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

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

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

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

Thank you in advance for reading.

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

Acid King Middle of Nowhere, Center of Everywhere

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

2. All Them Witches, TBA

all them witches tba

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

3. Anthroprophh, U.F.O.

UFO Vinyl Sleeve.qxp

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

4. Arenna, TBA

arenna cover

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

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax

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

6. Black Cobra, TBA

black-cobra

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

7. Black Rainbows, Hawkdope

black rainbows hawkdope

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

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

brothers of the sonic cloth brothers of the sonic cloth

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

9. Chiefs, Tomorrow’s Over

chiefs tomorrow's over

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

10. Clutch, TBA

clutch

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

11. Conan, TBA

conan

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

12. Colour Haze, To the Highest Gods We Know

CH_TTHGWK_BOOKLET 4&1

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

13. Corrections House, TBA

corrections-house-logo

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

14. Corsair, One Eyed Horse

corsair one eyed horse

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

15. Crypt Sermon, Out of the Garden

crypt-sermon-out-of-the-garden

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

16. Ecstatic Vision, TBA

ecstatic vision

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

17. Elder, Lore

elder-lore

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

18. Enslaved, In Times

enslaved-in-times

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

19. Eye, TBA

eye

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

20. Freedom Hawk, TBA

freedom hawk

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

21. Glowsun, Glowsun

glowsun glowsun

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

22. Goatsnake, TBA

goatsnake

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

23. Gozu, TBA

gozu

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

24. High on Fire, TBA

high on fire

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

25. Hollow Leg, TBA

hollow leg god-eater

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

26. Horsehunter, Caged in Flesh

horsehunter caged in flesh

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

27. Kind, TBA

kind (Photo by JJ Koczan)

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

28. Kings Destroy, Kings Destroy

kings destroy

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

29. Lamprey, TBA

lamprey logo

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

30. Lord Dying, Poisoned Altars

lord dying poisoned altars

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

31. Magic Circle, TBA

magic circle (Photo by JJ Koczan)

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

32. The Midnight Ghost Train, Cold was the Ground

Opmaak 1

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

33. Minsk, TBA

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

34. Mondo Drag, Mondo Drag

mondo-drag-mondo-drag

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

35. Monolord, Vaenir

monolord vaenir

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

36. Neurosis, TBA

neurosis

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

37. Pentagram, TBA

pentagram

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

38. Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

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

39. Saturnalia Temple, To the Other

saturnalia-temple-to-the-other

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

40. Six Organs of Admittance, Hexadic

six organs of admittance hexadic

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

41. Snail, Feral

snail

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

42. Sourvein, Aquatic Fanatic

sourvein-aquatic-occult

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

43. Spidergawd, II

spidergawd ii

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

44. Stoned Jesus, The Harvest

stoned jesus the harvest

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

45. Torche, Restarter

torche restarter

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

46. Ufomammut, Ecate

ufomammut (Photo by Andrea Tomas Prato)

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

47. Valkyrie, TBA

valkyrie

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

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

various artists the best of james marshall hendrix

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

49. Wino & Conny Ochs, Freedom Conspiracy

wino and conny ochs

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

50. Wizard Eye, TBA
wizard eye

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

51. Wretch, TBA

wretch

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

52. Zun, TBA

zun

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

 

Going Into Overload…

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Others to Keep an Eye On…

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

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

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

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

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

 

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

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

 

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Wino Wednesday: Wino & Conny Ochs, “Heavy Kingdom” Live in Amsterdam, 2012

Posted in Bootleg Theater on December 17th, 2014 by H.P. Taskmaster

wino wednesday

One of the oddly satisfying things about doing Wino Wednesday for as long as I have at this point is the fact that whenever I think I’ve seen it all, I turn a corner and find something else I didn’t expect. I think it’s safe to say that because of the more widespread technology there are way more people taping shows now than in, just an example, 1994, when Wino was making a go of it with The Obsessed, so a lot of the majority of the live clips for Wino Wednesday are culled from the last five years, give or take. Even within that sphere, the supply might seem to dwindle, but it never runs dry.

