Posted in Features on February 6th, 2015 by H.P. Taskmaster
Fatso Jetson‘s current European tour alongside compatriots and fellow desert rock progenitors Yawning Man began last night, in Dortmund, Germany. The band is touring as a trio, with the father/son team of Mario and Dino Lalli switching off on guitar and bass while Tony Tornay drums. Absent are bassist Larry Lalli (Mario‘s cousin) and saxophonist Vince Meghrouni, who aren’t out of the band or anything, just couldn’t make the trip. So if Europe’s being treated to a somewhat rawer form of Fatso Jetson, they’re also getting an extra dose of desert jamming from Yawning Man, in which Mario Lalli plays bass alongside Gary Arce‘s guitar and, this time, Bill Stinson‘s drums. The plan is to have Dino, who’s 18 and has been sharing stages with his father for the last half-decade or so — the two playing together in Auto Modown prior to Dino actually joining Fatso Jetson — sit in on guitar and jam during Yawning Man‘s sets. Everything evens out one way or another.
Sounds more complicated than it is, maybe. The idea to take away from it is the amorphous nature of the two bands — a symbiosis between them — and Mario Lalli‘s pivotal contribution to both. This is a Fatso Jetson interview because that was most of what I wanted to ask about; his role on the tour and writing with his son, helping Dino find a creative voice while also progressing his own band after 2010’s excellent and underrated Archaic Volumes (review here), and whether the material they contributed to their 2014 split with Herba Mate (review here) was at all indicative of where Fatso Jetson‘s next record is headed. It just as easily could’ve been talking about Yawning Man and when one might at last expect a follow-up to 2010’s Nomadic Pursuits (review here), or Mario‘s 30-year collaboration with Arce, which has served as a foundational element in the creation of what we now call desert rock in no small part because that’s where they happened to be jamming out when they created it. That’s another interview, though. We’ll get there when the time comes.
It’s worth noting that the Fatso Jetson and Yawning Man tour is called “Legends of the Desert Volume II,” and indeed, it’s the sequel to a run the two groups did together back in 2013 that was built around appearances at Desertfest in London and Berlin. Says something about the ongoing first-exposure to their particular brand of heavy rock and roll that the two groups — whose sounds are complementary for sure but ultimately have two different styles — would find demand fervent enough for a repeat trek. In the end, you gotta give the people what they want. Fatso Jetson, as Lalli points out, has never done a full US tour, which is something they hope to change, but the next task seems to be recording. Their LP will be the first with Dino in the band, and while there’s a lot of history one can talk about with Mario Lalli, whose involvement in groups like Sort of Quartet and Yawning Man and Across the River and Fatso Jetson means he was the guy who was always there, it seemed that much truer to what he does musically to look forward rather than back. I hope you’ll agree.
Please find the complete Q&A after the jump, and enjoy.
The history behind Big Scenic Nowhere is nearly as complex as the desert ecosystem that gave birth to the project in the first place, and before I get into it, I want to send a personal thanks to Nick Hannon, bassist of the UK’s Sons of Alpha Centauri, who was kind enough to send me their demo. Hannon, who of course also plays in the just-reviewed Yawning Sons alongside Yawning Man‘s Gary Arce, and has appeared on split releases between Arce‘s WaterWays, Sons of Alpha Centauri and Australia’s Hotel Wrecking City Traders (who also had a collaboration with Arce out), as well as Yawning Sons and WaterWays, in different permutations of players working together and collaborating. Arce, whose guitar tone is one of the founding tenets of desert rock, is generally at the center, and that proves to be the case in Big Scenic Nowhere as well.
It seems unfair to call Big Scenic Nowhere a short-lived project considering that it involves Arce and bassist Mario Lalli, who’ve played together for over 25 years in Yawning Man, as well as drummer Tony Tornay, who doubles in Lalli‘s “other band,” Fatso Jetson, and could be heard last year propelling the formidable Napalm Records debut from Brant Bjork and the Low Desert Punk Band, Black Power Flower (review here). But while these three know and have worked together for a long time one way or another, as Big Scenic Nowhere, their tenure was brief. The band was born out WaterWays, which featured vocalist Abby Travis in addition to Arce, Lalli and Tornay, when the recordings for their debut album got tied up in legal issues. Big Scenic Nowhere went back into the studio, re-recorded the tracks instrumentally, and set about releasing them on their own, posting them on YouTube, etc.
That was circa 2008/2009. In 2010, most of the WaterWays songs would surface on the aforementioned splits with Yawning Sons and with Sons of Alpha Centauri and Hotel Wrecking City Traders, so that material is out there. It exists. In the wake of that, Big Scenic Nowhere were just about done. Yawning Man, with Arce and Lalli, put out Nomadic Pursuits (review here) and Fatso Jetson, with Lalli (on guitar/vocals) and Tornay, put out Archaic Volumes (review here). That’s half a decade ago now, and the Big Scenic Nowhere CD was included as a bonus for anyone who purchased the splits. So far as I know, that and at shows were the only ways it ever officially came out, despite the fact that the original recordings of most of these songs, with Travis, have been released on those two split offerings.
Like I said, it’s a complex history.
But the end result is that Big Scenic Nowhere have wound up as this kind of hidden secret of Californian desert rock. The CD — you might note the shadow of the famous “Welcome to Sky Valley” sign on the dry cracked earth on the disc itself– contains all the dynamic turns one might expect from a Lalli/Tornay rhythm section and the signature bliss of Arce‘s guitar, and in addition to the six prior-recorded songs that would be later released by WaterWays, there are also the original “Bows and Arrows,” a cover of “Somewhere over the Rainbow” and a live set from the Date Shed in Indio, CA, broken down into two separate jams and presented complete with a spoken introduction. All told, it’s a 57-minute collection that, particularly for fans of Yawning Man is probably worth being easier to track down than it is. Big Scenic Nowhere wound up in a strange position once the WaterWays stuff came out, but even instrumental, songs like “Waterways,” “Queen of the Passout Riders” and “Three Rivers” retain a memorable feel. Liner notes from Arce that explain the whole situation are included, so you can work your way through to how the tracks got to be what they are. Even out of context, however, they leave an impression, whether you heard the WaterWays splits or not.
Posted in Whathaveyou on December 31st, 2014 by H.P. Taskmaster
I was lucky enough to be able to watch Yawning Man and Fatso Jetson play back to back at Desertfest London 2013. What an absolute blast it was, to see those two bands who by all rights should walk the earth as gods among men get on stage and show the entire room the roots of a sound they obviously hold very dear, myself included. Yawning Man looked like they could’ve played for four hours and Fatso Jetson were a punk/blues rager with Mario and Dino von Lalli nailing blinding turns on classic early material. So cool. Their split was new at that point, and Yawning Man‘s Nomadic Pursuits was fresh in mind as well, but even just to stand in front of the stage was one of those lucky-to-be-there moments.
