Posted in Features on January 2nd, 2015 by H.P. Taskmaster
It was close for a long time, but in the last week or so, one record pulled ahead to stake a definitive claim on the top spot. Even so, more than the 2013 poll, this was a fun one to watch, three albums duking it out, trading back and forth in the raw votes depending on who happened to submit a list at any given time. In the end, 355 people participated in this year’s poll, which is an average of over 11 per day — there was a significant push at the end — and up from 2013, which now that it’s 2015 will no doubt soon feel like ancient history.
To that end, Happy New Year and huge, huge thanks to everyone who took the time to contribute a list to the poll. Even if it was one or two records, the simple fact that you felt it was worth your time to type out the names of bands and albums and take part in this thing is unbelievably gratifying to me. I do a lot of the talking around here, apart from comments and the forum, so to have your participation in this really means a lot to me. It’s nice knowing you give enough of a crap to take part.
You’ll find two lists below. The first, measured in points, is the weighted tally. A 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. After that comes the raw votes, a measure of what caught the most attention along the way.
After the jump, you’ll also find all the lists contributed to the poll — including my own, which seemed fair since I do a lot of reading on this site, mostly to experience shame at the typos and correct them hoping no one else noticed — presented in the order in which they were received. Thank you all again.
Top 20 of 2014 — Weighted Results
1. YOB, Clearing the Path to Ascend (560 points)
2. Wo Fat, The Conjuring (404)
3. Electric Wizard, Time to Die (367)
4. Pallbearer, Foundations of Burden (334)
5. Conan, Blood Eagle (275)
6. Orange Goblin, Back from the Abyss (254)
7. Greenleaf, Trails and Passes (240)
8. Truckfighters, Universe (237)
9. Brant Bjork and the Low Desert Punk Band, Black Power Flower (235)
10. Earth, Primitive and Deadly (230)
11. Fu Manchu, Gigantoid (225)
12. Blues Pills, Blues Pills (211)
13. Lo-Pan, Colossus (202)
14. Eyehategod, Eyehategod (198)
15. Monolord, Empress Rising (190)
16. Mastodon, Once More ‘Round the Sun (188)
17. Mars Red Sky, Stranded in Arcadia (161)
18. John Garcia, John Garcia (156)
19. Bongripper, Miserable (141)
20. Radio Moscow, Magical Dirt (127)
Honorable mention to:
Goat, Commune (126)
Swans, To be Kind (117)
Monster Magnet, Milking the Stars (116)
Blood Farmers, Headless Eyes (105)
Floor, Oblation (104)
Mothership, II (104)
Stubb, Elephant Tree, Thou and plenty of others also did very well in the voting, but everything else I could find was less than 100 points. Again, it was close for a while between Wo Fat, Electric Wizard and YOB — and Pallbearer wasn’t so far behind them, either — but YOB pulled it out in the end and jumped way in front of everyone else. A lot of number-one votes for Clearing the Path to Ascend, which I can understand completely, since I happened to agree with the position.
On to the raw votes:
Top 20 of 2014 — Raw Votes
1. YOB, Clearing the Path to Ascend (138 votes)
2. Wo Fat, The Conjuring (111)
3. Electric Wizard, Time to Die (104)
4. Pallbearer, Foundations of Burden (89)
5. Orange Goblin, Back from the Abyss (78)
6. Conan, Blood Eagle (72)
7. Fu Manchu, Gigantoid (71)
8. Truckfighters, Universe (66)
9. Earth, Primitive and Deadly (65)
10. Greenleaf, Trails and Passes (64)
11. Blues Pills, Blues Pills (63)
12. Brant Bjork and the Low Desert Punk Band, Black Power Flower (60)
13. Lo-Pan, Colossus (58)
14. Eyehategod, Eyehategod (55)
15. Monolord, Empress Rising (52)
16. Mars Red Sky, Stranded in Arcadia (48)
16. Mastodon, Once More ‘Round the Sun (48)
17. John Garcia, John Garcia (47)
18. Bongripper, Miserable (41)
18. Radio Moscow, Magical Dirt (41)
19. Goat, Commune (37)
19. Mothership, II (37)
20. Swans, To be Kind (32)
And some honorable mentions:
Dwellers, Pagan Fruit (31)
Floor, Oblation (31)
Monster Magnet, Milking the Stars (31)
Mos Generator, Electric Mountain Majesty (30)
Thou, Heathen (30)
The Well, Samsara (30)
A couple ties here make the raw votes list a little more inclusive, and since it’s not like we’re giving out olympic medals, it didn’t seem fair to count out ties and sacrifice other numbers. The top 20 has 23 entries? Yeah, sounds about right. Again, not much mystery ultimately to who came out on top, but it was a more thrilling race than the final numbers might suggest. Cool to see some differences in placement emerge between the two lists as well, Greenleaf and Brant Bjork doing really well in the weighted results since they obviously inspire some strong support, and a couple of others working their way into the raw votes top 20. I’m not really a numbers guy, but it’s been cool putting this together.