I’ve been thinking of Wino‘s upcoming shows in Philly and New York right after the Xmas holiday for the Feast of Krampus two-nighter with Sixty Watt Shaman and about the recent announcement of a second Wino & Conny Ochs collaboration, dubbed Freedom Conspiracy, to be issued in 2015 probably through Exile on Mainstream, and I guess I’ve had acoustic stuff on the brain, so I’m looking through thinking I’ve done just about everything worthwhile from the Wino & Conny Ochs 2012 European tour, and then I find this video from Amsterdam of the two of them playing in what essentially looks like a box made of brick to a small, seated audience just one day before they’d hit Roadburn in Tilburg, and it proved once again that I’ve barely scratched the surface.

What makes this video special in my mind, apart from the intimacy of the setting at De Slang — bare lighting, bare stage, theatre-style seats — is the fact that there are no microphones. Both Wino and Ochs‘ voices are projected naturally to the crowd (I recognize a face or two from Roadburns past), and it gives a feel that’s just perfect for the raw nature of that material. They perform “Heavy Kingdom,” the title-track of their 2012 debut (review here) and cover “Nothing” by Townes van Zandt, and the results are gorgeous.

Hope you enjoy:

Wino & Conny Ochs, Live at De Slang, Amsterdam, April 11, 2012

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Wino Wednesday: Wino & Conny Ochs Cover Joy Division, Live in Germany, April 2012

Posted in Bootleg Theater on August 13th, 2014 by H.P. Taskmaster

According to the numbers — and you’d best believe I go by the numbers rather than my own memory of such things — this is the 150th Wino Wednesday post. In a few short weeks we’ll celebrate three full years of the feature, and I’m glad to say that I think I’ve only missed one week in that time. It’s become a staple in my consciousness, which band, what song, live or studio, what’s out there to find, what’s new, etc., and I’ve enjoyed trying to chase down something different each time out, even if it’s just another live version of “Born too Late” or something like that, bound to be familiar no matter what the source is.

This week we dip back to 2012 for some Wino & Conny Ochs. They were on tour in Europe that spring, having played Roadburn in the all-too-appropriate church setting of Het Patronaat (review here), and it was as comfortable on stage as I saw them, though by the time they got around to doing US dates afterward (review here), the collaboration seemed no less fluid. Supporting their Exile on Mainstream debut, Heavy Kingdom (review here), they offered a look at raw folkish troubadour traditionalism, of course tempered with Ochs‘ bleeding emotionalism and Wino‘s inescapable heavy rock edge.

It might be the folk that comes most to the fore on “Isolation.” A cover of Joy Division, “Isolation” comes from that band’s 1980 swansong, Closer, and aside from extending it, Wino and Ochs take the British outfit’s post-punk/pre-New Wave melancholy and replace it with a righteous acoustic strum, so that “Isolation” sounds more like a public domain railroad song than something Ian Curtis penned before taking his own life. The build at the end is true to the original, but there’s room made for a solo that extends into a jam with the two guitars before bridging back to the chorus and finishing out, making “Isolation” — which also appeared on the Wino & Conny Ochs Latitudes release, Labour of Love – all the more distinctive in this interpretation.

The clip was recorded in Würzburg, Germany on April 3, 2012 at Cairo. Hope you enjoy:

Wino & Conny Ochs, “Isolation” Live in Germany, April 2012

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Wino Wednesday: Wino & Conny Ochs, “Angels and Demons” Live in the Czech Republic, 2012

Posted in Bootleg Theater on April 2nd, 2014 by H.P. Taskmaster

It remains to be seen if we’ll actually get a sophomore album from the collaboration between Scott “Wino” Weinrich and German singer-songwriter Conny Ochs. The Exile on Mainstream labelmates released their debut, Heavy Kingdom (review here), in 2012 and celebrated with a fair amount of touring as a duo in Europe and North America, and they did answer Heavy Kingdom quickly with the Latitudes session, Labour of Love, but a good portion of that was cover material and the mission seemed more about enjoying playing together than actually furthering the writing partnership creatively. Not to take away from that release, since among other things it boasts the only to-date recorded version of Wino & Conny Ochs doing Crosby, Stills, Nash & Young‘s “Find the Cost of Freedom,” and that’s worth the price of admission alone. Still, a second record has proved elusive.