And that’s my story about it. I’d call their upcoming European run nothing if not well named:
Yawning Man & Fatso Jetson to tour Europe in February 2015
Fatso Jetson and Yawning Man, two legendary bands whose roots are from the low desert area of Southern California and are well regarded amongst the underground heavy music community as pioneers of the “desert rock” scene will be pairing up to embark on a month long trek across The Old World in the month of February for a tour properly and respectively called “Legends Of The Desert” tour. Masterminds Mario “Boomer” Lalli and Gary Arce have considerable musical history with one another, having contributed to each other’s projects (Fatso Jetson and Yawning Man respectively) and playing live with one another on both domestic and international level all throughout their humble/experimental beginnings to the present as the established/experimental artists they are revered as today.
The Palm Desert music scene’s most notable names have credited their beginnings in music through attending witnessing the well documented generator parties that took place in various spots around the low desert area in the late 80s. These gatherings is where Gary Arce and the Lalli cousins (Mario and Larry) and notable desert drummer Alfredo Hernandez would enchant and hypnotize spectators with colorful and dynamic reverb drenched tones and seemingly endless improv jam sessions that echoed through the barren, rocky landscapes of La Quinta all the way to Yucca Valley as the first incarnation of Yawning Man was birthed and would assist in planting the seeds of a sound that would define a geographic areas.
Fast forward a few years later (1994 to be exact) and enter Rhythm and Brews, a drinking hole/live venue venture that the Lallis helmed and it was there, the idea of the riff monolith known as Fatso Jetson was materialized between Mario, Larry and Tony Tornay. Forging a sound that combines the elements of what has been coined “stoner rock”, punk and surf their catalog has seen the light of day on such labels as SST, Bongload, Man’s Ruin Records (Flames For All – Gary Arce was recruited as second guitar player for this release and joined Fatso on tour in support of the album as support for Queens of The Stone Age on their first European run), Rekords Rekords Cobraside and Go Down Records since their formation and they’ve shared the stage/toured with some of the most iconic acts in heavy rock including Queens Of The Stone Age and an appearance at Dynamo Open Air in Eindhoven alongside Mercyful Fate and Metallica.
Now fast forward into the new century and the evolution of both bands , recent activities in the past few years have been a new recordings amongst the two bands released by various labels across the world (including a split 12” of the two released in 2013), appearances at festivals across the world: Desertfest Berlin (both), Roadburn (Fatso Jetson) With Fatso Jetson now expanded from a trio to a quintet via the addition of the next generation of the Lalli family, Dino Von Lalli on second guitar and exploring jazz textures through Boomer’s recruitment of Vince Meghrouni on sax and harmonica. Yawning Man has revamped their lineup as well with the inclusion of Bill Stinson on drums.
At the present, Yawning Man are currently in the middle of writing a new record that is set for a 2015 release and Fatso Jetson are setting their sights upon recording of new material as well with plans for a US tour in the works for the coming year.
Tour Dates Feb 5 – Dortmund, Germany (The Piano) Feb 6 – London, UK (The Purple Turtle) Feb 7 – Leuven, Belgium (Orange Factory) Feb 8 – Drachten, Netherlands (Iduna) Feb 9 – Hamburg, Germany (Hafenklang) Feb 10 – Bielefeld, Germany (Forum) Feb 11 – Berlin, Germany (Cassiopeia) Feb 12 – Jena, Germany (Kulturbanhof) Feb 13 – Deventer, Netherlands (De Hip) Feb 14 – Mons-en Baroeul, France (Le Trait d’Union) Feb 15 – Paris, France (Glazart) Feb16 – Karlsruhe, Germany (Alte Hackerei) Feb 17 – Munich, Germany (Feierwerk) Feb 18 – Linz, Austria (Stadtwerkstatt) Feb 19 – Vienna, Austria (Arena) Feb 20 – Innsbruck, Austria (PMK) Feb 21 – Bozen, Italy (Pippo Stage) Feb 22 – Brescia, Italy (Latteria Molloy) Feb 23 – Rome, Italy (Sinister Noise) Feb 24 – Ravenna, Italy (Bronson) Feb 25 – Padova (Go Down Festival), Italy – Mame Club Feb 26 – Milan, Italy (Magnolia) Feb 27 – Lucerne, Switzerland (Sedel) Feb 28 – Frankfurt, Germany (Das Bett)
Fatso Jetson Mario Lalli – Vocals/Guitar Dino Von Lalli – Guitar Larry Lalli – Bass Vince Meghrouni – Saxophone and Harmonica Tony Tornay – Drums
Yawning Man Gary Arce – Guitar Mario Lalli – Bass Bill Stinson – Drums
At best, this stuff is a crapshoot. Until something’s just about in your hand, you never really know when or if it’s going to come out. But they’re fun, and it’s exciting to think of good music being released, so you do it anyway. On the whole, I don’t think I did that badly between the two lists. Of course there was stuff that wasn’t anticipated — Colour Haze‘s new album, To the Highest Gods We Know, walks by and waves en route to its Dec. 15 release date — but for what we got, it worked out well.
That’s the general overview, but because I hold myself to a standard of accountability more rigorous than, say, my nation’s torture-happy secret police, here’s a full rundown of the list as it was, now (as then), presented alphabetically and with the titles listed as they were at the time:
42 of 2014’s Most Anticipated Albums — REVISITED!
1. Acid King, TBA: Word is Acid King‘s first in 10 years was mastered last month and will be out in Feb. 2015 on Svart.
2. Alcest, Shelter: Was way less post-black metal than their prior stuff, and I think it threw a lot of people off. Not a bad record (review here), but worked against lofty expectations.
3. All Them Witches, TBA: I remember including this because they said they were going back into the studio. Turned out they were recording the Effervescent EP/jam (review here). No regrets.
4. Alunah, TBA: Their new one was their Napalm Records debut, Awakening the Forest (review here). It was awesome. Score one for the list.
5. Blackwolfgoat, Drone Maintenance: Yeah, it was cheating to include this since I was there when it was recorded. Still a killer record though.
7. Conan, Blood Eagle: What does complete dominance sound like? Sounds like Conan to me.
8. Eggnogg, You’re all Invited: Was dying to hear what the Brooklyn trio came up with. No word on it yet.
9. Elder, Live at Roadburn 2013: Still don’t have a copy of this. Maybe I can pick one up when I get their forthcoming third studio album, Lore, out early next year.
10. 40 Watt Sun, TBA: More like “MIA” than TBA. Anyone heard from these guys?
11. The Golden Grass, TBA: Their self-titled debut (review here) was one of the finest first-albums I heard all year.
12. Greenleaf, Trails and Passes: Any Greenleaf is a treat. Trails and Passes (review here) was no exception.
13. Grifter, The Return of the Bearded Brethren: Solid follow-up (review here). Grifter‘s humor and lack of pretense serves them well.
14. Hull, TBA: Well, they had the Legend of the Swamp Goat single (review here) to coincide with their Euro tour. Waiting on the album.
