Posted in Whathaveyou on November 11th, 2015 by H.P. Taskmaster
It’s a pretty different incarnation of Yawning Man on their upcoming Live at Maximum Fest than you can see below in the full-set video from earlier this year in the Netherlands. When the live album was recorded in 2013, Yawning Man were still playing with the classic trio lineup that featured on their last studio outing, 2010’s Nomadic Pursuits (review here), the three-piece of guitarist Gary Arce, bassist Mario Lalli (also Fatso Jetson) and drummer Alfredo Hernandez (also ex-Kyuss/Queens of the Stone Age) something of a supergroup unto themselves.
Among the progenitors of what we today call desert rock, Yawning Man‘s lineup is pretty fluid at this point, but Hernandez seems to be out, at least for the time being. Bill Stinson, Billy Cordell, Herb Lienau and I don’t know who else — Mario‘s son, Dino von Lalli, sits in on bass in the video below for the opening “Catamaran” — have been involved in the conjuration of new material, but I haven’t heard anything solid in a couple years as regards the band’s next full-length. Doesn’t mean it doesn’t exist, only that I don’t know the status of the thing.
So in the meantime, a release like Live at Maximum Fest is a bonus in more than a holdover sense. Even Yawning Man‘s split with Fatso Jetson was a couple years back by now, so anything new is really a win, as is the recent news that they’ll headline the Borderland Fuzz Fiesta next February along with Dead Meadow. The live record should be newly arrived by then. Preorders are up now if you’re so inclined. Art, info and links follow:
YAWNING MAN LIVE IN ITALY 2013
If you buy now the vinyl pre-order, you’ll receive the free CD. The CD will be shipped within December 5th. This offer is valid only for first 100 buyers. “Live At Maximum Festival” by Yawning Man will be released in February 2016 under Go Down Records.
LINE-UP GARY ARCE: guitar ALFREDO HERNANDEZ: drums MARIO LALLI: bass
Posted in Whathaveyou on October 30th, 2015 by H.P. Taskmaster
Following up on what we found out from Borderland Fuzz Fiesta 2016 earlier this month, the Tucson-based desert and heavy rock fest has let loose two more big names for its lineup. Reportedly they still have a headliner for Saturday to announce sometime between now and February — should be plenty of time to do so — but with Dead Meadow and Yawning Man joining the previously-announced likes of Blaak Heat, Zed, 3rd Ear Experience, Funeral Horse, Big Mean, Waxy, Fuzz Evil, Dandy Brown, Cloud Catcher and Dead Canyon, the weekend’s roster stretches further sonically and upward in profile. I’m very curious to find out who that other headliner will be.
Borderland Fuzz Fiesta 2016 is set for Feb. 26 and 27 191 Toole in Tucson. The latest info off the PR wire follows here:
Dead Meadow, Yawning Man, Waxy & More To Play Tucson’s BORDERLAND FUZZ FIESTA
Back for its second year in a row, Borderland Fuzz Fiesta will once again bring the unmistakable sounds of Palm Desert, California and beyond to Tucson, Arizona. Curated by the Ruddell brothers of both Powered Wig Machine and Fuzz Evil, the show will take place on Friday, February 26th and Saturday, February 27th at 191 Toole in the heart of Tucson’s historic downtown.