Among the trove of video from those tours, however, there are glimpses of material other than that which was included on Heavy Kingdom or Labour of Love, and whether it was a cut written subsequently, or something pulled from either’s solo catalog, there’s plenty of it taped out there — Wino & Conny Ochs probably makes a relatively easy set to capture, as they’re not likely to blow out the volume on whatever recorder might be used — and it’s from that vast and disorganized archive that “Angels and Demons” comes. Snagged in HD on that European tour in the Czech Republic (I believe) on May 3, 2012, the track originally appeared on Ochs‘ 2012 long-player, Raw Love Songs, and sure enough, he takes the lead on it. Wino adds a bit of ambience to the start, but the track really comes alive later when the two of them lock into a part that, considering it was written before they started collaborating, only emphasizes how fitting a pair they make.

Enjoy and have a great Wino Wednesday:

Wino & Conny Ochs, “Angels and Demons” Live in the Czech Republic, 2012

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Wino Wednesday: Wino & Conny Ochs, “Traces of Blood” Live in Lille, France, 03.18.12

Posted in Bootleg Theater on October 9th, 2013 by H.P. Taskmaster

A lot of songs are memorable in the sense of making you go, “Oh yeah, that one.” Far fewer are haunting. It’s much rarer to have a track dig into you and implant itself in something primal in your emotions. When it comes to the early-2012 Heavy Kingdom (review here) collaborative album from Scott “Wino” Weinrich and German singer-songwriter Conny Ochs, there were a couple genuinely haunting songs. “Dark Ravine” comes to mind, as do “Somewhere Nowhere” and “Traces of Blood,” the Ochs-led melody of which might be the record’s most affecting.

I suppose you could argue in favor of others in that regard, but for the product of a duo, “Traces of Blood” offered perhaps the loneliest moment on Heavy Kingdom. No doubt a big part of that stems from Ochs taking the fore on vocals while Wino hangs back, but other cuts like “Labour of Love” and the semi-plugged “Vultures by the Vines” had arrangements that seemed almost bombastic in comparison. “Traces of Blood” was quiet, fragile, and the darkest moment the twosome would provide until side B’s “Here Comes the Siren.” As we see in the clip below taken from the Wino & Conny Ochs European tour in support of the album, while Ochs is handling the guitar progression and the vocals, Wino adds atmospheric depth via the e-bow, vibrating strings giving off a subtle hum throughout that’s almost like synth but immediately familiar all the same.

Rumor came through a while back of a second Weinrich/Ochs album in the works. Wino‘s schedule for much of 2013 having been tied up in reunion appearances with The Obsessed and ongoing Saint Vitus touring (I’m certainly not about to complain about either), I don’t know when they might get to putting material together for a follow-up to Heavy Kingdom, but hopefully sooner or later it happens. Particularly as a follow-up to Wino‘s solo acoustic debut, Adrift (review here), it expanded Wino‘s breadth as a performer and though he’s had a longer career, he seemed to revel in learning from Ochs as much as writing songs with him. I’d enjoy a chance to find out where their collaboration might go from there.

Enjoy “Traces of Blood” and have a great Wino Wednesday:

Wino & Conny Ochs, “Traces of Blood” Live at le Viziteur, Lille, France, March 18, 2012

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Wino Wednesday: Wino & Conny Ochs, “Crystal Madonna” Live at South of Mainstream 2012

Posted in Bootleg Theater on May 22nd, 2013 by H.P. Taskmaster

In addition to performing as the headlining act with The Obsessed, Wino joined Conny Ochs last September at the 2012 South of Mainstream fest for a set of material from their Heavy Kingdom album, released earlier in the year. That they’d appear at the German fest is only fitting — Wino & Conny OchsHeavy Kingdom came out on Exile on Mainstream, the imprint which also curates the festival, and it was the label that brought the two together for a tour in the first place, when Wino was out in Europe supporting his Adrift solo acoustic debut. Alongside labelmates Black Shape of Nexus, Darsombra, Stinking Lizaveta and many others, the duo took part in an eclectic three-day happening that, by all the accounts that I’ve seen, lived up to its name. Right on.