15. Lowrider, TBA: I wouldn’t mind if this materialized right now. Or now. Or now. Or 2015. Or 2016.
16. The Machine, TBA: Might’ve jumped the gun on this. Hopefully in 2015.
17. Mars Red Sky, TBA: Easily one of the year’s best records. Stranded in Arcadia (review here) continues to get regular spins.
18. Mos Generator, Electric Mountain Majesty: A highlight of early 2014. Darker record (review here), but inarguable songwriting.
19. Mr. Peter Hayden, Archdimension Now: Fitting end to their trilogy and hopefully not their last outing.
20. Pallbearer, TBA: Their Foundations of Burden has topped year-end lists already. It’s still on my desktop. I’ve barely listened to it.
21. Papir, IIII: Very, very good. They seem to be developing, but IIII (review here) was a satisfying chronicle.
22. Pilgrim, TBA: Can’t say II: Void Worship (review here) wasn’t a win for the band since they did a month on the road with Spirit Caravan. Maybe overshadowed by more recent stuff, but a quality record.
23. Radio Moscow, Magical Dirt: Their incendiary heavy blues was in top form on Magical Dirt (review here). Glad I got to see them live once or twice (or 18 times) as well this year.
24. Sigiriya, Darkness Died Today: Also residing on my desktop. A vocalist switch caught me off guard and I feel like I still haven’t given it a fair shot.
25. Sixty Watt Shaman, TBA: Really? I had Sixty Watt on the list? That seems ambitious. No doubt they’ll have something new eventually, but that was a pretty high expectation it would be out this year.
26. Skraeckoedlan, Gigantos: If this came out, no one told me. Seems like not yet.
27. The Skull, TBA: A stunner. As much as I looked forward to it, For Those Which are Asleep (review here) exceeded the excitement.
28. Sleep, TBA: Included as wishful thinking. Their The Clarity single (review here) was something to celebrate.
29. Slough Feg, Digital Resistance: I was really looking forward to this one. Kind of fell off with Digital Resistance (review here) after a while. Hard to argue with Slough Feg though.
30. Snail, Feral: Waiting on it for 2015.
31. Steak, TBA: The London four-piece followed two strong EPs with Slab City(review here), as heartfelt a showing of desert rock loyalty as I’ve heard.
Damn, this was a long list.
32. Stubb, TBA: I had my doubts it would arrive, but Stubb‘s Ripple Music debut, Cry of the Ocean (review here), found welcome when it did.
33. SunnO))) & Ulver, Terrestrials: One of two collaborations SunnO))) would have out in 2014. Heard a lot about it at the beginning of the year. Less now.
34. Tombs, Savage Gold: Good band, doing interesting stuff. I have a hard time transitioning from appreciating it to actually being a fan.
35. Triptykon, Melana Chasmata: Sorry, but when Tom G. Warrior puts out a record, you hop to. I didn’t review it to save myself having to buy a copy, but dug it anyway.
36. Truckfighters, Universe: I feel like this one picked up steam as the year went on. I didn’t go back to it as much as its predecessor, but Universe (review here) was a logical next step for them.
37. Valley of the Sun, Electric Talons of the Thunderhawk: Nothing to complain about with the Ohio three-piece’s debut (review here) or the effort they put into supporting it throughout the year.
38. Weedeater, TBA: Nope. At least I knew it at the time.
39. Wolves in the Throne Room, TBA: Surprised a lot of people when Celestite (review here) was a companion piece for their last record instead of a new album proper, myself included.
40. The Wounded Kings, Consolamentum: 2014 was quite a year for doom, and The Wounded Kings were right there at the start. This lineup may be gone, but Consolamentum (review here) holds up.
41. Yawning Man, Gravity is Good for You: Rumor is guitarist Gary Arce has a few projects in the works for next year. Not sure if this is one of them or not.
42. YOB, TBA: We certainly know how this worked out, don’t we? If the votes in the Readers Poll are anything to go by, yes. Clearing the Path to Ascend (review here) was a landmark, and this won’t be the last year-end list around here on which YOB make a showing.
The list from July had a few winners on it as well — Apostle of Solitude, Blues Pills, Bongripper, Brant Bjork, Earth, Lo-Pan, The Well, Witch Mountain, etc. — but I think we’ve probably got enough as it is.
With the year starting to wind down, I’ll be putting together my Top 30 Albums of 2014 in the next week or so. Please keep an eye out for that, and thanks for reading.
Posted in Whathaveyou on August 27th, 2014 by H.P. Taskmaster
Don’t get me wrong, I’m all on board with desert rock legends Yawning Man going over to Europe for a round of dates. Would I rather they were playing the East Coast or, say, my back yard for myself, The Patient Mrs. and a handful of close friends? Yes. But failing that, a European tour’s as good as anything (except maybe a new album) in that at least they’re getting out. The only crucial bit of information missing is who’s in the band at this point.
Of course Gary Arce is on guitar. It’s his band. And it seems reasonable to expect Mario Lalli (see also: Fatso Jetson) will be on bass, but I’m not sure if Alfredo Hernandez (see also: Kyuss) is still with Yawning Man, and even if he is, people kind of come and go depending on who Arce is jamming with at the time, so there’s no real guarantee he’ll be along for the trip. I guess either way it’s worth showing up — hell, if it was Arce and his pedalboard alone, it’d be worth showing up — but I’d be more interested to know if Hernandez is going because that might give some tip on where the trio are at with making their next record, about which it’s been a while since we’ve had an update.
Maybe if you’re in Europe and you go to one of these shows, you can ask Gary yourself what’s up on that front:
YAWNING MAN SUNSET SUMMER TOUR
Yawning Man will be bringing our unique, surreal sounds to Holland, Germany, Austria, and Switzerland August/early September. Our shows are limited this time around, so please, pack your friends up in your vehicle and make a road trip to come see us. We look forward to seeing you all!
29.08.14 Deventer, NETHERLANDS ~ DE HIP 30.08.14 Hummelo, NETHERLANDS ~ Mañana Mañana Festival 01.09.14 Vienna, AUSTRIA ~ THE ARENA 02.09.14 Berlin, Germany ~ Wild At Heart 03.09.14 Dresden, GERMANY ~ Ostpol 04.09.14 Jena, GERMANY ~ KULTURBAHNHOF 05.09.14 Frankfurt, GERMANY ~ DAS BETT Sky High Festival 06.09.14 Zurich, SWITZERLAND ~ Kinski Klub
Please contact the venues for ticket prices, times, etc.
Posted in Whathaveyou on August 14th, 2014 by H.P. Taskmaster
I was fortunate enough to be there to take the above photo of Yawning Sons at the 2013 Desertfest in London. Their set was plagued by technical difficulties — all the more a bummer since the collaboration between Yawning Man‘s Gary Arce and UK instrumentalists Sons of Alpha Centauri doesn’t happen every day — but still, my affection for Yawning Sons‘ debut album, Ceremony to the Sunset (review here), had (and has) endured to the point where it hardly mattered. Just being there to watch them jam out, even for about half their allotted time, was one of the high points for me of that entire trip.