More band announcements will be revealed soon, but as of now, here’s the lineup:
Borderland Fuzz Fiesta 2016 Official Lineup:
Friday, February 26th: Dead Meadow Yawning Man Blaak Heat 3rd Ear Experience Zed Funeral Horse Big Mean Dead Canyon
Saturday, February 27th: Waxy Dandy Brown (of Hermano) Cloud Catcher Fuzz Evil
*All bands will be accompanied by the Mad Alchemy Liquid Light Show*
Still kind of surprising that a physical pressing of Yawning Man‘s demo collection, The Birth of Sol, has never surfaced. There was talk for a while of doing one, but it never manifest, and the persistently-underrated, due-for-their-due desert rock progenitors oversaw a digital version in 2009 through Cobraside that remains as close as The Birth of Sol has come to-date. Granted, the material is pretty rough. Recorded over the course of 1986-’87 — or somewhere around there, anyhow — it’s basically pre-digital rehearsal-space recordings. You can hear the warped tape as you listen through the near-90-minute span of 24 tracks (as well as a couple CD skips, oddly), which span avant jazz weirdness to a brand of bouncing punk that’s indistinguishable from that would shortly become Fatso Jetson, all the more for Mario Lalli‘s even-then-recognizable voice and quick-turning rhythmic progressions. It would be nearly two decades before Yawning Man put their first album out — that was Rock Formations, in 2005 — but like Across the River‘s even-earlier 1985 Demo Tape (discussed here), The Birth of Sol is an integral document of what was coalescing in the California desert at the time.
I’ll gladly argue that Yawning Man‘s most pivotal days, sound-wise, were still ahead of them when they tracked the material on The Birth of Sol, but even if you listen through these songs, you can hear that desert rock, as it was, was already something different from punk, from the heavy metal of its day, and even from the post-hardcore slowdowns that, soon enough, would become grunge. Even in their rawest form, Yawning Man stood apart from that, and that makes a release like The Birth of Sol all the more special.
The band’s last full-length was 2010’s Nomadic Pursuits (review here), and while the years since have seen a flurry of activity from founding guitarist and principle figure Gary Arce (2012 interview here) both in Yawning Man — who did a split with Fatso Jetson in 2013 — and outside of it, in collaboration with Hotel Wrecking City Traders, Yawning Sons, WaterWays or Zun, whose debut stands among my most anticipated releases for 2016, word of Yawning Man proper’s next full-length has yet to materialize outside of some long-teased Raymond Pettibon art, the title Gravity is Good for You, and the occasional snippet or rough mix. Come to think of it, that’s plenty of word. I guess what I’m looking for is a release date.
When/if I happen upon one or one happens upon me, I’ll let you know, but until then, enjoy The Birth of Sol and take it for what it is. There’s plenty to get lost in, and from where I sit, it’s still worth hoping it gets pressed up one way or another one of these days.
As I write this, it’s actually Thursday night, a little bit before 11:30PM. I’m taking a half-day from work tomorrow (today by the time this gets posted) and figured I’d sleep better if I didn’t have this hanging over my head. Plus I miss writing at night, headphones in, the little dog Dio and The Patient Mrs., the latter of whom has been suffering from a cold for most of the week, both conked out. It’s already a seven-post day — rare, even rarer for the end of a week — but the holdover from yesterday was the Eight Bells news, and I thought it seemed tacky to post something about Portland when they obviously had bigger things going on in Oregon, what with the mass shooting and all.
And as to that, it seems pretty clear to me that we as a people, Americans, don’t give a fuck about it. We’re willing to sacrifice bunches of people for the illusion of what we’re told is a freedom. Trust cops. Buy more. Eat what they feed you. I don’t care anymore either. Not when there’s so much on Netflix to see! Until somebody picks up a molotov cocktail and starts a revolution — violent uprising is not the only way of producing substantive cultural change, but you can’t argue with a decent track record — nothing will change. Because we don’t want it to. Pumpkin spice! Selfies! Internet snark! Mass murder. Hallmarks of our season and our age.
What was I doing? Oh yeah, putting the blinders back on.
Headed to CT this weekend because I hear there’s a hurricane coming and fuck it, that’s how I wanna go out. Bedroom Rehab Corporation play the release show for their new one on Saturday in New London and it’s a killer lineup, so I’ll be at that, and look for a review on Monday. Also next week, reviews of Clutch and Graveyard. Both are late, but seriously, I reviewed 50 fucking records this week — more if you count streams, which at this point I do — so if that’s not enough for you I don’t know what to say. If I have time, I might do Monster Magnet or Snail as well, but we’ll see if I get there. Both are on the docket though either way. Also got an Admiral Browning tape that I’d very much enjoy writing up. Might save that for next Friday and treat myself a bit. And the interview with Lori S. from Acid King. That will be up somewhere in there as well. Busy week all of a sudden.