About not being a numbers guy: All the lists that came in appear after the jump below. If you find some glaring error in my math, or something seems like it really got enough votes to be included in one or the other, it’s possible I just missed it. I hope you’ll point it out in the comments so that if there is a mistake, I can get on correcting it as soon as possible. Your vigilance is sincerely appreciated.
And thank you again so much for being a part of this readers poll. It’s been a really great experience and I look forward to doing it again come Dec. 2015.
Please find everybody’s list after the jump, and have fun browsing:
Here is the Music Player. You need to installl flash player to show this cool thing!
Since I don’t do theme podcasts or anything, the thoroughly unofficial subtitle of this latest one is “SOME of the Best of 2014.” Truth be told, it’s four hours long and I feel like I barely scratched the surface, so definitely the emphasis should be on “some.” By no means is it meant to be comprehensive, or am I claiming that it’s all the best and the rest sucked or anything like that. But some of the best stuff is here, so, you know, I hope you enjoy.
My intent was to make it three hours long, and then I got there and it just didn’t feel done without another hour’s worth of extended psych jams. That’s an odd habit to have. Could be worse. For what it’s worth, I was thinking of this as a companion for some of the year-end coverage that’s already been posted and is still to come. Some of this was inspired by picks from the Readers Poll, the submissions for which are still open. If you haven’t added your list yet, I’d greatly appreciate it.
And once again, hope you dig it:
YOB, “Nothing to Win” from Clearing the Path to Ascend
Fu Manchu, “Radio Source Sagittarius” from Gigantoid
Radio Moscow, “Death of a Queen” from Magical Dirt
The Golden Grass, “Stuck on a Mountain” from The Golden Grass
Monster Magnet, “No Paradise for Me” from Milking the Stars: A Reimagining of Last Patrol
Pallbearer, “The Ghost I Used to Be” from Foundations of Burden
The Skull, “Sick of it All” from For Those Which are Asleep
Electric Wizard, “Time to Die” from Time to Die
Orange Goblin, “The Devil’s Whip” from Back from the Abyss
Moab, “No Soul” from Billow
Sleep, “The Clarity” from The Clarity 12”
Mars Red Sky, “Hovering Satellites” from Stranded in Arcadia
Floor, “Rocinante” from Oblation
Slomatics, “And Yet it Moves” from Estron
Conan, “Foehammer” from Blood Eagle
Druglord, “Feast on the Eye” from Enter Venus
Apostle of Solitude, “Die Vicar Die” from Of Woe and Wounds
Pilgrim, “Away from Here” from II: Void Worship
Blood Farmers, “The Road Leads to Nowhere” from Headless Eyes
Lo-Pan, “Regulus” from Colossus
Elephant Tree, “Vlaakith” from Theia
The Well, “Mortal Bones” from Samsara
Lucifer in the Sky with Diamonds, “Counting Time” from The Shining One
Brant Bjork and the Low Desert Punk Band, “Stokely up Now” from Black Power Flower
Joy, “Driving Me Insane” from Under the Spell of Joy
Greenleaf, “Depth of the Sun” from Trails and Passes
Mothership, “Priestess of the Moon” from Mothership II
Truckfighters, “Get Lifted” from Universe
Mos Generator, “Enter the Fire” from Electric Mountain Majesty
Mammatus, “Brain Drain” from Heady Mental
Øresund Space Collective, “Beardlandia” from Music for Pogonologists
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One
The Cosmic Dead, “Fukahyoocastulah” from Split with Mugstar
Montibus Communitas, “The Pilgrim to the Absolute” from The Pilgrim to the Absolute
Posted in Features on December 22nd, 2014 by H.P. Taskmaster
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
Icelandic four-piece Sólstafir hit on a rarely attained balance of gorgeousness and melancholy, and while Ótta is expansive, it’s also gripping front to back and is the best execution of its style I’ve heard since Anathema‘s Alternative 4, which is not a comparison I make lightly. A challenging record, but satisfying in kind and universal in its expressiveness.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend – YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Alunah, Awakening the Forest — Every time I make a list, no matter what kind of list it is, there’s a band I wind up kicking myself for forgetting about at the time. This is the case 100 percent with why Alunah aren’t in the Top 30. In fact, I might go in and swap them out with somebody.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe – I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in Reviews on December 16th, 2014 by H.P. Taskmaster
The Saint Vitus Bar stage is as tall as my leg just a little bit above the knee. This is a thing I know because when I returned to the by-now-infamous Brooklyn venue for the second of YOB‘s two nights this past Saturday and was once again pressed up against the stage by the packed-in crowd, I could feel the bruises from when the same thing happened the evening prior. Apart from a standard-operating-procedure stiff neck and maybe lingering road fatigue, I was unailing. I’d taken better care during the day to drink water, brought ibuprofen, ate some food of substance. Friday night’s amateur-hour shit was out the window. Like I’ve never done this before. Embarrassing.