Seems I’m not the only one who still digs on Ceremony to the Sunset five years after its initial release through Cobraside Distribution. Respected Spanish imprint Alone Records has the album slated for a vinyl pressing on Oct. 6, with a preceding digital reissue next week. That’s notable because the record is gorgeous and worth hearing for anyone who hasn’t yet had the occasion, and because in addition to reworked cover art, the new version will also feature a previously unreleased track from Yawning Sons, started with the intent of being included on the album but never finished.
You can find the vinyl details below — pressing of 500, transparent colors, etc. — courtesy of the PR wire, but keep an eye out either way, since rumor has it this is a prelude to further collaboration between Arce and Sons of Alpha Centauri, and if that’s the case, the desert just got richer.
YAWNING SONS is the result of a unique collaboration between musicians from different sides of the Atlantic. ALONE RECORDS are proud to present the vinyl release of the desert rock classic CEREMONY TO THE SUNSET.
Limited to only 500 copies housed in a deluxe gatefold housing on either transparent yellow, red or orange vinyl this release includes the original closing album track from the studio master tapes not on the 2009 release! CEREMONY TO THE SUNSET has proven itself as a classic desert rock album and five years after initial release deserves the fullest vinyl release treatment – a revelation to fans of any and every of the artists involved.
Since 2009 and this release, YAWNING SONS have gone from strength to strength releasing their first 7″ single from Abbey Road Studios in 2010 with desert brothers ‘WaterWays’ and beginning live performances in 2013. Return now to the beginning of the adventure with this deluxe release and remember the freedom of music and the spirit of the CEREMONY TO THE SUNSET!!
Limited to only 500 copies housed in a deluxe gatefold housing on either transparent yellow, red or orange heavy vinyl.
I’m not one for mindless patriotism. I have reasons I’m glad I was born an American and reasons I’m not. But I’d be remiss if I didn’t acknowledge today is July 4, the day my country celebrates Independence Day. It’s a day off work for the three or four of us left who still have jobs. As that’s not me, it seemed the least I could do to spend the afternoon typing. Not that I’d know what else to do with my time anyway. It’s raining here as an alleged hurricane makes its way somewhere along the Eastern Seaboard, so the traditional barbecue is out, and if I’m wasting electricity by running the air conditioning for the better part of the afternoon, well, that feels pretty American.
Still, I wanted to find something that represents something I can be proud for my country having produced, and Yawning Man came to mind pretty quickly. Their only real competition was Funkadelic, and I did the self-titled last year, so Vista Point it is. Classic desert rock sound, made in America. It’s everywhere now, of course, but when Yawning Man started in the ’80s, with Gary Arce, Mario Lalli, Larry Lalli and Alfredo Hernandez, that wasn’t the case, and their surf-rock-without-the-water would become the foundation for an international movement the influence of which is still only expanding. Released in 2007, Vista Point— which it bothers me more than a little that I don’t own on CD — culled together Yawning Man‘s two official studio outings up to that point, 2005’s Rock Formationslong-player and the Pot HeadEP (have those), into one hour-plus of reverbed trippery, the dynamic between Arce, Mario Lalli (Larry had long since left, though he remains in Fatso Jetson to this day with Mario) and Hernandez dripping across every dreamy movement in the songs. In true desert rock fashion, Yawning Man were about two decades late in getting recognized for the influence they had and the excellence they proffered — as much as they have to this point, anyhow — but they continue to bring something distinct to what they do that no one else has been able to capture. Oh yeah, and Kyuss covered them one time.
Enjoy Vista Point, in the spirit of the holiday and with the hopes of YawningMan‘s nextrecord turning up sooner rather than later.
Well, thus ends the first of my four weeks without The Patient Mrs. while she’s in Greece. It went pretty quickly, to be honest. After the move last weekend, there was a ton of cleaning to do at the new condo — home ownership! mortgage debt! the American dream! — and lots to unpack, scrub down, set up, etc., and that consumed a large portion of my week, the first couple days in an A/C-less swelter and the last couple in relaxed comfort. We’ve spoken just about every day, including today, but I’ve nonetheless developed five rules for myself to live by while she’s not around. Even wrote them on the markerboard:
If you can’t read my handwriting, which isn’t great, they are as follows:
1. No more than one (1) full day can be spent in bed, and not in the first ten (10) days.
2. No Anathema or Alice in Chains, Sap.
3. Eat a vegetable at least four days a week. Potatoes don’t count.
4. No more than one full day can be spent in the house. Opening the door for the dog is not “going out.”
5. No “Ain’t No Sunshine” either.
I’m happy to say I’ve lived up to each of these at least so far — though I saw a link to Alternative 4on Thee Facebooks last night and had to stop myself. We’ll see what the next couple of weeks bring. It’s pretty funny to be reminded every now and then of my own complete lack of independence, though. Hilarious to be so utterly inept at what to most people are daily tasks and to go entire days (though not two in a row!) where most of my conversation happens between myself and the dog. Indeed. Quite a week it’s been. Did I mention I’ve started watching Star Trek again from the beginning of the series?
Next week, the Conan interview goes up. This will happen come hell or high water. It’s been a while at this point since we spoke (it was the week of Hellfest), so yeah, it’s time. Also reviews of Wasted Theory and John Garcia‘s solo record.
I hope you have a great and safe weekend, and I hope it already began and involves friends and good food and all that wonderful stuff. Please check out the forum and radio stream.
Posted in Features on January 13th, 2014 by H.P. Taskmaster
Getting ready to type this list is like standing on the precipice of a canyon. Maybe that’s a little dramatic, but you get the idea. Last year was an all-out assault of music. I couldn’t have heard it all even if I’d wanted to, and while it’ll probably be June before I feel like I’m sufficiently caught up on 2013, the new-car-smelling rush of 2014 is already underway.
And the only thing to do is press on — though I’ve tried on several occasions, I can’t seem to stop time and review everything that I’m fortunate enough to encounter — and that means glancing ahead to what’s coming in 2014. I know I said so before, but once again, Happy New Year.
One of my favorite things to do is to look forward to a new album. I consider it a sign of the endurance of the human spirit not only that new creative works are being completed and distributed at such a constant rate, but that we can still anticipate the resonance of those works upon their arrival. I don’t mind telling you this is the largest of any such list I’ve ever written for this site. Even as I start it, I’m finding more to add, and I’m sure when it’s done it won’t be complete. So it goes.
There’s more to say, but I’ve delayed enough. We’ll go alphabetically, which is only unfortunate because it puts YOB last. Thanks in advance for reading.
1. Acid King, TBA
We start the same place we started in 2013, with Acid King. The San Francisco giants have sworn up and down they’ll have a new record out this year, and while I’ve yet to see any solid word of its coming manifest, I remain hopeful that it happens. Of course, that was also pretty much the case going into 2013, but they toured Europe last fall and even came out to the East Coast for a show and played some new material (review here), so if it’s to be that IIIfinally gets a follow-up some nine years later, it’s worth keeping an eye out ahead of time. Acid King on Thee Facebooks.
