Posted in Whathaveyou on January 29th, 2015 by H.P. Taskmaster
Several days ago, Portland, Oregon, doomers Witch Mountain posted the above image on their Facebook page as a way of teasing the fact that they are once again a complete four-piece. Today, the parties joining with founding guitarist Rob Wrong and drummer Nathan Carson have been officially announced as vocalist Kayla Dixon and bassist Justin Brown.
Formerly based in Ohio, Dixon comes to Witch Mountain via Cleveland metallers Demons Within. She steps into the vocalist role in place of Uta Plotkin, who over the course of Witch Mountain‘s three post-reactivation full-lengths on Profound Lore, 2011’s South of Salem (review here), 2012’s Cauldron of the Wild (review here) and last year’s Mobile of Angels (review here), became one of doom’s most recognizable voices, with a soulful, bluesy inflection that has already left an influential stamp on the genre. When Plotkin announced her departure from the band prior to their tour in Sept. with Nick Turner’s Hawkwind, it was a shock but only made the lyrics to Mobile of Angels tracks like “Can’t Settle,” “Your Corrupt Ways (Sour the Hymn)” and “The Shape Turth Takes” even more visceral.
In an interview here last fall, Carson speculated that it could be years before the right voice was found to fill the position. That the band was aware and mindful of the task before them serves as further endorsement of Dixon‘s ability and the potential for their continued progress as a group with her on board. Bassist Justin Brown enters the lineup having spent the last several years in the two-bass/no-guitar trio Lamprey, from whom a follow-up long-player to 2012’s The Burden of Beasts EP (review here) is expected sometime this year, its coming heralded by a recent video for the track “Iron Awake” that was featured here.
Witch Mountain are slated to take part in an upcoming Black Sabbath tribute that will also feature Kylesa and Wo Fat, among others, though at this time it’s not clear when their contribution was recorded or who was involved. They have toured extensively in support of each of their three records since returning from a decade’s hiatus, and the first road test of the new lineup will be a run of shows alongside YOB following that outfit’s stint with Enslaved in March. With congratulations to Brown and Dixon on landing what can only be considered as enviable as a gig playing doom can get by playing in Witch Mountain, the tour dates follow here:
YOB + Witch Mountain
3/21 New York, NY @ Gramercy Theatre w/ Enslaved, YOB, Ecstatic Vision
3/22 Philadelphia, PA @ Union Transfer w/ Enslaved, YOB, Ecstatic Vision
3/25 Richmond, VA @ Strange Matter
3/26 Raleigh, NC @ King’s Barcade
3/27 Johnson City, TN @ The Hideaway
3/28 Atlanta, GA @ The Earl
3/29 Memphis, TN @ Hi-Tone
3/30 New Orleans, LA @ Siberia
3/31 Houston, TX @ Walter’s
4/01 Austin, TX @ Red 7
4/03 Albuquerque, NM @ Launch Pad
4/04 Tucson, AZ @ The Flycatcher
4/05 Los Angeles, CA @ Los Globos
4/07 San Francisco, CA @ Golden Bull
4/08 Sacramento, CA @ Press Club
4/10 Seattle, WA @ Victory
4/11 Portland, OR @ Star Theater
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Alunah, Awakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in Features on November 20th, 2014 by H.P. Taskmaster
Something is stirring in the Witch Mountain camp. I don’t know quite what yet, but on Nov. 10, the Portland, Oregon, outfit posted the following: “Just booked studio time to record a song in early December. Details when we are allowed to share them.”
Cryptic but precise, obscure and calculated, the message itself sums up a lot of what Witch Mountain have become over the last few years. After getting off tour this fall Nik Turner‘s incarnation of Hawkwind, the band — founded by guitarist Rob Wrong (to whom I’ve never spoken because he used to review records for stonerrock.com and would blow my meager knowledge of heavy out of the water) and drummer Nathan Carson (who also runs Nanotear Booking and has been interviewed here before) — said farewell to vocalist Uta Plotkin. They lost their bassist at the time as well, but it was Plotkin who grabbed the headlines, and reasonably so. Among metal singers, hers was a singular voice, resonant in its power and presence, but able also to convey emotion, bluesy soul and, particularly in the case of their latest album, Mobile of Angels (review here), a desperate sense of longing.
Their third offering for Profound Lore and third since reactivating following a long hiatus after their 2001 debut, Come the Mountain (discussed here), it’s easy to think of Mobile of Angels as a culmination in light of Plotkin‘s departure, and certainly it is their crowning achievement to date, but it’s also a step in an interrupted progression from their last two outings, 2012’s Cauldron of the Wild (review here) and 2011’s South of Salem (review here). With the constant thread of Billy Anderson‘s production, one can hear Witch Mountain growing on these three albums, becoming the assured, progressive act they are on Mobile of Angels, patiently presenting an all-too-brief 38 minutes that’s beautiful and desolate at the same time.
Carson knows that whoever takes the vocalist role has a challenge ahead of them. In the interview that follows, he talks about how Plotkin‘s leaving took shape, making Mobile of Angels, the mood on this last tour and what they might be looking for in a new singer. The question at this point, after the above Nov. 10 post, is whether or not they’ve found that person. I guess we’ll have to wait and see.
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s beamed in from a universe of all good times. I don’t want to walk around tooting my own horn like I actually did anything, but you’ll pardon me if I say that once you get on board here, you might not want to jump back off. The flow is up and down, alternately drawn out and rushing, and right up to the last song which is a bit of a return to earth, the second hour is the most spaced out it’s ever been around these parts. I’m way into it. I hope you’re way into it.
Like last time, I tried to get a mix of excellent stuff upcoming with other recent items you might’ve missed. One of these days I’m gonna do another one of these where I talk, but this is straight-up track into track the whole way through and I think it moves really well that way. Please feel free to grab a download or hit the stream and dig in and enjoy.