By the time they played “Crystal Madonna” on Sept. 7 at South of Mainstream, Wino & Conny Ochs had already given the new song — that is, written after the release of Heavy Kingdom or at very least not included on the album — considerable road time on their US tour. They played it when I saw them in Brooklyn, and its ultra-moody vibe was certainly palpable then. It would seem the couple weeks since that gig didn’t diminish the spirit of the song any, if the video of the South of Mainstream performance is anything to go by. The sound is just a little blown out — just a little — but especially in washed out black and white, both the classic songwriting and the depressive spirit of the piece really shine through. I heard rumors kicking around not too long ago of a second Wino & Conny Ochs album, and hopefully that materializes sooner or later. If this is a look at what a sophomore outing might entail, it seems like a worthy undertaking.

Enjoy and have a great Wino Wednesday:

Wino & Conny Ochs, “Crystal Madonna” Live at South of Mainstream 2012

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Wino Wednesday: Wino & Conny Ochs, “Vultures by the Vines,” Live in Germany, 2012

Posted in Bootleg Theater on April 10th, 2013 by H.P. Taskmaster

Looking back on it now more than a year later, one of the things I most enjoyed about the 2012 Heavy Kingdom debut from Wino & Conny Ochs (review here) was that it wasn’t one-sided in any way. Whether it was either player leading through one song or another, Wino working in an electric guitar solo, Ochs‘ unrepentant emotionality, or just the mood of an individual track, for what was a collection of pretty minimalist arrangements, the two songwriters managed to capture a surprising amount of variety. It wasn’t all downers, it wasn’t all upbeat hopes for a better life.

Dynamic is the word I’m looking for, and the live performance was even more so. I was lucky enough to see Wino & Conny Ochs support Heavy Kingdom more than once, in Brooklyn and at Roadburn 2012, and between tossing in new material and covers not present on the album and reworking vocals on songs from how they appeared in the studio versions to better hone in on the duo’s developing harmonics, both times I caught them, it was an exciting and spontaneous show. As this week’s Wino Wednesday clip of “Vultures by the Vines” demonstrates, that was apparently the case throughout their European tour.

Which makes sense. Ochs and Wino got together in 2011 while the latter was on tour for his Adrift solo acoustic debut (review here), so that their chemistry should grow with increased road time isn’t unexpected. That’s usually how it works with any collaboration, band or even solo performer. This video for “Vultures by the Vines” was taken just 10 days before I saw them at Roadburn, so it’s pretty consistent with where they were at around that time. There are a couple cuts from the same show out there, but I liked this one best. Hope you enjoy as well.

Happy Wino Wednesday:

Wino & Conny Ochs, “Vultures by the Vines” Live at Cafe Cairo, April 3, 2012

Conny Ochs‘ new album, Black Happy, is available now. More info at his Thee Facebooks page or the Exile on Mainstream website.

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Wino Wednesday: Wino & Conny Ochs Perform “Heavy Kingdom” and “Hellbound Train” in Brooklyn, Aug. 2012

Posted in Bootleg Theater on October 24th, 2012 by H.P. Taskmaster

The year has begun to wind down, at least in terms of Wino releases, and of the several Wino-inclusive records 2012 brought along with it, I think it’s safe to say that the Wino & Conny Ochs, Heavy Kingdom, collaboration debut was the surprise of the bunch. They’re an odd pairing to look at them on stage, but Ochs‘ singer-songwriter cooing and Wino‘s rougher, road-weary edge made a striking combination, and what bleeds through even on the record is the impression that they really enjoy playing together.

That came across on the tour as well. I was fortunate enough to get to see them at the St. Vitus bar in Brooklyn on Aug. 22 (review here), and it was a refreshing performance in a way few are. After the apparent and untimely dissolution of the dual-guitar project Premonition 13, who impressed in their own gig at that venue as well, to find Wino so invested in another project, especially one so different from the last, was encouraging and indicative of not just his creative breadth, but his oft-tested resolve to not quit making music. And to have Ochs there (he’s the one in the tight pants) acting as the guiding hand into the strange realm of folk construction just made the experience sweeter.

You’ll find the title-track to Heavy Kingdom below, coupled with the Savoy Brown cover “Hellbound Train,” taken from the 1972 album of the same name. Special thanks to Liz Ciavarella-Brenner for filming.

