut sound. Whether it’s the boozy Euro-rock of Space Probe Taurus or the loose organ jamming of Standarte, I’m into it, and the fact that it’s all Blue Cheer material makes it even better.
So yeah, if it was coming across my desk for review now, I’d probably be all huffy-puffy about it and bitch about how compilation reviews are basically just plugs for the bands involved and there’s never any flow or basis for any overall analysis of the release, but in buying something like Blue Explosion: A Tribute to Blue Cheer, I don’t give a shit. It rocks and the rest is secondary to that. For something that was a consolation prize, I definitely feel like I won out.
Posted in Features on January 6th, 2012 by H.P. Taskmaster
As every new year starts, there’s always a glut of rumors that kick around. So-and-so is going to have a new record, this or that band is going to reunite, someone just got signed, etc. However, when I look to my left at the post-it note on my wall of threatened 2012 releases, the prospect is actually daunting. Could we as a species actually live to see a year that boasts releases from Clutch, Kyuss, Neurosis and Saint Vitus?
It’s the kind of thing that, centuries from now, some puffy-haired weirdo (not the good kind) will get on tv and say must have been the work of ancient aliens. These things have a habit of not working out as planned, but even the thought is staggering.
These releases have all been announced one way or another, so like I said last year, I’m not breaking any news, and unlike yesterday, I haven’t actually heard any of them yet. Basically I just wanted to nerd out for a bit on cool stuff that’s supposed to be coming out in 2012.
So here goes:
Ufomammut, Oro: Their 2010 effort, Eve, was a defining moment, both for them as a trio and pivotal act within their genre, and for the genre itself. With Eve (review here), Italian three-piece Ufomammut took cosmic doom to new reaches of psychedelic complexity, and though I know I’ve said it a few times, it’s worth repeating that it was a true work of mastery. It’s only grown richer with time, and Ufomammut‘s two-part follow-up, Oro — which will be divided into Opus Primum and Opus Alter, both of which are set for issue on Neurot in 2012 — is set to expand on the form, if such a thing is possible. We’ll find out.
Saint Vitus, Lillie: F-65: I wouldn’t be surprised if it showed up under a different name, and likewise if it didn’t show up in time for its currently-slated March 27 Season of Mist issue, but whenever and however it arrives, the first Saint Vitus album since 1995 and the first with Scott “Wino” Weinrich on vocals since 1990 is easily the most anticipated doom release of the year. Put to tape by Tony Reed — with whom I was fortunate enough to recently speak about making the album — most of the record was recorded live, and since that’s where Vitus has shined since coming back in 2009, I’m definitely looking forward to hearing how they translate their momentum into a new studio outing.
Colour Haze, She Said: I can’t imagine how frustrated the German heavy psych progenitors must be by now. Seriously — She Said was on my list last year. The trio, led by guitarist/vocalist Stefan Koglek, who also helms the Elektrohasch label, spent all of 2011 hindered by technical problems, and though we did a track premiere back in October for the song “Transformation,” the album has yet to materialize around it. It’s a heartbreaker every time Koglek sends an update, and we can only hope at this point that they continue to stick with it, because if there’s ever been a worthy cause, it’s a new Colour Haze record.
Greenleaf: According to reports, the Swedish trad-rock supergroup with members of Dozer, Truckfighters and Demon Cleaner started recording the follow-up to 2007′s fucking incredible Agents of Ahriman in November, and the latest is that Oskar Cedarmalm was set to start vocals on Dec. 26. I’ll tell you flat out that when this record arrives, I’m gonna be such a dork for it that you’re going to be tired of hearing about it. You’re going to load up this page and be like, “Ah Jeebus, not another post about how much ass Greenleaf kicks.” They’re the reason I’m going to London Desertfest in April and the prospect of a new album kept me from jumping in front of a train on several occasions throughout the recent holiday season. No shit.
High on Fire: The prospect of a new High on Fire album in 2012, on the other hand, wasn’t all that exciting to me initially, but when it was announced that Converge guitarist Kurt Ballou was manning the production at his GodCity studio, that was more than enough to change my mind. My whole complaint with High on Fire‘s last album, 2010′s Snakes for the Divine, was that it sounded too watered-down and there wasn’t enough grit in the production. If anyone’s going to fix that, it could be Ballou, who recently brought Black Cobra‘s massive thrash intensity to bear on the excellent Invernal. Either way, will be interesting.
Neurosis: I don’t even remember where I saw it at this point, whether it was Thee Facebooks or the forum or what, but the news that Neurosis had started preliminary recordings with Steve Albini for their next album filled me with enough dorkish glee that I chose to include them as the sixth in a five-band feature, despite having zero confirmation either that such has actually happened or that the album will be out by the close of this year. And really, it doesn’t matter. If Neurosis are possibly making a new record, then I’m definitely looking forward to it, and that’s just the way the universe works. Hard to believe it will have been half a decade since Given to the Rising was released, since I feel like I still haven’t digested that record, but if it takes the rest of my life to catch up (and it probably will), then I know my time won’t have been misspent.
Ditto the Pt. 1 post: there’s more. Full-lengths to (possibly) come from Kyuss, Ancestors, Conan, Trippy Wicked and the Cosmic Children of the Night, Samothrace, Crippled Black Phoenix, Earth, Wight, Curse the Son, Cathedral, Wino/Conny Ochs, Shrinebuilder, Om and I don’t even know how many others set up 2012 as an incredible year yet to unfold, and tired as I am even just thinking about all the adjectival phrases it’s going to take me to get through it, I can’t fucking wait.
Because, really, it’s the music. If we don’t have anything else, we’ve got that, and it’s comforting to know that on the hardest days this year will bring — and I don’t doubt that for many of us it will bring no shortage of hard days — we’ll still have music. I look forward more than I can say to hearing these creative works, and hopefully sharing them with you as much as this weird internet portal makes me able to do so.
If I’ve missed anything, I hope you’ll leave a comment to remind. The only thing better than a bunch of records to look forward to is even more records to look forward to, so have at it.