Support acts were switched, Kings Destroy and Tombs tagging out and Occultation and Ecstatic Vision tagging in, the latter making their way up from Philadelphia to open with added intrigue because of their recent signing to Relapse Records, through which they’ll issue their debut full-length next year. I’d hit protest traffic on my way across Manhattan, a sign-carrying sea of humanity flanked and backed by police escort, but couldn’t even hold it against them. I’ve protested before and have found it ultimately a hollow reminder of how little voice a public can actually have, but I get the impulse to get in public and shout your cause into that unlistening, unconcerned abyss. When I got to the Queens-Midtown Tunnel, I saw a police staging area with cops decked out in riot gear, the shields, the plastic masks, the batons out and at the ready. It was not hard to identify one side’s position on the other.
Got to the venue early anyway. Ecstatic Vision went on a little before nine amid murmurings of the Vitus Bar‘s midnight karaoke start time and kicked smoothly into a heavy psych groove that, while formative, only became more engaging as their set went on. The trio recently-down-from-a-four-piece have been announced as openers for YOB‘s upcoming March 2015 major-market tour with Enslaved, so the two acts will feature on the same bill again soon enough, but their space-rock push propelled by rope-lit drummer Jordan Crouse meshed well with their flashing lightshow, colors bouncing off the black walls and curtains of the Vitus Bar stage, guitarist/vocalist Doug Sabolik (who, like Crouse, is a veteran of metal outliers A Life Once Lost) periodically running the headstock of his guitar through the chimes hanging off his mic stand, eventually hard enough to knock one or two off them off.
Sabolik‘s effects and pile of amps were impressive enough, but as with most heavy psych, it’s the low end holding it all together, and bassist Michael Connor did so fluidly, his lines providing the foundation of Ecstatic Vision‘s Hawkwindian-style jams while still finding room for righteous fills. It was my first time seeing the band. It won’t be my last. They played a somewhat abbreviated opening set, but it was a prime sampling of an emergent sound and stage presence that seems likely to continue to grow in all the right directions as their instrumental dynamic takes shape. No doubt by the time they get off that March tour, they’ll be even more on their way. Occultation, who followed, would boast a significantly less colorful aesthetic.
Native to Brooklyn, Occultation released their second album, Silence in the Ancestral House, this year on Profound Lore. A cult-rocking studio trio, live they play as a four-piece with Viveca Butler (ex-Aquila) on vocals and keys, Annu Lilja on bass, Edward “Nameless Void” Miller on guitar, and M.D.V. on drums, and much of what they hit into seemed to come from the new record. Fair enough. They’re a name that has been tossed about more and more as the year has started to wind down, and they brought a significant sense of atmosphere to their live presentation, their sound somewhere between Ghost‘s clean riffingand more extreme metallic forms. It was a leap in aesthetic from where Ecstatic Vision had started things off, but clearly that was the intent, and no stretch to hear why they’ve gotten the critical response they have.
They played longer than had the openers, and the Vitus Bar crowd knew them and welcomed them, and what they had in common with Ecstatic Vision was a current of potential. I was on the fence for most of the set, but eventually their hoods-up cultistry and hooks won me over, as well as the variety they brought to their songs. Whatever it was they closed with, they picked the right tune. Their style is in a tough spot and it can be hard for a group with similar influences to really distinguish itself from the pack, I saw nothing to make me think Occultation couldn’t get to that point. The room was packed by the time they finished, and they gave a solid local lead-in to YOB, who took the stage greeted as returning heroes.