Please enjoy and have a happy Wino Wednesday:

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Live Review: Wino & Conny Ochs, Sean Ragon & Kevin Hufnagel in Brooklyn, 08.22.12

Posted in Reviews on August 23rd, 2012 by H.P. Taskmaster

Somewhere along the line I got the silly idea that it would be an early show. Wednesday night at the Saint Vitus bar in Brooklyn, Wino & Conny Ochs, with Sean Ragon from Cult of Youth and Kevin Hufnagel from Dysrhythmia opening — three acts, I figured an 8:30 start, Wino/Ochs on around 10, and then call it a night, everybody gets up and goes to work the next morning. Since I mentioned it, it’s probably fairly obvious that’s not the way it worked out, but since I’m still alive to mention it in the first place, also fairly obvious that I lived to tell the tale.

The tale? Pretty familiar by now, I expect. Traffic, more traffic, Brooklyn. Dark room, Vitus brew, Earthride over the P.A. I hadn’t been to the Saint Vitus bar in a couple weeks, but I’ll be back there come Monday for Eggnogg, so it was what it was. After catching them at Roadburn in April, I knew what to expect from Wino & Conny Ochs, but that did nothing to lessen my excitement at the prospect of seeing them again. As previously reported, there’s new material to be heard.

And being long since familiar with Dysrhythmia‘s ultra-tech approach, I was interested as well to see how guitarist Kevin Hufnagel fared in a solo context. Apparently he’s done noise-type solo work before, but this set was more stripped down; just him on stage with a couple pedals and what I’m fairly certain was a baritone ukulele that he ran through them. A little delay here, a little looping there, and through it all, a current of blinding finger-picking. Dysrhythmia have never wanted on the level of technical proficiency, but in this sphere, even the scales and on-a-dime turns had a natural feel.

Playing seated and rocking back and forth, Hufnagel impressed though, and not just in technique. One rarely thinks of a ukulele as a tool of atmospherics, but as he stuck an emery board between the strings to add a fuzzy sound to the finish of his set, he’d conveyed a richer sense of mood than the string resonance of his instrument might immediately indicate. He was followed not promptly by Sean Ragon, who seemed dead set on not starting until he got some reverb on his vocals that I don’t think ever came, but nonetheless unleashed a burst of post-Joe Strummer acoustic aggression once he got going.

It wasn’t as drastic a change as if Dying Fetus went on after Hufnagel or something like that, but the vibe was notably different, and not being familiar with Ragon‘s work in Cult of Youth or out of it, I didn’t know what to expect from his set. The crowd — incrementally making its way from the back room to the front — was more into it than I was. Ragon had his thing on lockdown, but my head was in another space entirely, so I extricated myself to the front barroom and enjoyed the second of the evening’s standard three beers. There was a growing host of familiar faces, and had I not been rank, I might have doled out some quality fat-guy hugs, but I worried about offending both myself and others.

Just as I was dealing with that and about halfway through my beer, Ragon came out from the back room. He wasn’t bolting exactly, but clearly a man walking with purpose. I guess Kevin Hufnagel had the long set and he had the short one, or maybe that’s his thing — play loud, fast, angry acoustic songs for 15-20 minutes and then split off the stage like you broke it. A pretty respectable ethic, to be honest. It’d still be another 45 minutes or so before Wino & Conny Ochs went on just past 11PM, but the Saint Vitus bar offers no shortage of other entertainments. I already mentioned Earthride on the P.A., and after that, it was Hour of 13.

Word had been shooting around the venue as well that both Scott “Wino” Weinrich and Ochs had gotten tour tattoos in the basement earlier in the night. I didn’t even know that was a thing, though I guess it makes sense. Within the first 30 seconds of their set, it was readily apparent that these two dudes were super-tight, musically and personally. In April, they’d filled the old church Het Patronaat with righteous bluesy harmonies, and they did the same for Saint Vitus bar’s unrepentant dinge, opening with “Somewhere Nowhere” and “Labour of Love” to cover beginning and finish of their debut collaboration, Heavy Kingdom right off the bat.

They’d already been on the road together for more than two weeks, so they played the set like it was a given, Ochs in a flowing white linen shirt that screamed “I get ladies” fairly loudly and Wino in a sleeves-gone black t with the word “heavy” on it, as if to emphasize the improbability of their pairing and the improbability that it would work as well as it does. Ochs had a bandage on his arm, Wino showed raw skin with that freshly-peeled look that’s always a marker of new ink. They played most of the Heavy Kingdom record — and at one point between songs, Wino named the two of them as a band called Heavy Kingdom; whether or not subsequent releases will come out under that name, I don’t know — and threw in a cover of Joy Division’s “Isolation,” which was spirited and well met in equal measure, and the title-track from Wino‘s solo acoustic debut, Adrift.