The Melvins, “Sesame Street Meat” from Hold it In (2014)
Fever Dog, “One Thousand Centuries” from Second Wind (2014)
Lo-Pan, “Eastern Seas” from Colossus (2014)
Witchrider, “Black” from Unmountable Stairs (2014)
Alunah, “Awakening the Forest” from Awakening the Forest (2014)
Craang, “Magnolia” from To the Estimated Size of the Universe (2014)
Slow Season, “Shake” from Mountains (2014)
Lucifer in the Sky with Diamonds, “Guillotine” from The Shining One (2014)
The Proselyte, “Irish Goodbye” from Our Vessel’s in Need (2014)
Flood, “Lake Nyos” from Oak (2014)
Lord, “Golgotha” from Alive in Golgotha (2014)
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One (2014)
Spidergawd, “Empty Rooms” from Spidergawd (2014)
The Myrrors, “Whirling Mountain Blues” from Solar Collector (2014)
Witch Mountain, “Your Corrupt Ways (Sour the Hymn)” from Mobile of Angels (2014)
Posted in Reviews on August 20th, 2014 by H.P. Taskmaster
Certainly the announcement that vocalist Uta Plotkin will leave Witch Mountain following their Fall US tour with Nik Turner’s Hawkwind places Mobile of Angels, the band’s fourth album overall and third with Plotkin fronting, into a different context. If nothing else, it lets lyrics longing for escape in “Psycho Animundi” and “Can’t Settle” — lines like “Living in filth and dirt in rooms less colorful and cheerful than the cages in which we put animals in a zoo” from the former and the richly, beautifully crooned “Oh, it’s time to go” in the back half chorus of the latter — be read in ways opposed to how they otherwise might. Witch Mountain‘s music has never been particularly upbeat, but the blues in Plotkin‘s voice seem to have a focal point here and if it’s a change that needed to happen, then the only really unfortunate part about it is that it comes as the four-piece of Plotkin, guitarist Rob Wrong, drummer Nate Carson and bassist Charles Thomas (also of Blackwitch Pudding and the latest in a succession of bass players) reach their highest creative watermark to date. Released by Profound Lore in North America and Svart in Europe, Mobile of Angelsfollows two strong outings in 2012’s Cauldron of the Wild (review here) and 2011’s South of Salem (review here) — their debut, Come the Mountain(discussed here) having been released in 2001 on Rage of Achilles before an extended hiatus — but it is leaner than Cauldronand more developed than Salem, the band’s considerable road-time paying dividends in the tightness of performance and the ground they’re able and willing to cover stylistically. Production by Billy Anderson never hurts either, but what’s most striking about Mobile of Angelsisn’t how the five songs sound so much as where they go.
The lurching chug in Wrong‘s riffs is a signature element in Witch Mountain‘s approach, and as the opener, “Psycho Animundi” dives immediately into an affirmation of it. Cauldron of the Wild‘s “The Ballad of Lanky Rae” was similarly direct, but the bluesier atmosphere of that track is contrasted by “Psycho Animundi”‘s purely doomed stomp, underscored by the slow march in Carson‘s drumming. At nearly nine minutes, it’s second only to centerpiece “Your Corrupt Ways (Sour the Hymn),” and fittingly immersive, but there’s still a right-down-to-business feel, and the vocals start less than a minute into the track, beginning a tradeoff of verses and guitar solos that carries the central chug through a duration that feels less extended than it is. Plotkin‘s voice is given to soaring, and it does so liberally here, finding contrast in secret-weapon growls in the metallic midsection of “Can’t Settle,” the second half of which stands as an early apex of the record, perhaps rivaled by the guitar nods to YOB‘s “Catharsis” in closer “The Shape Truth Takes,” but a moment unto itself for the vocal harmonies at play in any case. That one would even be tempted to hyperbolize and call it Plotkin‘s best performance in Witch Mountain should be enough to emphasize the point. The 10-minute “Your Corrupt Ways (Sour the Hymn)” follows, executing a few quiet/loud tradeoffs en route to Mobile of Angels‘ most patient build, the full band in complete command of their movement as soulful backing vocals guide the way through the early stretches and the guitar, bass and drums begin their push toward a peak that arrives after seven minutes in, Wrong taking the fore for one of the album’s best solos — he also works in layers — and giving way to a morose final verse before a more open, ethereal ending shifts into the otherworldly title-track, relatively quick at 3:30, but hypnotic thanks to organ scratch and an interweaving of spoken and sung incantations.
A subdued finale, maybe, but “The Shape Truth Takes” is glorious in its melancholy. Plotkin seems to be playing off Debbie Harry‘s unrealistic range, and the quieter instrumentation behind her gives a perfect showcase in the song’s initial moments, the lead-in from “Mobile of Angels” opening fluidly to the peaceful noodling of the guitar, Witch Mountain proving just as capable of conveying weight in emotionality as in their tones, Plotkin‘s swirling layers recalling “Can’t Settle” as Thomas, Carson and Wrong weave their way through a forward but deceptive progression, finding an explosive point after the three-minute mark, at which point “The Shape Truth Takes” opens to a fuller but still not overblown breadth. Regret? Sadness? It’s hard to know what’s in there without reading too much in, but it’s not bitter in the way “Psycho Animundi” is. Maybe it’s just a moment of resignation that gets swept up in Wrong‘s solo before five minutes in, the album’s final crescendo coming in the solo/vocal trade much like that of “Your Corrupt Ways (Sour the Hymn),” but leading to a relatively quick outro and final chug of the guitar, as though it’s looking to hold onto the song even as it’s already passed. Witch Mountain, which was founded by Wrong and Carson in the late ’90s, has said the band will continue without Plotkin, but there can be little doubt they’ll have their work cut out for them in assembling a new dynamic after the utter mastery they show on Mobile of Angels. That’s not to say it can’t be done, only that it will take time. When one considers the efforts put in by the band on tour and over the two records leading to this one, Mobile of Angelslooks all the more like a high point reached, the culmination of the years since Witch Mountain came back together and the arrival at what they’ve been pursuing all along. If subsequent outings show that’s not the case — i.e., if that pursuit continues off in a different direction — then all the better, but no question Mobile of Angelsmarks the end of something special for Witch Mountain and is bittersweet for American doom. All is fleeting.
Posted in Whathaveyou on August 7th, 2014 by H.P. Taskmaster
Bit of a blindside here but I guess that kind of thing can’t be helped. On the eve of Witch Mountain releasing Mobile of Angels, their third album since coming back in 2011 with South of Salem(review here), vocalist Uta Plotkin has announced her intention to leave the band following their upcoming fall US tour with Nik Turner’s Hawkwind and Hedersleben. Plotkin, whose bluesy singing style and powerful delivery has greatly helped the Portland outfitfurther their doomly cause these last three years, will leave a significant void in the front of the stage, though Witch Mountain have stated their intention to continue anyway, guitarist Rob Wrong and drummer Nate Carson having started the band together in the late ’90s and released the full-length Come the Mountainin 2001 before a 10-year break.
I’m loath to pilfer news from anyone — and feel inclined to acknowledge the irony that the story broke via Revolver, whose “the hottest chicks in metal” undermines the legitimacy of singers like Plotkin and other players more or less every time it’s published — but this is a big story and worth spreading, considering that any change of frontperson is bound to have a sizable impact on the personality and style of Witch Mountain as a whole. It will be interesting to see what and who they come back with, but as they rightly point out, Witch Mountain was a band before Plotkin, so it’s not unreasonable to think it can be a band after. If anyone at Revolver is pissed at the cut and paste, I apologize, but at least I gave credit and linked back to the original story.
Obviously, best of luck to Plotkin on her next endeavor, whatever that may be, and to Witch Mountain for the reconstruction process. Text from Revolver, plus the tour dates:
Frontwoman Uta Plotkin to Leave Witch Mountain after Release of New Album, ‘Mobile of Angels’
Witch Mountain’s upcoming fourth album, ‘Mobile of Angels,’ and their summer shows with Nik Turner’s Hawkwind will be their last record and tour, respectively, with lead singer Uta Plotkin. The new album will be unleashed by Profound Lore Records in North America September 30, and via Svart Records in Europe and beyond. ‘Mobile of Angels’ was produced by producer Billy Anderson, tracked and mixed in Type Foundry studios Portland, OR.