2. Alcest, Shelter
To be released this coming week on Prophecy Productions, the fourth Alcest full-length, Shelter (review here), is billed as a major sonic turn away from the France-based outfit’s black metal influences toward brighter sonic fare. It is that, but the nostalgic melodies and crucial emotionality that has always been the root of Alcest’s sound remains intact. It will be interesting to see what the response is upon its release, but Shelteris an early point of fascination for 2014. Alcest on Thee Facebooks.
3. All Them Witches, TBA
I’m not sure what they’re doing in the studio, if it’s a single, an EP or a full-length album, but this past weekend, on Jan. 11, Nashville heavy psych rockers All Them Witches posted the above picture with the simple tagline “Recording.” Fair enough. It seems soon for them to have another LP after 2013’s excellent Lightning at the Door (discussed here), but that album seemed to arrive soon after 2012’s Our Mother Electricity (reissued by Elektrohasch in 2013; review here), so who knows? It’ll be fun to find out either way. All Them Witches on Bandcamp.
4. Alunah, TBA
UK doomers Alunah will make their debut on Napalm Records with yet-untitled third album. With wider distribution at their disposal than that received by their 2012 outing, White Hoarhound (review here), I wouldn’t be surprised to see Alunah really leave a mark on 2014, but more fascinating to me than how many people get to hear it is how the band — who’ve swapped out bassists since their last outing — will follow-up the tremendously memorable songs on White Hoarhound. No doubt they can do it, it’s just hard not to be impatient. Alunah on Thee Facebooks.
5. Blackwolfgoat, Drone Maintenance
I was fortunate enough to be invited down to Amps vs. Ohms in Boston when Blackwolfgoat (aka Darryl Shepard, also of Black Pyramid, The Scimitar, ex-Hackman, Roadsaw, etc. and a new project I don’t think I’m allowed to talk about yet) was tracking the follow-up to 2011’s Dronolith, which was released on this site’s in-house label, The Maple Forum. Raw tracks can sometimes prove to tell little about the finished product of an album, but each piece on Drone Maintenancethat I heard had a distinct atmosphere, and “Cyclopean Utopia” was heavy enough on its own to warrant inclusion here. Rumor also has it that Black Pyramid offshoot The Scimitar will release a studio debut this year. Blackwolfgoat on Bandcamp.
6. Causa Sui, Live at Freak Valley
Holding the promise of over 90 minutes of live-recorded material from the 2013 Freak Valley festival in Germany, Causa Sui‘s Live at Freak Valley will see release through the band’s own El Paraiso Records and should provide further insight as a companion piece to their 2013 studio full-length, Euporie Tide. As that album boasted such an engaging live and progressive feel, successfully meshing desert and krautrock influences, I’d expect no less from the live outing, which though they’ve put out studio jams before — their three-volume 2008-2009 Summer Sessionsis a joy worthy of the season — is their first official concert recording. El Paraiso Records website.
7. Conan, Blood Eagle
Six devastating tracks that both continue Conan‘s sonic dominance and usher in a new era for the band. Not only is their second full-length, Blood Eagle, their debut on Napalm Records, but it’s also the first Conan LP to be recorded at Skyhammer Studios, which was built and is owned by guitarist/vocalist Jon Davis. Producer Chris Fielding worked with the band previously on 2012’s Monnos (review here) and 2010’s Horseback Battle Hammer EP (review here), and Blood Eagle benefits from that now familiar collaboration, bridging the gap between the faster, catchy sides of Monnos and the complementing ultra-plod of its longer tracks. Album opener “Crown of Talons” also ranks among the heaviest things they’ve ever done, and “Foehammer” takes it’s name from Gandalf’s sword, Glamdring, so I don’t know what more you could ever ask of a full-length than that. Conan on Thee Facebooks.
8. Eggnogg, You’re all Invited
With the addition of bassist Corey Dozier to the rhythm section with drummer Jason Prushko, Brooklynite doom-funk stompers Eggnogg have been able to move vocalist Bill O’Sullivan to guitar from bass, giving Justin Karol a chance to act all the more as a lead player. How this new four-piece dynamic might play out on You’re all Invited — or even if Dozier played on it — remains to be seen, but from what I’ve caught live, it’s turned them into a thicker, fuller-sounding band, and on new material and old, Eggnogg are coming into their own. They’re still a better band than they know, and one hopes they can get some road time in as well as release the LP to continue to refine their approach. Eggnogg on Thee Facebooks.
9. Elder, Live at Roadburn 2013
Granted it’s been available through Burning World Records digitally since last November, but Elder‘s Live at Roadburn 2013 is set for physical issue early this year through the label, and having stood in front of the stage to witness the set myself at Het Patronaat in Tilburg and then seen the line running outside the venue and down the block, I can tell you it’s a beast. Put it on vinyl with cover art by Adrian Dexter and maybe a photo or two by yours truly and you’ve got a good way to get a preview for what their sets at the two Desertfests might hold this year. Elder on Thee Facebooks.
10. 40 Watt Sun, TBA
Speaking of Roadburn, emotive UK doomers 40 Watt Sun are set to make a return appearance at the fabled fest in the Netherlands, and the word was they’d do so with material from the follow-up to their 2011 Metal Blade debut, The Inside Room (review here), which established the band, led by guitarist/vocalist Patrick Walker (Warning), as a deeply affecting act with a rich sonic texture. No word of an exact release date for the sophomore effort yet, but one expects it will receive no shortage of fanfare prior to and upon its arrival. 40 Watt Sun on Thee Facebooks.
11. The Golden Grass, TBA
Brooklyn trio The Golden Grass‘ One More Time b/w Tornado debut single was one of the best short releases of 2013, and the sunshiny classic heavy rockers will look to follow it with a first long-player this year. Recording is completed — the tracking was helmed by Andréa Zavareei, who also did the 7″ — and so is mixing, done by Jeff Berner (Naam, etc.), so with mastering in progress, hopefully it’s not too long before The Golden Grass can offer a right-on cure for wintry blues. It will be interesting to hear how they sustain and work within their positive vibes over the course of a complete LP. The Golden Grass on Thee Facebooks.
12. Greenleaf, Trails and Passes
Trails and Passes will be Greenleaf‘s first outing since 2003’s Secret Alphabets not to be fronted by Oskar Cedermalm (also of Truckfighters) and also finds the Swedish unit both with a new drummer (hello, Sebastian Olsson) and down from two guitars to one. It was five years between their third album, 2007’s Agents of Ahriman and 2012’s Nest of Vipers (review here), so with a quicker turnaround and a stripped-down songwriting approach that seems geared more toward a live-sounding heavy rock presentation, Greenleaf could easily be positioning themselves as a full(er)-time touring act. The more the merrier. Greenleaf on Thee Facebooks.