I don’t know how many people in the crowd had also been there on Friday night, but I imagine it was a decent portion. Last time YOB were in Brooklyn, early in 2013, they did a similar two-show stint (review here), and I know from that they got a lot of return business. Provided one doesn’t have any pressing real-life obligation, who wouldn’t want to see YOB two nights in a row? Or 15? They changed the setlist some from the evening prior, pulling back from playing this year’s Clearing the Path to Ascend (review here) in full by switching out “Unmask the Spectre” for churning The Great Cessation opener “Burning the Altar,” which, following “Marrow,” felt like the beginning of a second set more than the continuation of one already in progress. “Prepare the Ground,” which opened 2011’s Atma, led the way into the newer cuts — “In Our Blood,” “Nothing to Win” and the aforementioned “Marrow” — and “Burning the Altar” was itself backed by Atma‘s “Adrift in the Ocean” and set-closer “Quantum Mystic,” from 2005’s The Unreal Never Lived.
If nothing else, the set emphasized YOB‘s propensity for badass opening tracks. Between “Prepare the Ground,” “In Our Blood” (which is more stylistically ranging than some of their bigger-riff-focused hooks of the past, but still fits the bill), “Burning the Altar” and “Quantum Mystic,” four out of the seven songs guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster played were album leadoffs. That material has always been some of the band’s most immediate and, in their way, accessible, so it’s exceedingly satisfying live. I’d argue “Nothing to Win” works in a similar vein, albeit more angrily and with Foster‘s drums and Scheidt‘s misconception-shattering screams as its primary modes of impact.
Positioned with the contrast of “Marrow” and “Adrift in the Ocean” — two longer pieces marked out by sections of quiet, finger-plucked guitar exploration and a sense of linear build — it was as dynamic a YOB set as I’ve seen, showcasing both their sonic individuality and their presence on stage as one of the foremost American heavy acts of their generation, relentlessly forward moving with aural heft and passion to match, whether it’s Scheidt throwing two fists in the air to share in the audience’s excitement, Rieseberg sharing a between-song chuckle with the front row before his face once again disappeared into his hair or Foster raising his arms high over his head for the next crash. Whatever else they may be — and on the heels of Clearing the Path to Ascend, they’ve been met with a swell of critical and fan acclaim, with more to come I’m sure — YOB are a special band. You could hear it in how quiet the Saint Vitus Bar crowd got after cheering each song, waiting to hear the first note of what was coming next.
This time, I managed to stay up front the whole set, and I’m glad I did. They made the trip down to Brooklyn and back to Massachusetts easily worthwhile, and since there’s a good chance the Saturday show was the last gig I’ll see in 2014, I couldn’t think of a better way for the year to go out, so thoroughly consumed by YOB as it has been.
More pics after the jump. Thank you (again) for reading.
Posted in Reviews on December 15th, 2014 by H.P. Taskmaster
At around 11AM, I started to get antsy. By the time I left Massachusetts, it was 12:30PM, and it would be five and a half hours later that I rolled down Manhattan Ave. in Brooklyn to the Saint Vitus Bar for the first of YOB‘s two-night residency with support from Tombs and Kings Destroy. It would be the first time I’d see the Eugene, Oregon, trio since the release of their much-lauded 2014 Neurot Recordings debut, Clearing the Path to Ascend (review here), and I wasn’t going to miss it. I did not stop for food or drink on my way south.
YOB were soundchecking when I got in, and there’d be some time yet before the show actually started. I watched them bust through a couple fuses on the Sunn bass head on loan from Kings Destroy and get their sound dialed in through the Vitus Bar P.A., noticing that the shape of the venue’s stage had changed since last I was there. It’s been added to in the front, what used to be a jut-out in the middle is not even all the way across. Since the show was sold out, there were no seats on the side either. It looked like a pro shop, which of course it is whether the booths are there or not, and there were few people milling around, getting drinks and whatnot. It was a boon to me at that point not to be in the car anymore.
By my count this was the 20th time I watched Kings Destroy play a set in 2014. That is not an exaggeration. Possibly the only thing I can say about them at this point — and I mean it as a high compliment — is that if they were playing tonight somewhere near me, I’d go. They also had a soundcheck and got started shortly after 9PM, soon thereafter announcing from the stage that their third, self-titled album will be out on War Crime Recordings in April as they ran through a couple of its highlights, “Smokey Robinson,” “Mr. O.,” “Embers” and “Green Diamonds,” opening with “The Whittler” and rounding out with “Blood of Recompense” and “Turul,” a one-two punch culled from last year’s A Time of Hunting.