“It’s been a rewarding experience being in Witch Mountain,” says Plotkin, who joined the group in 2009. “I’ve met many wonderful people and helped make a lot of great music but after three albums I feel it’s time for me to move on to new projects, musical and otherwise. My creative spirit has always been a restless one. I hope our fans continue to enjoy our music and support Witch Mountain in its future incarnations.”
“We love and support Uta in whatever direction her life takes her,” the remaining members of Witch Mountain comment. “Our collaboration with her over the last five years, three albums, and hundreds of shows has been a privilege. But the band existed long before we met her and will continue into the future. Somewhere in this wide world is a voice with the talent and ambition to help Witch Mountain continue to improve as we have with each new release and passing year. Someone (male or female) will eventually send us a demo that brings us to tears. Until then, we remain focused on our final tour with Uta, and promoting our brand new album. Thanks to all for your support.”
If you want to catch Uta Plotkin with Witch Mountain on stage, please mark your calendar because this is your last chance:
NIK TURNER’S HAWKWIND + WITCH MOUNTAIN + HEDERSLEBEN NORTH AMERICAN TOUR 2014
Tue 8/26 – Oakland, CA – Uptown Wed 8/27 – Los Angeles, CA – Viper Room Thu 8/28 – San Diego, CA – Casbah Fri 8/29 – Tucson, AZ – Hotel Congress Sat 8/30 – Albuquerque, NM – Launch Pad Mon 9/01 – Austin, TX – Red 7 Tue 9/02 – New Orleans, LA – Siberia Wed 9/03 – Birmingham, AL – Bottletree Thu 9/04 – Memphis, TN – Hi-Tone Cafe Fri 9/05 – Lafayette, GA – Meltasia Fest Sat 9/06 – Raleigh, NC – Hopscotch Fest* Sun 9/07 – Richmond, VA – Strange Matter Mon 9/08 – Baltimore, MD – Metro Gallery Tue 9/09 – Philadelphia, PA – Boot and Saddle Wed 9/10 – Sellersville, PA – Sellersville Theater Thu 9/11 – New York, NY – Webster Hall Fri 9/12 – Boston, MA – Middle East Sun 9/14 – Montreal, QC – Il Motore Mon 9/15 – Toronto, ON – The Garrison Tue 9/16 – Rochester, NY – Bug Jar Wed 9/17 – Cleveland, OH – Beachland Ballroom Thu 9/18 – Chicago, IL – Beat Kitchen Fri 9/19 – Rock Island, IL – RIBCO Sat 9/20 – Milwaukee, WI – Cactus Club* Sun 9/21 – Saint Paul, MN – Turf Club Mon 9/22 – Winnipeg, MB – Pyramid Cabaret* Tue 9/23 – Saskatoon, SK – Vangelis Tavern Wed 9/24 – Calgary, AB – Palomino Fri 9/26 – Vancouver, BC – Venue (early evening show) Sat 9/27 – Seattle, WA – Chop Suey Sun 9/28 – Portland, OR – Star Theater
Posted in Features on July 8th, 2014 by H.P. Taskmaster
Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.
Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.
Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.
In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.
If I left something out you’re dying to hear, please let me know in the comments.
Thanks in advance for reading:
1. Alunah, TBA (Sept.)
Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.
2. Apostle of Solitude, Of Woe and Wounds (Oct.)
These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.
3. Blackwolfgoat, Drone Maintenance (Aug. 26)
Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.
4. Blues Pills, Blues Pills (Aug. 5)
The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.
5. Bongripper, Miserable (July 7)
You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.
6. Botanist, VI: Flora (Aug. 11)
I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.
7. Brant Bjork, TBA (TBA)
When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.
8. Earth, Primitive and Deadly (Sept.)
The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.
9. Electric Wizard, Time to Die (Sept.)
“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.
10. Fever Dog, Second Wind (TBA)
Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.
11. Goat, Commune (Sept. 23)
Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.
12. Grifter, The Return of the Bearded Brethren (Aug. 11)
UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.
13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)
Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.
14. Ides of Gemini, Old World New Wave (Sept. 16)
Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.
15. John Gallow, Violet Dreams (Aug. 4)
Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.
16. John Garcia, John Garcia (Aug. 5)
A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.
17. King Buffalo, TBA (TBA)
Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.
18. Kings Destroy, Kings Destroy (TBA)
Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.
19. The Kings of Frog Island, V (Fall)
Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.
20. Lonely Kamel, Shit City (Sept. 9)
I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.
21. Lo-Pan, Colossus (Oct. 7)
Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.
22. Novembers Doom, Bled White (July 15)
One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.
23. Pallbearer, Foundations of Burden (Aug. 19)
Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.
24. The Skull, TBA (TBA)
For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.
25. Snail, Feral (TBA)
Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.
26. Steak, Slab City (Sept. 9)
After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.
27. Stubb, Cry of the Ocean (TBA)
It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.
28. Torche, TBA (TBA)
Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.
29. The Well, Monomyth (Late Summer)
I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.
30. Witch Mountain, Mobile of Angels (Sept.)
Please note: The original cover art with this post was not final and has been replaced with the above band photo.
Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.
31. YOB, Clearing the Path to Ascend (Sept. 2)
Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2012’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.
Other Notable Mentions
Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:
Acid King — Were listed in January, but their record has a Feb. 2015 release date.
Bright Curse — Second album recorded at Skyhammer Studios.
Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.
Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.
40 Watt Sun — There was some word of this early in the year, but nothing since.
Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.
It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.
Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.
Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.
Lowrider — They’re working on it, but don’t hold your breath to have it out by December.
The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.
Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.
Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.
Pink Floyd – Believe it when I see it, but I honestly couldn’t care less either way if I tried.
Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.
Sun Voyager — Upstate NY youngsters had hinted at new recordings.
Again, if I forgot anything — and I’m sure I did — please let me know in the comments.
Posted in Whathaveyou on July 2nd, 2014 by H.P. Taskmaster
Called to assembly by Hovercraft Amplifiers and Nanotear Booking, the first annual Hoverfest is set to unfold on Aug. 23, 2014. They’ve put together a maddeningly good lineup for their initial installment, culling together Oregon-based acts YOB, Witch Mountain, Holy Grove and Eight Bells, rounding out with New York ambient sludgers Mountain God and getting none other than Billy Anderson to run the sound for the night. Figure it’s gonna be a good time.
Naturally, Hovercraft will provide the backline, and company founder Nial McGaughey provides some insight below via the PR wire on what brought it all together:
HOVERFEST: First-Annual Portland Heavy-Music Festival Featuring YOB, WITCH MOUNTAIN & More Announced
On behalf of Hovercraft Amplifiers, we are thrilled to announce the first-annual Hoverfest, a festival of friends of and music created with Hovercraft amps, which will take place on August 23rd, 2014 in the blocked-off alleyway by Type Foundry Studios at 611 N. Tillamook St. in Portland, Oregon. Presales will be available in the coming weeks, but in the meantime, here is some info on this incredible event. The event is being graciously hosted by Cravedog Media, booked by Nanotear, and the live music on the day of the show will be mixed by the legendary Billy Anderson. Presales will be available in the coming weeks, but in the meantime, here is some info on this incredible event.