13. Grifter, The Return of the Bearded Brethren
UK power trio Grifter surprised some with the quality of songwriting on their 2011 self-titled debut (review here), the lacking pretense of which was in proportion to its classic heavy rock influence, but The Return of the Bearded Brethren, which is set to release on Ripple Music, won’t have the advantage of sneaking up. If they’re throwing down a gauntlet, the confrontational pose of the shirtless tattooed beardo on their LP cover would seem to indicate it’s a considerable one indeed, but I wouldn’t be shocked if Grifter made following up on their self-titled sound as easy as they made infectious hooks sound the last time out. Grifter on Thee Facebooks.
14. Hull, TBA
Down from a five-piece to a foursome after having lost one of their three guitars since the release of 2011’s stellar second LP, Beyond the Lightless Sky (review here), 2014 marks an interesting point for singular Brooklyn post-thrashers Hull. With a Roadburn appearance slated and a limited vinyl reissue of their 2007 Viking Funeral debut EP in hand, they’ll look to bring their conceptual songwriting into a new presentational arc, and while that’s a fascinating prospect, I’m also looking forward to their new album because it promises to be heavy as fuck whenever it happens to arrive, hopefully by the end of the year. Hull on Thee Facebooks.
15. Lowrider, TBA
Were this list numbered in anticipatory rather than alphabetical order, Lowrider would be much closer to the top than lucky number 13. The Swedish four-piece will be recording their first outing since 2000’s genre-landmark Ode to Io this year after reuniting on stage at Desertfest 2013 — they’ll return to London next month with Dozer — and while I don’t know if it’ll be out by the time 2014 is done, I do know that the sheer prospect of a new Lowrider makes this year much better than it would be otherwise. I already invited myself to Sweden for an in-studio. More to come. Lowrider on Thee Facebooks.
16. The Machine, TBA
A couple weeks back, Dutch heavy psych rockers The Machine — whose split with now-defunct countrymen Sungrazer (review here) was my favorite short release last year — held a poll on their Thee Facebooks page to name their upcoming fifth album, which will follow 2012’s Calmer than You Are (review here) on Elektrohasch. My suggestion? Come to Light. It has the advantage of sounding psychedelic with an undertone of enlightenment to speak to the band’s continuing progression and it keeps with the prior album in being a reference to The Big Lebowski. No word on whether or not they’ll use it, but I’ve got my fingers crossed. The Machine’s website.
17. Mars Red Sky, TBA
Currently in the mixing stage, the second Mars Red Sky long-player will arrive on the heels of 2013’s Be My Guide EP (review here) and the Bordeaux fuzz trio’s self-titled 2011 debut (review here) and a host of tours and festival appearances. While their plans to record in the California desert reportedly didn’t pan out, the trio put much of the album to tape over the course of a week in Brazil following dates in South America, so it should boast plenty of sunshine either way. The album is due for release in April — a pro-shot live video of the new song “Satellites” was recently unveiled — and Mars Red Sky will also play at Hellfest in their native France in June. Mars Red Sky on Bandcamp.
18. Mos Generator, Electric Mountain Majesty
The Washington trio’s first album for Listenable Records and their second since picking back up after several years of inactivity while guitarist/vocalist Tony Reed concentrated on Stone Axe, Electric Mountain Majesty is done and mastered as of Jan. 5. Recorded by Reed himself, it will follow a pair of live outings in 2013 (reviews here and here) and 2012’s infectious return, Nomads(review here). I am fully prepared to have these songs stuck in my head for most of 2014, so bring it on. A March release has been floated, which would come ahead of an appearance at Freak Valley in late May. Mos Generator on Thee Facebooks.
19. Mr. Peter Hayden, Archdimension Now
Triumphantly creative Finnish cosmic doomers Mr. Peter Hayden will complete a trilogy with Archdimension Now that began with 2010’s Faster than Speed (review here) and 2012’s single-song 68-minute LP, Born a Trip (review here). Crushing tones and a formidable scope don’t seem like unreasonable expectations, though what really interests me is how the Satakunta five-piece will expand on the sound of their last album, which still seems to reveal something new each time I put it on. Their new single “We Fly High,” was streamed here recently and bodes well. Mr. Peter Hayden on Bandcamp.
20. Pallbearer, TBA
Pallbearer have toured hard since their 2012 debut, Sorrow and Extinction (review here), hit a nerve with doomers across the globe, and the four-piece from Arkansas are set to begin recording their next LP (presumably) for Profound Lore in February. If that puts a release for sometime in late Spring/early Summer, I would imagine it will come coupled with no shortage of live dates, since the band seems most at home on tour. Should be intriguing to have a document of how all that stage time has manifested in solidifying and adding confidence to their approach, and this is another one preceded by much anticipation. Pallbearer on Thee Facebooks.
21. Papir, IIII
It would seem I have some purchases to make in order to catch up with Danish heavy psych jammers Papir. Aside from their recent collaboration with Electric Moon, the upcoming IIII will sure enough be their fourth album. Available now to preorder through El Paraiso Records, it is a vinyl-ready 47 minutes of smoothly shifting transitions between lush atmospherics and driving fuzz-heavy rock, ready to stand in line with progressive European instrumentalists like 35007, My Sleeping Karma and indeed their label honchos, Causa Sui. I had caught wind of 2013’s IIIpreviously, but deeper back catalog investigation is definitely warranted. Papir on Thee Facebooks.
22. Pilgrim, TBA
Just before they left to tour Europe with Windhand, Providence, Rhode Island, doomers Pilgrim recorded their sophomore full-length at Moonlight Mile Recording in scenic Jersey City, NJ. After the huge response garnered — and, I should say, earned — by their 2012 debut, Misery Wizard, the band jumped from Alan Averill of Primordial‘s Metal Blade imprint, Poison Tongue Records, to Metal Blade proper for the new one, which along with Pallbearer, 40 Watt Sun, Serpent Venom and The Wounded Kings (and no doubt others) makes a prospect for a thoroughly doomed 2014. So be it. Pilgrim on Thee Facebooks.
23. Radio Moscow, TBA
As I type these words, heavy rockers Radio Moscow are mixing their yet-untitled fourth album (fifth if you count 2012’s 3 & 3 Quarters, which was comprised of early unreleased material) at Big Fish Recording in Encinitas, CA. Details on the release are sketchy at best at this point, and by that I mean nil, but at least there’s progress being made, and since it’s still January, it seems entirely likely the album will surface one way or another in the next 11 months, barring disaster. The bombastic blues jammers led by Parker Griggs toured Europe last fall and rumor is there’s a run in the works for the US at the end of February into March. Radio Moscow on Thee Facebooks.