“Adrift” was a surprise, but a welcome one, and it sat well alongside Heavy Kingdom highlights like the swaggering “Dust” and “Dark Ravine.” New song “Crystal Madonna” was dark and quiet in comparison to much of the set, and seemed to be the dividing point between those who were sticking it out to the end of the show and those not, but if there was a shift in mood, it was hardly unprecedented in Wino & Conny Ochs‘ sound, and in any case, the Ochs-led “Here Comes the Siren” was even bleaker. I was glad for the chance to see that song in-person, though, and whether the duo release their next album under the Wino & Conny Ochs moniker or Heavy Kingdom, “Crystal Madonna” — she turned out to be plastic — that song is sure to be a standout. At the end of it, Wino said it was a true story.

No less true seemed the post-divorce balladry of “Old & Alone,” Weinrich‘s sneering vitriol and latent anger coming through as clearly as the fuzz he’d hooked up to his acoustic guitar for periodic solos, Ochs stomping his foot on a bass drum to keep effectively minimal time that nonetheless underscored a groove inherent in the songs. Following a short, on-stage break after their “last song,” they tore through “Manifesto” from Wino‘s 2011 split 7″ with Scott Kelly, topped it with a mostly a capella “Find the Cost of Freedom,” a Crosby, Stills, Nash & Young cover that can also be found on their Heavy Kingdom-concurrent  Labour of Love Latitudes session, and built the ending to a raucous rock finish with Ochs speeding up his guitar and drum stomp just to the brink of losing control before cutting it off.

I cut out on the quick, the prospect of an hour-plus post-midnight drive staring me down (that was before I accounted for construction on Rt. 3 in Jersey), but though the evening had its ups and downs, there were good people and good times had, and seeing Wino & Conny Ochs as firmly unified as they were — you might say they got tattoos together in the basement of the venue before playing (only the most sterile of environments will do) — bodes well for the prospect of a quick follow-up to Heavy Kingdom, and that’s something to look forward to, whenever it might arrive.

A couple extra pics after the jump. Thanks for reading.

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Wino Wednesday: Wino & Conny Ochs Perform New Song “Crystal Madonna” in Los Angeles on Current Tour

Posted in Bootleg Theater on August 15th, 2012 by H.P. Taskmaster

Happy Wino Wednesday

This week’s Wino Wednesday clip comes courtesy of one Andrew Lusby, who along with sending in a few much appreciated kind words about the site, included a link to some HD video of Wino & Conny Ochs performing their new song “Crystal Madonna” on their current US tour in support of their debut collaboration, Heavy Kingdom. His story to tell, so let’s let him tell it:

I recently saw Wino & Conny Ochs in L.A. and I was blown away. I happened to record most of their set and the quality came out pretty good. They played a new song titled “Crystal Madonna” which I think sounds great. Figured you might want to use it for a Wino Wednesday or at least enjoy for yourself. I’m guessing it will show up on the next album which Conny told me was definitely going to happen…

Besides playing most of Heavy Kingdom and some of Wino’s solo material they also played some great covers including “Hellbound Train” (Savoy Brown), “Hotel Vast Horizon” (Chris Whitley), and “Isolation” (Joy Division).

Badass. Thanks to Mr. Lusby for the clip and the info. The complete list of Wino & Conny Ochs tour dates is here.

Have a great Wino Wednesday:

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Wino Wednesday: Wino & Conny Ochs Stream “Judas” from Latitudes Sessions

Posted in Bootleg Theater on June 20th, 2012 by H.P. Taskmaster

Happy Wino WednesdayI know it hasn’t been that long since the last acoustic-type Wino Wednesday, but here’s the thing: Last night, after yet another late evening as work, I returned to my humble river valley and found there waiting for me a copy of the new Songs of Townes Van Zandt split tribute between Wino, Scott Kelly and Steve Von Till. I was just tired enough and just enough in need of spiritual rejuvenation that I put it right on and man, it was perfect. Von Till‘s take on “Black Crow Blues,” and Wino‘s “Rake” — just what I needed.