Initial Lineup (More TBA): YOB Witch Mountain Holy Grove Eight Bells Mountain God
More info on the inception of Hovercraft Amplifiers and Hoverfest:
As the world of heavy music continues to burst at the seams in the Pacific Northwest and worldwide, so does the need for the equipment to keep things loud. Nial McGaughey, local Portlander and engineering wizard, has been building custom, recycled tube amplifiers since 2010 under the name Hovercraft Amplifiers, a name which is becoming increasingly synonymous with the ear-crushing, chest-thudding sounds of Pacific Northwest heavyweights like YOB, Blackwitch Pudding, Brothers Of The Sonic Cloth, and many more.
After 13 years of playing in bands and building amplifiers for 65amps in Los Angeles, McGaughey returned to Portland to start a new life. The very first Hovercraft amp was built in his living room as he was going through a divorce. Once he figured out how to replicate the sound of highly sought-after, generally unobtainable vintage or custom tube-amps using recycled and sustainable materials, he kept tweaking the sound to improve it even further.
Once he was satisfied with the sound he had created with his own custom amplifer, he consigned it at Old Town Music. Within a couple of weeks he got a phone call that it had sold. That first customer was so satisfied with the amplifier that he started telling people how great it sounded—he loved how reasonably priced it was and the fact that it was made locally, from recycled parts. The demand became so high that Old Town Music requested that McGaughey bring more in to sell. From there, he opted to post some amps on Ebay, which began selling within five minutes of being listed. 500 amps and four years later, the shop space has been transformed into a pile of parts that reaches the garage rafters.
More recently, McGaughey’s self-described “oh shit” moment was when he was in the audience at Stumpfest, and all of the bands were using a backline of Hovercraft amplifiers and cabinets. It was then that he realized he had done something incredibly spectacular and special and wanted to give back to the bands that create such amazing music using the gear. The first annual Hoverfest is the perfect way to celebrate how far Hovercraft Amplifers has come and to reflect on the amazing support the business has gotten from the people who love what they do.
Posted in Whathaveyou on June 13th, 2014 by H.P. Taskmaster
I’m not going to claim to know the ins and outs of the dispute between Nik Turner and Dave Brock over the name Hawkwind or who’s got what right to call themselves Hawkwind at any point in time. What I do know is that if there’s a band called Hawkwind playing in your town on any night, then that’s probably the place you want to be. Turner, who also toured the States with his band last fall, is bringing his incarnation of the legendary space rock progenitors back for a coast-spanning run beginning in late August, starting on the West Coast and ending on the West Coast a month later, with plenty of stops and only three days off along the way. Ambitious to say the least.
Joining Turner and his cohorts will be Witch Mountain and Hedersleben, who are based in the Bay Area but have ties to Turner‘s band andBrainticket, among others in the prog/krautrock realm.
Nik Turner’s Hawkwind, Witch Mountain and Hedersleben North American Tour Dates announced!
Tue 8/26 – Oakland, CA – Uptown Wed 8/27 – Los Angeles, CA – Viper Room Thu 8/28 – San Diego, CA – Casbah Fri 8/29 – Tucson, AZ – Hotel Congress Sat 8/30 – Albuquerque, NM – Launch Pad Mon 9/01 – Austin, TX- Red 7 Tue 9/02 – New Orleans, LA – Siberia Wed 9/03 – Birmingham, AL – Bottletree Thu 9/04 – Memphis, TN – Hi-Tone Cafe Fri 9/05 – Lafayette, GA – Meltasia Fest Sat 9/06 – Raleigh, NC – Hopscotch Fest Sun 9/07 – Richmond, VA – Strange Matter Mon 9/08 – Baltimore, MD – Metro Gallery Tue 9/09 – Philadelphia, PA – Boot and Saddle Wed 9/10 – Sellersville, PA – Sellersville Theater Thu 9/11 – New York, NY – Webster Hall Fri 9/12 – Boston, MA – Middle East Sun 9/14 – Montreal, QC – IL Motore Mon 9/15 – Toronto, On – The Garrison Tue 9/16 – Rochester, NY – Bug Jar Wed 9/17 – Cleveland, OH – Beachland Ballroom Thu 9/18 – Chicago, IL – Beat Kitchen Fri 9/19 – Rock Island, IL – RIBCO Sat 9/20 – Milwaukee, WI – Cactus Club Sun 9/21 – Saint Paul, MN – Turf Club Mon 9/22 – Winnipeg, MB – Pyramid Cabaret Tue 9/23 – Saskatoon, Sk – Vangelis Tavern Wed 9/24 – Calgary, AB – Palomino Fri 9/26 – Vancouver, BC – Venue (early evening show) Sat 9/27 – Seattle, WA – Chop Suey Sun 9/28 – Portland, OR – Star Theater
Posted in Whathaveyou on June 10th, 2014 by H.P. Taskmaster
If you’ve ever wondered when you might finally get the chance to see Black Oak Arkansas and Lecherous Gaze on the same bill, behold the Meltasia Music Festival 2014 and its bizarre possum mascot, Melty. The three-day outdoor campout/fest is set for Sept. 5-7 in LaFeyette, Georgia, about two hours outside of Atlanta, and it’s a more eclectic lineup than just those two bands even would lead you to believe, with the likes of Witch Mountain and Danava coming east to join a widely varied group of acts in a range of styles. You (and by you I mean me) might not be into all of it, but the mission is admirable anyway, and a celebration of the weird is something worth noting wherever and whenever it might be happening. Shit, Nik Turner‘s gonna be there. Anywhere that guy goes, it’s news.
In case you’re feeling artsy, Meltasia is currently running a contest on the fest’s Thee Facebooks wherein whoever draws the best version of Melty gets a free three-day pass. I can’t draw, but seems like it might be worth a shot anyhow.
The PR wire offers makeup tips and advice on how to win friends and influence cleverly-named noisepunk bands:
MELTASIA MUSIC FESTIVAL
3 Days and 3 nights of camping & music
September 5th, 6th & 7th
Cherokee Farms, LaFayette Georgia www.meltasia.com
For five years, Andy Animal, (who was described by MTV as the “Wavy Gravy of the Black Lips generation,”) has been throwing an annual private gathering in the Catskill Mountains, called ANDY ANIMAL’S MELTDOWN FUNABRATION. But it maxes out at a few hundred, and the party’s too good to keep under wraps. So Andy’s decided to take his circus down South, with MELTASIA. Get ready for three days of camping, vendors, vintage, swimming, food, beer, bands and bonfires. Because Andy wants to party with you.