24. Sigiriya, Darkness Died Today
What’s not to like about a new Sigiriya album? The UK four-piece premiered “Tribe of the Old Oak” from Darkness Died Todayhere last month, and in addition to the considerable pipes of new vocalist Matt Williams, the track showcased a somewhat moodier psychedelic vibe from the band, who continue to distance themselves from Acrimony, of which bassist Paul Bidmead, guitarist Stuart O’Hara and drummer Darren Ivey were members, while also exploring new avenues from those of Sigiriya‘s debut, 2011’s Return to Earth(review here). I haven’t heard the whole thing yet, but they set a high standard last time. Sigiriya on Thee Facebooks.
25. Sixty Watt Shaman, TBA
Reason to Live, was released by Spitfire Records (remember them?) in… wait for it… 2002. Some 12 years ago. Now, these dudes have been kicking around in other bands since Sixty Watt Shaman sort of melted away in the manner that underrated bands often unfortunately do, but with the announcement of their appearances this year at Desertfest (info here) in April and The Eye of the Stoned Goat 4 in May (info here) came word of a new studio release. EP or LP unknown at present. As killer as Reason to Live was, it just doesn’t seem fair to expect Sixty Watt Shaman to be the same band they were more than a decade ago. As such, I don’t know what’s coming, but I’m keen to find out. Sixty Watt Shaman on Thee Facebooks.
26. Skraeckoedlan, Gigantos
The 2011 debut from upstart Swedish heavy-hitters Skraeckoedlan, titled Äppelträdet (review here), was recorded by Oskar Cedermalm of Truckfighters and had much of that band’s fuzzy compression in blend with their own Mastodon-ic plod. It was a combination that worked so well I thought for sure the young outfit would return to Studio Bombshelter for their next outing, but no dice. As a result, I’m not sure what to expect from Gigantos, but I dug what I heard in a recent live video from them, so we’ll see how it turns out when the LP is done and I’m not about to judge either way until then. Skraeckoedlan on Thee Facebooks.
27. The Skull, TBA
I have no interest in downplaying any of the original members of Trouble‘s contributions to that legendary Chicago doom band (nor the work they’re doing now or those contributing to it), but there can be no question that Eric Wagner‘s voice is a signature element, and right now, that’s something The Skull has over the outfit from whence they sprang. Add to that Ron Holzner‘s bass and Jeff “Oly” Olson‘s drums and you’re well on your way to some foundational heavy. Among the best signs is that The Skull were recording with Billy Anderson (Sleep, the Melvins, Acid King, etc.), who obviously knows his shit and is likely to capture their sound as it should be: Completely doomed. Also keep an eye out for Wagner‘s side-project, Blackfinger, who have an LP coming. The Skull on Thee Facebooks.
28. Sleep, TBA
This would be the mother of them all, I guess. A new Sleep album. In addition to hinting at new studio outings by his own three-piece Om and Matt Pike‘s High on Fire, bassist/vocalist Al Cisneros let it slip casual-style in an interview somewhere that Sleep were working on new material, thus snapping my Thee Facebooks feed in half. Fair enough. Working on material doesn’t mean we’ll see a record this year, or at all, but obviously if there’s a chance a new album might happen (I’ve been nerding out about the idea for a while; see here and here), it would be proof of justice in the universe. Seems an obvious thing that Billy Anderson would record this as well, and all the better. Can the Sons of Sabbath prove there’s life after Dopesmoker? For now, only the Antarcticans know. Sleep’s website.
29. Slough Feg, Digital Resistance
Slated for release through Metal Blade — they’re taking preorders — what if I’m not mistaken is the 32nd Slough Feg LP is due on Feb. 18. As much as I’m looking forward to the release of the record itself, having very, very much enjoyed 2010’s The Animal Spirits (review here), I’m even more interested to see if I finally get up the gumption to interview guitarist/vocalist Mike Scalzi. Something about a dude who doubles as a philosophy professor and who’s been putting out records in his band since I was nine and long before anyone gave a shit I’ve always found intimidating. We’ll see if I’m up to it this year. @Slough_Feg.
30. Snail, Feral
Last summer, West Coast riffers Snail announced the departure of guitarist Eric Clausen, which means that their fourth outing, Feral, will be their first as the trio of guitarist/vocalist Mark Johnson, bassist Matt Lynch and drummer Marty Dodson since their 1993 self-titled debut full-length (reissue review here). Should be interesting to see how the shift to their original lineup changes the tenor of Feral as opposed to their two albums with Clausen, 2009’s comebacker Blood (review here) and 2012’s Terminus (review here), but as the first audio from the record begins to surface, Snail‘s sound seems to still very much have its core intact. Terminusbrought in something of a rawer heavy metal influence coming off the languid, dreamy Blood, but as they’ve been back together now for going on half a decade, no doubt a few more twists are in store. Snail on Thee Facebooks.
31. Steak, TBA
Quickly emerging at the fore of London’s enviable up and coming heavy rock scene — and, in the case of guitarist Reece Tee, helping shape it as one of the architects of Desertfest — Steak are set to debut this year on Napalm Records with what will be their first full-length following two EPs, 2012’s Disastronaught (review here) and 2013’s Corned Beef Colossus (review here). They’ve put in time on tour — they’ll play in Spain with Monster Magnet and in London with Lowrider and Dozer in February — and seem to be ready to take the next step in releasing an album, and after the conceptual elements of both EPs, I’m eager to see where the next chapter of their story goes. Steak on Bandcamp.
32. Stubb, TBA
Tracking is to begin a few weeks from now for Stubb‘s second album at Jon Davis of Conan‘s Skyhammer Studios. After the release of their 2013 single, Under a Spell (review here), and the departure of drummer Chris West, guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland acquired Tom Fyfe to fill the position, and subsequently found a label home on Ripple Music. It’ll be a different Stubb than they were on their 2012 self-titled debut (review here), but the fuzz runs strong in them however the changes might manifest in the finished product from the studio, and I can’t even think of “Under a Spell” without hearing the chorus in my head, so yeah, I’m on board.Stubb on Thee Facebooks.
33. SunnO))) & Ulver,Terrestrials
A collaboration between drone lords SunnO))) and Norwegian post-black metal progenitors Ulver probably isn’t the kind of thing that’s going to make you crush a beer can on your forehead and call your bros to come over and check it out (actually, I don’t know what kind of music does that, but it probably sucks), but Terrestrials has the potential to be one of 2014’s most unique releases all the same. After Ulver‘s delving into orchestral minimalism on 2013’s Messe I-IX, it’s really anyone’s best guess what this will sound like when it comes out on Feb. 4. SunnO))) explored some cinematic ground with 2009’s Monoliths and Dimensions (review here), but still, to speculate seems like setting myself up to be a fool later. Southern Lord Recordings website.
34. Tombs, Savage Gold
For their third album for Relapse, Brooklyn three-turned-four-piece Tombs headed south to Florida to record with Hate Eternal‘s Erik Rutan. If vague Thee Facebook posts are anything to go by, the resulting LP is 57:18 and titled Savage Gold. I’m not sure when it’ll be out, but as the follow-up to 2011’s widely and loudly lauded Path of Totality, whatever it’s called and whenever the new Tombs shows up, chances are it’s going to receive as much extremity as it doles out. Tombs on Thee Facebooks.