So for today, I wanted to use another track off that release, but then I found that at the end of their European tour together, Wino and Conny Ochs had done a Latitudes session together released in March under the appropriate title Labour of Love. Someone had told me about it before, if I recall, but I guess I put it out of my mind, because it’s not like I’d be able to get a review copy. As with all the Latitudes stuff, it’s a limited edition — CD is 500, 300 of which were bundled with a wood-box version of the Wino & Conny Ochs collaborative album, Heavy Kingdom — and this morning when I (re-)stumbled on it, I bought the thing immediately. True, I probably could’ve waited for the US tour they’re doing in August and picked it up at their merch table, but I figured better not to risk missing out. It’s not always in line with my personal taste, but I’m an admirer of the idea of the Latitudes sessions anyway.

If you want to check out the Labour of Love and other Latitudes stuff — it’s affiliated in some way with Southern Records, but I’m not sure what the relationship is — you can do so here. While you peruse, here’s “Judas” from the Soundcloud player they set up to allow for sampling. Cheers and have a great Wino Wednesday.

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audiObelisk: Listen to Roadburn 2012 Audio Streams from Conan, Danava, La Otracina, Nachtmystium, Oranssi Pazuzu, Pelican, Valient Thorr, Wino & Conny Ochs

Posted in audiObelisk on June 18th, 2012 by H.P. Taskmaster

This is one of my favorite series of posts throughout the year, and it’s even better now because I can actually embed the players. Thanks as always to Roadburn for documenting these sets and to Marcel van den Vondervoort and his crew at Spacejam for doing the hard work of recording and putting it all together.

If you missed the first batch of 2012 streams, they’re right here, and as always, enjoy:

ConanRoadburn 2012

DanavaRoadburn 2012

La OtracinaRoadburn 2012

NachtmystiumRoadburn 2012

Oranssi PazuzuRoadburn 2012

PelicanRoadburn 2012

Valient ThorrRoadburn 2012

Wino & Conny OchsRoadburn 2012

Read The Obelisk’s coverage of Roadburn 2012 here.

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Wino Wednesday: Wino & Conny Ochs Performing “Dust” at Roadburn 2012

Posted in Bootleg Theater on April 25th, 2012 by H.P. Taskmaster

Happy Wino Wednesday.Yeah, I know it was just last week that I did a clip from Roadburn for a Wino Wednesday pick. Cut me some slack, man. It’s not every weekend in your life you get to see Scott “Wino” Weinrich kill it in two different sets with two different projects, and I guess until Shrinebuilder decides to go on tour with The Obsessed and Spirit Caravan reunions (which probably won’t be happening any time soon or, you know, ever), it’s about the most we can reasonably ask for. I guess you could get Saint Vitus and Shrinebuilder on the same bill somewhat feasibly for a Wino double-dose, but it’s moot, however much fun dream lineups are to put together.

And anyway, the song “Dust,” which Wino and German singer-songwriter Conny Ochs included earlier this year on their collaborative album, Heavy Kingdom (review here) has been stuck in my head on and off since I watched them play it. I thought it was a cool track when I heard it on the album, but it’s a whole different experience hearing it live, especially since, as they both noted throughout the set, they’d been on tour throughout Europe for weeks, and were extremely tight both vocally and musically. Ochs, who takes the lead vocal on “Dust” with Wino backing, kicks a bass drum to keep a beat and soulfully belts out the song with melodic embellishments. It was one of the high points of the festival.

So, on this springtime late afternoon, I hope you enjoy this clip from Wino & Conny Ochs‘ set, making the most of the old church acoustics as they open day two of Roadburn at Het Patronaat. Maybe posting it will finally get the song out of my head and I’ll be able to move on with my life, but somehow I doubt it.