Bands: Black Lips, Nik Turner’s Hawkwind, Bloodshot Bill, Quintron & Miss Pussycat, Cherie Currie, Shannon & The Clams, Black Oak Arkansas, Danava, Vockah Redu, Shazzula, Daddy Long Legs, Biters, The Coathangers, Ice Balloons, Cheap Time, Gringo Star, Apache, Liquor Store, Barreracudas, Witch Mountain, Dinos Boys, Hank Wood & The Hammerheads, Dirty Fences, Predator, Ravi Shavi, GG King, WEATHER WARLOCK, Golden Pelicans, Atlantic Thrills, Lecherous Gaze, Rapturous Grief, Birdcloud, Expo 70, Crazy Spirit Gymshorts, Black Linen, Hedersleben, Manic, JP5, Zoners, Fletcher C Johnson, White Mystery, Bummers Eve, The Mold, The Neighbors, Rattlesnake Milk, Tight Genes, Classholes, Froth, Mr. Elevator & The Brain Hotel, Dancer, Golden Grass, T3rd, The Wildtones, Ecstatic Vision, GHB, Citizen Blast Kane, Deadly Lo-Fi, The Birdwings, The Golden Grass, The Mumzees, Gorgeous, Cy Barkley & The Way Outsiders, Turf War, Las Rosas, Corners + a few more TBA
DJs Jonathan Toubin (New York Night Train) Cole Alexander (Black Lips) Howie Pyro (ex Danzig, Intoxica Radio) Josh Styles (Daddy Long Legs) + many more
Sponsors and vendors TBA
Nik Turner’s Space Ritual, “Children of the Sun” live in Silverlake, 2013
Posted in Whathaveyou on May 15th, 2014 by H.P. Taskmaster
Don’t get me wrong, I’m glad Portland four-piece Witch Mountain are headed back to Europe to tour at the end of the month and into next. That’s great. Go get ‘em. What I find even more exciting than that prospect is that Witch Mountain‘s fourth album, the Billy Anderson-helmed Mobile of Angels, is set to release in September. Svart will have it out on Europe and Profound Lore in North America, and Witch Mountain will team with Oslo doomers Tombstones for the tour, so if nothing else, they’re going into the follow-up to 2012’s Cauldron of the Wild(review here) in good company. I’d expect this is the first of several tours to come in support of Mobile of Angels. In addition to crisscrossing the US for Cauldron of the Wild, the band also toured Europe with appearances at Roadburn and both Desertfests, and they’ve shown no signs of slowing down.
The PR wire has it like this:
WITCH MOUNTAIN returns to tour Europe – new album in September
WITCH MOUNTAIN is pleased to announce its second voyage to the old world. This tour comes shortly before the release of WITCH MOUNTAIN’s highly anticipated fourth album, Mobile of Angels. The new record was produced in May 2014 at Type Foundry studios in Portland, Oregon by master “Engine-Ear” Billy Anderson and will feature the artwork of Mark McCormick. With Mobile of Angels, WITCH MOUNTAIN stretches out into new musical frontiers, while still remaining firmly in the tradition of classic heavy doomed rock ‘n’ roll. The album will be released in September 2014 in Europe by SVART RECORDS, and in North America by Profound Lore.
To coincide with the Euro tour, SVART RECORDS is also issuing a limited vinyl version of the band’s earlier album South of Salem. This edition of the classic album is expanded to a double-LP with a second disc consisting of rare tracks, unreleased cover songs, and demos.
SLAM Alternative Music Magazine and Vibra Booking present:
WITCH MOUNTAIN – Europe 2014 27.05.2014 NO – Oslo, Pokalen* 29.05.2014 SWE – Tyrolen, Muskelrock* 30.05.2014 DK – Kopenhagen, Musikcafeen* 31.05.2014 DK – Aalborg, 1000Fryd* 01.06.2014 GER – Hamburg, Hafenklang* 03.06.2014 GER – Berlin, Cassiopeia* 05.06.2014 A – Vienna, Arena* 07.06.2014 I – Bologna, Freak Out Club* 08.06.2014 I – Milano, Lo If Club* 10.06.2014 F – Paris, La Fleche D’Or* 12.06.2014 UK – Barrow, New Cons* 14.06.2014 UK – London, Underworld* 15.06 2014 UK – Bournemouth, Anvil* 16.06.2014 B – Antwerp, Kavka* 17.06.2014 NL – Tilburg, Little Devil* 18.06.2014 GR – Thessaloniki, Eight Ball 19.06.2014 GR – Athens, Six Dogs 21.06.2014 F – Clisson, Hellfest 2014 *Tombstones supports
Posted in audiObelisk on September 11th, 2013 by H.P. Taskmaster
Of all the batches of Roadburn 2013 audio that have thus far come to light, this one might be both my favorite and the most comprehensive. From Pallbearer‘s morose doom to Elder‘s heavy psych righteousness, the progressive metal of The Ocean and Spiritual Beggars‘ classic heavy rock, seething black metal from A Forest of Stars, with post-metal from Process of Guilt, blues doom from Witch Mountain and prog from Camera and Astra between — that’s not to mention the genreless freakout of Seremonia — it’s a series as varied as the fest itself.
Please enjoy the Roadburn 2013 streams on the players below and kiss your afternoon goodbye. As you make your way through, don’t forget to check the news below about The Shrine, Papir and Glitter Wizard being added to the Roadburn 2014 lineup, as that continues to impressively take shape.
Thanks as always to Walter and the Roadburn crew:
A Forest of Stars – Live at Roadburn 2013
Astra – Live at Roadburn 2013
Elder – Live at Roadburn 2013
Pallbearer – Live at Roadburn 2013
Process of Guilt – Live at Roadburn 2013
Seremonia – Live at Roadburn 2013
Spiritual Beggars – Live at Roadburn 2013
The Ocean – Live at Roadburn 2013
The Ruins of Beverast – Live at Roadburn 2013
Witch Mountain – Live at Roadburn 2013
As noted above, Roadburn 2014 has continued this week to add bands to its already considerable lineup. Here’s the latest, courtesy of the fest:
LA’s The Shrine To Bring Some Heavy, Psychedelic, Riff Based Rock n’ Roll To Roadburn Festival 2014
Grab a six pack! It’s time for some high energy, rock ‘n roll action when Los Angeles’ The Shrine hits the stage on Thursday, April 10 at the 013 venue in Tilburg, The Netherlands. We’re feeling inspired… should we put up a skate ramp at Roadburn 2014?
No, let’s empty some pools, and conquer these concrete bowls! Right here, right now, as the hairy dudes in The Shrine could easily have been part of the 1970s Zephyr skateboard team. Or at least, they would have put up their big ass amps (draped with an American flag, of course) next to the pools, and crank some drug addled, SoCal primitive blast to get it all going, pure and simple!
Denmark’s Papir To Transcend Heavy Psych Territory at Roadburn Festival 2014
We here at Roadburn are on our own path and we ensure that when booking the festival it encompasses everything we like – from krautrock through post rock to heavy psych.
Papir, hailing from the suburbs of Copenhagen, are definitely kindred spirits, as this fascinating instrumental three piece have created their own extraordinary type of semi-improvised psychedelic rock by transcending the usual labels – something we immensely admire. Thus we simply can’t wait to dive headfirst into the band’s richly textured sound on Saturday, April 12 at the 013 venue in Tilburg, The Netherlands.