35. Triptykon, Melana Chasmata
Heirs to the black, shiny and probably spiky throne of Celtic Frost, ultra-dark metallers Triptykon will answer 2010’s Eparistera Daimones (review here) with Melana Chasmata, which though it’s somewhat easier to type is no doubt even more gleefully excruciating a listen. As with the debut, they’ll mark the release with an appearance at Roadburn (info here). No audio has surfaced yet, but with a release date set for April 24, that can’t be too far off. Will Tom G. Warrior push Triptykon further away from their Celtic Frost lineage? I don’t know, but if there’s beauty in darkness, he’s the one to find it. Triptykon on Thee Facebooks.
36. Truckfighters, Universe
Feb. 4 is the stated release date for Universe (review here), the fourth album from Örebro fuzzdudes Truckfighters. The Swedish three-piece explore ground that at the same time is more emotionally complex than their last outing, 2009’s Mania (review here), and also more straightforward in the songwriting, resulting in a collection of tracks not necessarily as upbeat as some of what they’ve done in the past, but ultimately working toward a different kind of realization. No doubt hard touring will follow throughout the rest of this year, so if you want to catch Truckfighters, you’re likely to get your chance. Truckfighters on Thee Facebooks.
37. Valley of the Sun, Electric Talons of the Thunderhawk
Like Truckfighters, Midwestern heavy rockers Valley of the Sun will issue their new album, the somewhat cumbersomely-titled Electric Talons of the Thunderhawk on Fuzzorama Records, and the two acts are slated to tour together in Europe from Feb. 8 through March 14 ahead of Valley of the Sun‘s April 1 release date. If you contributed to their crowdfunding campaign, you might already have a copy of Electric Talons of the Thunderhawkon vinyl, but either way, the official release is worthy of note, particularly for as much growth as the full-length (their debut) shows from 2011’s already-impressive The Sayings of the Seers (review here). Valley of the Sun on Thee Facebooks.
38. Weedeater, TBA
Not certain how to tell you this, but I’m not sure we’re going to see a new Weedeater album this year. Between the North Carolina sludgers’ busy tour schedule and Season of Mist reissuing their other four albums, it seems like an awful lot for Weedeater to then also write and record a follow-up to 2011’s Jason… the Dragon (review here). I’m not saying it can’t be done — hell, for all I know they’ve finished writing and the studio is booked — but if a new Weedeater arrives, although it was mentioned with their West Coast tour dates that start this week, right now it seems like it would be later in 2014 or maybe early 2015 by the time it gets here. Hey, I could be wrong. I’d prefer it that way. Weedeater on Thee Facebooks.
39. Wolves in the Throne Room, TBA
They put out BBC Session 2011 Anno Domini last year as a kind of holdover release, but last month brought news of new songs for 2014, which would be Wolves in the Throne Room‘s first since Celestial Lineage in 2011. They toured their heaviest yet that record, so a bit of a break wasn’t necessarily out of order, but for an act who inspire the kind of loyalty that Wolves in the Throne Room do, three years can be a long time. Not much by way of specifics on the new release, whether it’s a full-length or not, when they might record, where, or when it might surface, but we know they’ve got new material, and that’s a step. Wolves in the Throne Room’s website.
40. The Wounded Kings, Consolamentum
Due Feb. 24 on Candlelight, Consolamentum is the fourth long-player in the tumultuous career of British progressive doomers The Wounded Kings, who despite a seemingly endless series of lineup shifts have managed to release their four albums in a span of six years. With guitarist/founder Steve Mills at the core and the eerie but powerful vocals of Sharie Neyland over top, The Wounded Kings have tapped into a doom quick to separate itself from the pack, and Consolamentum conjures some of their most oppressive atmospherics yet, with expansive cuts like “Gnosis” and “The Silence” fed into by ambient passages and interludes. The Wounded Kings on Thee Facebooks.
41. Yawning Man, Gravity is Good for You
Desert legends Yawning Man released a split with Fatso Jetson in 2013 — only appropriate, since the two acts share Mario Lalli — but Gravity is Good for You, like whatever Acid King might have in store, is a holdover from last year’s list. Guitarist Gary Arce of the long-running and hugely influential instrumental jammers has reportedly been in the studio with Lalli and Third Ear Experience drummer Erik Mouness (video surfaced), but there’s yet to be concrete word on when Gravity is Good for You, reportedly a double album and the band’s follow-up to 2010’s Nomadic Pursuits(review here), might be finished. Got my fingers crossed it’s this year. Yawning Man on Thee Facebooks.
42. YOB, TBA
Feels like a terribly long way to go only to get to one of the albums I’m most looking forward to hearing, but the alphabet works in mysterious ways sometimes. On Jan. 7, Eugene, Oregon, überdoomers YOB posted the following on their Thee Facebooks: “Had an amazing YOB practice. The new songs are fully in focus. 2 mega DOOM bludgeoners, one “faster” song, and the most beautiful arrangement we’ve ever written to close. 4 songs, 55 minutes.” Last I heard, they were to begin recording for their seventh (man, time flies) LP this week with a release in the months to follow, and since YOB haven’t put out an album since 2004 that I didn’t pick it as my Album of the Year, you can bet your ass I’m looking forward to what they do next. Particularly that part about “the most beautiful arrangement we’ve ever written.” Sold. YOB on Thee Facebooks.
Others to keep an eye on, some mentioned above, some not:
Ararat, III (Another 2013 holdover) The Atlas Moth, The Old Believer (Out in June) Brant Bjork, Jakoozi Blackfinger, Blackfinger Godhunter, City of Dust Ice Dragon (Some older releases are being physically pressed and new stuff is never far off) King Buffalo (Their demo ruled) King Dead (First audio just surfacing, but holds promise) Lo-Pan (Been a while in the making at this point, hopefully 2014) Pet the Preacher, The Cave and the Sunlight The Proselyte (EP coming on Gypsyblood Records) Rainbows are Free, Waves ahead of the Ocean Saint Vitus (Began writing last Fall) Salem’s Pot, Lurar ut dig på prärien The Scimitar (Debut from Black Pyramid offshoot) Seedy Jeezus (Recording in Australia now with Tony Reed) Serpent Venom, Of Things Seen and Unseen Spirit Caravan (Nothing announced but you never know)
Various Artists, Songs of Townes Van Zandt Pt. II Wino & Conny Ochs (Maybe, maybe not) The Wisdoom, Hypothalamus Wo Fat (New album recorded)
I’m quite positive that the first thing to happen after this is posted is that someone will chime in with something I forgot. At least I hope that’s what happens. As large as this list has turned out to be (much, much larger than I thought it would be when I started taking notes for it), there’s no way it could cover everything, and I hope if there’s an upcoming release in particular that you’re looking forward to, you’ll please let me know in the comments.
Thank you so much for reading and for all of your support. Here’s to an amazing 2014.