In any case, happy Wino Wednesday:

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Wino & Conny Ochs, Heavy Kingdom: Days of the Highway Kind

Posted in Reviews on February 16th, 2012 by H.P. Taskmaster

There are few punches pulled, no real instances of trickery, and more than anything else, the crux of Heavy Kingdom seems to be the joy of the collaboration between Scott “Wino” Weinrich and Conny Ochs. Perhaps the most elaborate thing about Heavy Kingdom is the gorgeous foldout artwork in which Exile on Mainstream has encased the CD. That’s not a criticism of the album itself. Rather, the first joint offering from Wino & Conny Ochs seems to be purposefully geared toward as natural a presentation as possible, which if anything only feeds into the narrative of how the project came about – that it was born of Weinrich touring Europe with the German native Ochs supporting his first acoustic album, Adrift, that the two played together on the road and decided a joint release was in order. Ochs, whose aptly-titled album, Raw Love Songs, was released by Exile on Mainstream early in 2011, is clearly comfortable in the role of singer-songwriter, and the several instances where he takes the fore on Heavy Kingdom prove it. Songs like “Dust,” “Traces of Blood” and “Here Comes the Siren” probably won’t be what draw Wino devotees to Heavy Kingdom, but offer some of the record’s strongest material nonetheless, and as the balance between the two players shifts throughout the 11 tracks, it only feeds into the natural feel. Layering is minimal – some electric guitar makes its way into “Here Comes the Siren” and the earlier “Vultures by the Vines,” as well as elsewhere – and really, it’s just about two songwriters who wanted to work together working together. It’s as unpretentious as that.

It’s a relatively short outing too at 38 minutes, and between that and the vocal tradeoffs and duets between Weinrich and Ochs, Heavy Kingdom asks little indulgence of its audience and gives much melody in return. Opening with one of its strongest choruses in “Somewhere Nowhere” – a hard strum makes the song stand out aside for more than its being the longest inclusion on the album – the collaboration feels immediately rooted in folk, and comes across as less staid than was Adrift, as though Weinrich internalized the lessons of touring acoustic for the first time alongside both Ochs and Scott Kelly. Arrangements are relegated mostly to two acoustic guitars, but there are flourishes here and there, and more active moments such as the title-track (also reportedly the first song the two wrote together) show a kind of rocking energy underlying the pace. Likewise, there are parts – the chorus of closer “Labour of Love” or “Vultures by the Vines” – that feel informed by an intensity (certainly the latter with its distorted solo) purely Weinrich’s, but the patience in “Dust” or the gorgeously melodic “Traces of Blood” offsets that side of the album with serenity and emotionally complex melody. Some of the most effective parts of Heavy Kingdom come about when Weinrich and Ochs work to complement each other in the songwriting, be it Ochs backing Weinrich in the chorus of “Dark Ravine” or Weinrich doing the same on “Dust” or “Here Comes the Siren,” which with its added sense of foreboding is an exceptional outing in and of itself.

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Wino Wednesday: EXCLUSIVE Premiere of New Track From Wino & Conny Ochs Collaboration!

Posted in audiObelisk on January 25th, 2012 by H.P. Taskmaster

Happy Wino Wednesday.For this week’s Wino Wednesday, I have the absolute thrill of hosting the first track premiere from Heavy Kingdom, the new collaborative album from Wino & Conny Ochs. Ochs, a German singer-songwriter whose aptly-titled Raw Love Songs was released last year by Exile on Mainstream, toured with Wino following the issue of his own acoustic debut, Adrift, and the two reportedly hit it off creatively as well as personally. As is often the case when it comes to Wino, an album was imminent.

And Heavy Kingdom, which will be out on Exile on Mainstream Jan. 30 in Europe and March 13 in North America, captures the emotionality in both songwriters’ work. Most of its tracks are pretty bare-bones, however, so there’s an element of rawness that seems to convey the basic nature of the collaboration. They wrote them together, they play them together. Wino & Conny Ochs, as a unit, isn’t about showing off the prowess of one player or another, but about two artists who respect each other working in tandem to create something new and whole.

The album succeeds in that, and is at times almost embarrassingly honest. As a representation of the material as a whole, it’s fitting to unveil the title-track first, since it hones both that honesty and the rawness of approach that so much of Heavy Kingdom is built on. Like the collaboration itself, it deals in duality and effectively bridges seemingly disparate elements into something natural and engaging.

Please enjoy Wino & Conny Ochs‘ “Heavy Kingdom” on the player below:

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

Heavy Kingdom is due out Jan. 30 in Europe and March 13 in North America on Exile on Mainstream. Special thanks to Earsplit PR and Exile on Mainstream for letting me host the track. For more on the release, check out the label’s site here and Wino‘s official page. If you’d like to see a bigger version of the cover, click here. Happy Wino Wednesday.

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