Take A Trip Way Back Into The Future With Glitter Wizard at Roadburn 2014
In our ongoing quest to exhume every artifact of 60s and 70s proto metal, we recently stumbled up on San Francisco’s Glitter Wizard. For a moment, it seemed that we unearthed a forgotten gem, as Hunting Gatherers, the band’s sophomore album, could be easily mistaken for a long lost album from the early 70s.
In our hazy minds’ imagination, the band shared the stage with Steppenwolf, Bloodrock, Black Widow, The Stooges or Iron Butterfly, but Glitter Wizard‘s trippy, swinging sound — replete with catchy riffs, amusing lyrics and space-age keyboards, sax and flutes — isn’t some kind of Nuggets discovery, they are here and now.
Don’t get behind the times when the devil worships Glitter Wizard at Roadburn 2014 on Saturday, April 12 at the 013 venue in Tilburg, The Netherlands. They will take you into future through a doorway hidden in the past.
Posted in Features on April 19th, 2013 by H.P. Taskmaster
04.20.13 — 00.52 — Saturday morning — Hotel Mercure, Tilburg
I was early to Het Patronaat for the start of day two of Roadburn 2013. Stupid early, as the kids might say. Dread Sovereign – the new and doomly trio from Primordial vocalist Alan Averill and drummer Simon O’Laoghaire, also with Bones on guitar — were going on until 14.00, and I rolled up to the old church roughly an hour before. It was in time to catch their soundcheck, as it happens, which I watched from the door into the upstairs of the venue as a prelude to their actual set, which followed a much-needed cup of coffee. I had thought of bringing a book to read and ultimately decided against it. Can’t say it was the right choice, but there you go.
Averill handles bass in Dread Sovereign as well, and dialing his stage makeup back to some eyeliner but keeping the hood — Bones had one as well — his stage presence was a far cry from what it had been the night before, less interaction with the crowd, less rousing to fit with the music, which in turn was less rousing. There’s a 12″ they’re selling here, limited, whathaveyou, that I’ve had my eye on for two days now, and watching Dread Sovereign live did nothing to dissuade a purchase. Bones was a ripper on guitar, thrashing out like the kids do while he tossed off lively solos to counteract the songs’ marked plod. For his part, Averill‘s vocal style was roughly the same as in Primordial — after a point, you’re going to sing how you’re going to sing, no matter the context — but he had room to breathe between lines for the slower tempos.
Less adrenaline all around, then, but that was to be expected, and there were still a couple flashes of more uptempo groove to be had. “Pray to the Devil in Man” may have beat out its anti-Christian miseries, but “13 Clergy to the Fire” had some swing to it, with a chorus pattern distinctly in Averill‘s sphere that was immediately memorable. Solid beginning as it was, though, even Dread Sovereign‘s fastest stretch was little indicator of what German retro rockers Kadavar had on offer, playing songs from their two albums, 2012’s self-titled debut and the brand new Abra Kadavar (review here). I think for lack of material, as they’re a pretty recent band, Dread Sovereign ended their 45-minute set early, so there was a break in between, but as soon as Kadavar started checking their sound, it was clear things were about to take a turn in a much different direction.
One thing about the German three-piece: They’ve got the look down. Also the sound. Between two songs early into their set, someone in back shouted out, “Hair metal!” and received a couple boos. I can see the point of the critique, that Kadavar are so much leading with their aesthetic, the vintage production, the shirts, necklaces, beards, the bellbottoms and so on, and I guess if they sucked, it would be an issue, but they clearly take it seriously, and they’d more or less melted Het Patronaat by the time they were through their third song. Wolf Lindemann‘s vocals were spot on, and Tiger (drums) was responsible for a good bit of the energy they exuded from the stage. Say what you want about their haircuts, a drummer who can headbang like that to his own rhythms is something special to watch. They had a fill-in bassist, but once they got going, there was really no stopping their momentum.
The drums were set up toward the front of the stage, off the riser, so I don’t know how it looked from the back, but from where I was, people ate up “All Our Thoughts,” “Doomsday Machine” and Abra Kadavaropener “Come Back Life,” and rightfully so. In their tones, in Lindemann‘s vocals, in Tiger‘s riotous playing, Kadavar delivered an early highlight to the day and rounded out with a massive jam, bringing up DJ/filmmaker/psychedelic manipulator/etc. Shazzula Vultura – who was also showing a movie in Stage01 at 013 today — to add swirl via a Theremin run through a Moogerfooger. Shit got real wild real quick, and it was a stretch that brought to mind the later moments of Abra Kadavar. True to the record, they held it together live as well and crashed to a finish as crisply and vibrantly as they’d started, having played their full hour.
At that point, I’d been standing in the same spot at the front of the stage for about two full hours, but I knew I didn’t want to move until I got to watch at least part of Witch Mountain, who were playing Europe for the first time and on the road for four weeks with Cough, who played later tonight. It was another abrupt change in vibe, but neither did Witch Mountain disappoint. The abundance of talent in that band is nigh on ridiculous, and between drummer Nate Carson‘s work with Nanotear Booking (he’s giving a master class tomorrow on touring the US, which he knows both ends of, having done it a few times himself at this point as well as sending others on their way), guitarist Rob Wrong‘s history of reviewing albums for StonerRock.com and penchant for counteracting lumbering riffs with shredding solos, vocalist Uta Plotkin‘s intense range as she varies from growls to soaring, clean high notes (while actually hitting them; I don’t know if she’s a trained singer, but she certainly sounds like one) and bassist Neal Munson‘s tonal heft and nod-out rhythms, it’s hard not to root for them both here and in general.
“The Ballad of Lanky Rae” and “Beekeeper” from last year’s Cauldron of the Wild(review here) and the extended build of “Aurelia” were welcome, and as they seemed really glad to be playing, there resulted the kind of wholesome atmosphere that emerges when doom gathers to celebrate itself. I dug it, which was doubly fortunate because watching Kadavar and Witch Mountain meant missing out on Dream Death. There was some strategy involved in this, as staying at Het Patronaat instead of going over to the 013 Main Stage for Dream Death freed up scheduling conflicts to come and I’ll be able to catch Dream Death in June at Days of the Doomed III in Wisconsin — most assuredly about as “in their element” as they’re going to get. So I felt bad for missing out on Dream Death, but will make up for it later. Every Roadburn brings hard choices, and every attendee has to carve out his or her own path through the crowded lineup. You know, like life.
Already at Het Patronaat the temperatures were reaching unseasonable highs. Witch Mountain had started early on account of this, and it was largely the thermostat that had me split partway through their set — still fun to start today with two full sets, as opposed to yesterday with all the running around early on — to head across the alleyway to the 013 and check out the “The Electric Acid Orgy” curated lineup by Electric Wizard guitarist/vocalist Jus Oborn. The Wizard‘s own set was still a ways off, but as I walked in, the Green Room was just starting to fill up for upstart doomers Witchsorrow, who soon came on with their peculiarly British kind of traditional crushing riffage. At some point I’m going to have to sit down and really hammer out the differences between British trad doom and American trad doom and see what I can come up with, but watching Witchsorrow after Witch Mountain underscored how wide the margin between two doom acts can be, however similarly witchy their names might wind up.