There are a lot of shows coming up I wish I could see. I will not get to all of them, but I will do my best. It bums me out deeply and sincerely to report that I’ll be unable to make the trip to Munich for Keep it Low. Car trouble for both The Patient Mrs. and I has severely sapped funds that would’ve otherwise gone toward a plane ticket, and my student loans are apparently in default if the increasingly disturbing emails I get from Navient: Or Whatever the Fuck They’re Called this Week can be remotely trusted. Whatever. Amnesty now for immigrants and students. Too big to fail is too big to exist. Let them dock my pay if they want my money so fucking bad.
Got myself all jazzed up tonight. So much for sleeping.
Have a great and safe weekend. Please. Consider it a favor to me. And while you’re doing me favors, please check out the forum and radio stream.
Posted in Whathaveyou on July 21st, 2015 by H.P. Taskmaster
Thief Presents continues to throw down a gauntlet with its festivals. It seemed fair after so thoroughly upping the game earlier this year with Psycho CA that big things would be in store for that fest’s autumnal counterpart, the Day of the Shred, but when you come out of the gate like it’s no big deal and be like, “Oh hey Captain Beyond is playing our fest year whatever,” you’re officially killing it. You’ve got John Garcia, Yawning Man and Ides of Gemini together, which makes me wonder if Zun won’t make an appearance, and Spirit Caravan, Elder and Crowbar, along with a righteous ton of others, up to and including Portugal’s Black Bombaim. It gets a hearty and heartfelt fucking a.
Details from the PR wire:
Day of the Shred Festival to Light Up Southern California November 1
Dia de los Muertos-themed Concert Event to Feature Performances from Captain Beyond, Spirit Caravan, Crowbar, John Garcia, Mondo Generator, Torche and More
This fall, The Day of the Shred Festival returns to Southern California, presenting a diverse lineup of heavy music acts. Billed as an experience “to gather the living and remember the dead”, The Day of the Shred will take place on November 1 (Dia de los Muertos) in Santa Ana, CA. Celebrating monolithic riffs, skateboarding and the souls of the departed, the second annual festival will be an all day, all ages event. Presented by Thief – also the creators of the annual Psycho California Festival — The Day of the Shred will feature headliners Captain Beyond, Spirit Caravan, Crowbar, Torche, John Garcia (of Kyuss fame), Elder, Saviours, Mondo Generator and more.
Tickets for the 2015 Day of the Shred Festival are on sale now at this location. Early bird general admission tickets are $59 (+ tax) and a limited VIP ticket package (which includes express entry, a signed festival screen print, access to the artist lounge, complimentary microbrew and snacks, a limited edition record bag and an exclusive Thief X Obey concert shirt) is also available. What: Day of the Shred Fest 2015 Where: The Observatory, Santa Ana, CA Time: 2PM – 2AM Tickets:Eventbrite.com/e/day-of-the-shred-2015-tickets-17017683349
The just-announced lineup for The Day of the Shred 2015 is as follows:
CAPTAIN BEYOND SPIRIT CARAVAN CROWBAR JOHN GARCIA MONDO GENERATOR TORCHE ELDER SAVIOURS OXBOW FULL OF HELL THE BODY YAWNING MAN KOWLOON WALLED CITY BLACK BOMBAIM FIGHT AMP THOU NIGHT DEMON IDES OF GEMINI MOS GENERATOR GREAT ELECTRIC QUEST WHITE MANNA POOBAH COMMUNION BLACKWITCH PUDDING DUEL Stay tuned in to The Day of the Shred Fest via the Facebook event page and follow THE DAY OF THE SHRED on social media:
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.