They too seemed glad to have been asked to play — who wouldn’t be? — and the Green Room did indeed pack out for them, guitarist/vocalist Nick Ruskell craning his neck upwards to a high microphone as though to invoke Lemmy’s occult powers and further drive the band’s Cathedral-inspired take into wretched oblivion. And so on. Ruskell, bassist Emily Witch and drummer David Wilbrahammer also had a limited-edition cassette for sale over in the merch area to mark the occasion of playing Roadburn 2013, but I didn’t see it over there when I went today to pick up the new Toner Low CD from the Exile on Mainstream table (one of these years, I’ll introduce myself to Andreas from the label, but frankly, people with taste in music that good intimidate me) and must have missed my shot at one. Too bad, but I’m glad I got to catch them for a bit before I headed into the Main Stage area for the start of Uncle Acid and the Deadbeats.
It was plain even before they played one note that Uncle Acid were a major draw for the day, and in the five Roadburns that I’ve been fortunate enough to attend, I can think of very few times that room has been that crowded. Sleep last year, Saint Vitus in ’09, and oh yeah, Electric Wizard later in the evening. Usually there’s somewhere to go in the Main Stage area, whether it’s up front in a corner on the floor, or up in back on one of the raised steps, or even up on the balcony, but not for Uncle Acid. There was just no corner that didn’t have someone already there. I knew that a lot of people were looking forward to seeing them play, and so was I, but I suppose I hadn’t realized how that would translate to the actual numbers. They had their work cut out for them in living up to expectation.
But that, they didn’t fail. Opening with “I’ll Cut You Down” from their landmark 2011 sophomore outing, Blood Lust, they had the place immediately in their grip, the song’s psychotic verse swing and chorus hook delivered by both of the UK four-piece’s guitarists, Uncle Acid himself front and center, with backing in the chorus and here and there throughout from the bassist. People watched from out the side door as “I’ll Cut You Down” led to “Mt. Abraxas” from their third album, Mind Control(review here), the stomp in the finish winning favor readily even though the record is still pretty recent, as is, I’m told, the drummer. “Valley of the Dolls” provided a slowdown and “Death’s Door” was a highlight, the band playing mostly in the dark but for a few flashes here and there. I guess as regards the light show, I expected Uncle Acid and the Deadbeats to come bathed in psychedelic purples, oranges and pinks the whole time — they were for flashes in the beginning — but they did just as well in hair-down-lights-down blue and there was little I could’ve reasonably asked for that they didn’t deliver. My one per year, I stood on the side of the stage to watch for a few minutes. Not too long, but long enough.
From there, I popped out to grab a quick bite to eat — roasted chicken, potatoes au gratin and a couple piece of fried fish; I’ve always been a cheap date — and figured I’d get a spot for Moss in the Green Room after. No such luck. By the time I got there, not only was the room itself full, but the space in the hallway outside where one would be able to see the band through the open doorway was also full. My loss, this Moss. They also had some tapes for sale. I should’ve bought everything. Didn’t. Hazards of doing a Roadburn sober, it seems. Back to Het Patronaat, then, my mind still reeling from the Uncle Acid set, to catch the start of French post-black metallers Les Discrets. Roadburn 2013 artist-in-residence, Neige of Alcest, played bass alongside guitarist, vocalist, visual artist and principle songwriter Fursy Teyssier and in comparison to Les Discrets‘ albums, of which I’ll make no bones about saying I’m a fan, the live incarnation was much heavier. This could just as easily be a byproduct of the house P.A., or of Neige‘s bass along with Teyssier and the second guitar, but it added to the dynamism of the band’s already dynamic material.
Also, but for Witch Mountain‘s Plotkin, Les Discrets also had the best vocals I’ve heard so far into the fest, Teyssier harmonizing with his fellow six-stringer and resting just under the lush wash of melody in the guitar and bass. It was gorgeous. Painfully so. I thought the mix on last year’s Ariettes Oubliées(review here) was stronger than that of their 2010 debut, Septembre et Ses Dernières Pensées (semi-review here), but even the heaviest moments on record didn’t really prepare me for seeing them live, and while they may share a lot in terms of style with Alcest, it was never quite so apparent as it was watching them how different the two acts actually are and just how much of himself Teyssier puts into his work. I was really, really glad I got to see them, which as usual was becoming kind of a theme for the fest as a whole.
By the time they were really dug in, I could feel the day starting to wear on me, so I came back to the hotel for a few minutes to regroup, take my shoes off, drink a bottle of water, etc., so that when I got back to the 013 for Electric Wizard, I was good and ready. There was some hubbub about the band saying they didn’t want any photographers or something, an email sent to some people apparently, but there was still a decent population in the photo pit by the time the headliners started. I don’t know and I suppose it doesn’t matter anyway at this point, though I was worried Jus Oborn would stop the set and tell everyone to get the fuck out for breaking the rules. I tried to ask him while he was setting up his gear, but if he heard me, there was no indication.
Once more, Oborn had curated the day, so it was only fitting that Electric Wizard should headline — it would be fitting anyway, honestly — and the chance to see them for the first time was a considerable percentage slice for why I came. They toured the States over a decade ago (speaking of hubbubs, I seem to recall something about the Oborn‘s pants? I don’t know), but I didn’t see them then, so they were a must and a major cross-off for my must-see-before-I-die-in-a-fiery-plane-crash list. Yes, I have one, and it’s shorter by one band following Electric Wizard‘s set, which they launched with “Come My Fanatics,” Oborn stepping right into the cult leader role that he more or less legitimately is now, considering how many bands have followed in his drugged-out horrordelic footsteps. Joined by guitarist Liz Buckingham, returned drummer Mark Greening, who came back to the band following the dissolution of Ramesses, and bassist Glenn Charman, Oborn led the way through “Witchcult Today,” “Black Mass,” “Drugula,” “Legalise Drugs and Murder” as the packed crowd willingly went into something like a simultaneous nod trance, chanting lyrics back as screams entered the fray with extended verses and endings for the songs. I stood by the far-left side of the stage and watched riff after pot-addled riff met corresponding clouds of smoke in the crammed-in audience. I didn’t, but if you were ever gonna, this would’ve been the time.
I managed to get back to the other side of the stage by something I’ll just call “Roadburn magic” and ran by the Green Room to watch a few minutes of Finnish weirdo acid rockers Seremonia. Perhaps because everyone was either in the Main Stage space or over at Het Patronaat anticipating the arrival of Goat, the Green Room wasn’t overly crowded and I was able to walk right in. Kind of a bummer spot for Seremonia to have, competing with stoner legends and fascinating newcomers at once, but at least they were here. They just have one record out and from what I saw, I wouldn’t be the slightest bit surprised if they made another appearance down the line sometime. Their self-titled debut (track stream here) is better than people seem to have caught on to yet, perhaps intimidated by the many syllables of the Finnish lyrics. Couldn’t say for sure.
And though I wanted to stay and bask in the sort of folksy traditionalism of Seremonia, Goat beckoned. The Swedish outfit will apparently release a new 7″ on Sub Pop in the US in June, so somebody’s taken note following the critical tornado of fuckyessery that surrounded their 2012 World Musicdebut. Fine. I’m still not sure I’m really down with Goat. Maybe this is an all-too-American perspective, but you’ve got a bunch of people in masks running around playing psychedelic Afrobeat flailing arms and shouting whooping chants, I guess my big question as regards the band is what part of it isn’t minstrelsy. Obviously Sweden doesn’t have the history of troubled race relations that the US does, and I’ll be straight, I liked the record for what it was musically, it’s the theory behind it that has so far left me scratching my head.
Nonetheless, I ended the day same as I started it — standing in the doorway of Het Patronaat — only this time it was because the room was so full that there was nowhere else for me to go. The line to get in to see Goat stretched out the door and down the alley, and security was letting people in as others came out, so clearly the band was a major lure. Again, they’re good at what they do — I’m not saying they’re not — it’s all the other stuff besides the music I’m talking about. That said, judging by the smiles on the faces of those around me and the expectant/impatient looks of those waiting on line outside (far more wanting to go in than coming out), they probably made quite a few peoples’ day.
Late-night Tilburg echoes with the throb of the dance club across from the Mercure and drunken aus uur blijfts on the street below my open window. It’s just past four in the morning as I finish this post and if last night is anything to go by, it’ll be another two hours sorting photos [actually it was only an hour and a half!]. So be it. Roadburn 2013 day three kicks off tomorrow at 14.30 and I’ll be there.
Thanks (again) for reading. More pics after the jump.
Posted in Whathaveyou on March 26th, 2013 by H.P. Taskmaster
Imagine being the one to have to break the news to European bands how much shittier they’ll get treated if they decide to make a run of it in the States. The bold impresario taking on the task of imparting such wisdom that our nation’s humble scene is… getting better… is none other than Nathan Carson, drummer of Witch Mountain and founder of Nanotear Booking, who count YOB, Primordial, Acid King and the recently-reviewed Helen Money among many others on their client roster.
What can Carson (interview here) teach attendees at Roadburn 2013 about hitting the road both in the US and in general? Plenty, I’ve no fucking doubt — and better, he can do it not only as someone who runs a respected booking outfit, but from the perspective of someone who’s put in significant road time himself.
One not to miss, and one more way in which Roadburn continues to push the boundaries of what a fest can do. Here are details:
This year, Roadburn Festival is pleased to present master classes and performance clinics for the first time. It seems like a great opportunity to give those of you attending the festival, many of whom are in bands or enjoy playing music on your own, and some of the folks on the bill an opportunity to meet and learn from each other.
On Saturday, April 20th, Nanotear Booking‘s Nathan Carson will focus on what it takes to strategically tour in the US, and how to avoid the many pitfalls that can put tours in jeopardy (financial and otherwise). Questions from attendees will be welcomed.
Nathan Carson is a musician and booking agent from Portland, OR USA. A member of the international doom scene since the 90s, he taught himself to book DIY tours for his own band Witch Mountain, and soon after for his first official clients YOB. Nanotear Booking was founded in 2004 based on the success of those tours and Carson‘s growing network of connections, which he built first-hand on the road.
In 2013, Nanotear represents over twenty-five uncompromising artists, including Agalloch, Jarboe, Lene Lovich, Corrupted, YOB, and Witch Mountain. Riding the fine line between DIY ethics and sincere professionalism is what sets Nanotear apart from many other booking agencies. Artistic curation, fair deals, and humane practices are all a part of this successful formula.
Touring The US is available for Roadburn ticket holders (no additional fee) and will be held between 1:30 PM and 2:30 PM at the Hall of Fame in Tilburg, Holland.
Posted in Whathaveyou on January 18th, 2013 by H.P. Taskmaster
More good news out of the Desertfest Berlin camp in that Witch Mountain and Cough will be hitting up the Austra Kulturhaus on their European run as a part of the fest. The two forward-thinking American actswill also play Desertfest London and Roadburn, representing some of the best doom the opposite US coasts have to offer. Desertfest sent over the following announcements:
WITCH MOUNTAIN (USA)
On tour from April with COUGH, we are thrilled to announce that WITCH MOUNTAIN is added to the DESERFEST 2013 line-up !! WITCH MOUNTAIN is classic doom metal band delivering a magic potion of massive and rumbling riffs that bore you skull, and bluesy, ballsy, and sensual vocals that attract everything with their seductive wildness.
From Portland, Oregon, WITCH MOUNTAIN was formed in 1997. The band self-released a demo “Homegrown Doom” in 1999, and their first full-length album “Come the Mountain” in 2001. But after a 2002 tour with Eternal Elysium, the band slowed activity for several years…
A July 2009 show opening for Pentagram, with guest singer Uta Plotkin, marked a revival of the band. Uta brought the necessary ingredient that Witch Mountain founders Rob Wrong and Nate Carson had been seeking since they initially formed the group.
She was asked to join the band as main vocalist, and Witch Mountain recorded their second full-length album, “South of Salem” six months later. Produced by master “engine-ear” Billy Anderson (Sleep, Neurosis, Melvins), it was unleashed in April 2011 through their own label Mountastic Recrods. In November 2011, WITCH MOUNTAIN was signed with Profound Lore Records and released their third full-length album, “Cauldron of the Wild”, in June 2012.
Just after, an invitation to play the main stage at Scion Rock Fest 2012 along with Sleep, Saint Vitus, and Down gave the band an opportunity to return to US stages, successfully headlining in the US and Canada for most of June. This fall, Scion sponsored the band’s most extensive tour to date — a 5-week headlining trek around the US and Canada with witchy friends Castle in support.
They will be in Europe from April, with COUGH, for their first European shows ever!! The DesertFest couldn’t miss this occasion, and you either!!
On tour from April with WITCH MOUNTAIN, we are thrilled to announce that COUGH is added to the DESERFEST 2013 line-up !!
Formed in Richmond, Virginia, in 2005, COUGH is a sludge/doom metal band delivering thoroughly massive, epic and impenetrable walls of sound and volume, at points suffocating and claustrophobic, at others warped and hallucinogenic.
The band self-released an EP, “The Kingdom”, in 2007, and followed it quickly with their first proper full-length “Sigillum Luciferi” in 2008, recorded with acclaimed producer Sanford Parker (Minsk, Rwake, Pelican, Nachtmystium). Sporadic gigging followed the release before the band holed up in a Richmond warehouse to write the follow up, but the band slowly laboured forward with the writing. By winter 2009/2010, the band had signed to Relapse Records and returned to Chicago, Illinois, enlisting Parker once again to record the long awaited “Ritual Abuse”, released in October 2010.
Upon its release the band embarked on two epic North American and European tours lasting almost four months ! In 2012, COUGH performed another US headline run, and their first ever Australian and New Zealand tours. They will be back in Europe in 2013 for a seven-week tour starting from April, stopping at the DESERTFEST Berlin to deliver their impressive monolith of sound !