The latter was particularly charged and since it’s not one they play all the time, I was glad to see them break it out as a finale. Of all their material, it’s probably the oddest song they have, but the weirdness suits them and underscores the impressive amount of sonic ground they cover and the efficiency with which they cover it. They played mostly in the dark, with a projector screen behind, but after seeing them on the West Coast, the East Coast and in between, the home turf was a fun way to round out the year. I should be so lucky to go another 20 in 2015.
Somehow — and I’m not 100 percent sure this is true now that I’m saying it — I’ve never seen Tombs. At least not that I can remember. The Brooklynite outfit, led by guitarist/vocalist Mike Hill, released their third album, Savage Gold, this year on Relapse, and were duly in command of their genre-blending style, a potent, metallic-vibed stew of blackened squibblies, doomly atmospherics and thrashing intensity. His foot on the monitor or his guitar held out in front of him, Hill was every bit the frontman, but the whole band was air-tight, bassist Ben Brand and drummer Andrew Hernandez II, and recently-added guitarist Evan Void (also of Sadgiqacea) crisp in the delivery of cuts like “Edge of Darkness” and “Seance” from the new album en route to the closeout, “Path of Totality,” the title-track from Tombs‘ 2011 sophomore breakout full-length. They were a band I always figured I’d run into sooner or later. I wish it had been sooner.
I came into the show thinking of it as the first of two nights, so it was hard to consider Friday a standalone, but even if you take into account Saturday’s lineup, with Occultation and Ecstatic Vision opening, there was a varied but still cohesive spirit to both bills. It gave Friday a carefully curated vibe, and that carried over to Saturday too. These weren’t just bands who would draw, they were bands someone wanted you to see. It made a difference in the mood of the show, and by the time Tombs were wrapping up after Kings Destroy and before YOB, the Vitus Bar was so packed in that clearly the plan had worked.
Earlier this year, I was fortunate enough to watch YOB play three-fourths of Clearing the Path to Ascend at Roadburn in The Netherlands, and doubly fortunate to have heard the record beforehand. But I didn’t know the songs at that point, hadn’t spent any significant amount of time listening to them, and absent from that set was the album-closer “Marrow,” which, if you’ve heard it, you know is a big difference. It’s my pick for song of the year, for whatever that’s worth, but there was no guarantee it would make an appearance either night. Still, was worth a shot. As it turned out, after opening with the unearthly rolling groove of “Ball of Molten Lead,” which continues to sound as weighted as its title, guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster played Clearing the Path to Ascend front to back, in its entirety, closing out with the scorchingly noisy “The Lie that is Sin” from 2009’s return, The Great Cessation, and the title cut from 2011’s Atma.
Whatever they played, I’m sure I’d have been into it, but having watched them play full-album sets previously for The Great Cessation, 2005’s The Unreal Never Lived and 2003’s Catharsis, I’m glad to be able to put Clearing the Path to Ascend in that category as well. The four songs, “In Our Blood,” the drum-led tempest “Nothing to Win” — which Foster made look easy, in defiance of both logic and physics — “Unmask the Spectre” and “Marrow” itself, were a worthy focal point, and the flow of the material was no less palpable live than it is listening to the album. Being faster and more aggressive, “Nothing to Win” got a particularly fervent response (myself included), but I don’t think I was the only one appreciating what it meant to be watching “Marrow” and seeing YOB‘s most progressive moment to date come to life right there on the stage. To call it powerful would be understatement.
I was, by then, a wreck. That whole not-eating-or-drinking-anything-all-day thing? Yeah, it caught up with me right around the time they hit into “Unmask the Spectre.” I couldn’t keep my head up without getting dizzy and pressed up against the stage up front, I was fiercely nauseous and feeling like I was going to pass out. I leaned over on the stage during “Marrow” and headed to the back of the venue thereafter, getting two rounds of two waters from the bar and putting my head down on my arm to recover. I heard a good-spirited “Man down!” from someone. I wasn’t even drunk, just dehydrated. It made me glad I was sticking around the area for the second show, since watching “The Lie that is Sin” and “Atma” from way in the back wasn’t how I was hoping it would go down, but even so, I can’t and won’t complain. I was lucky to be there at all.
And I’d be lucky to go back for more the next night. More on that tomorrow. For now, more pics after the jump and thanks for reading.
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 Features on December 8th, 2014 by H.P. Taskmaster
Before any music had surfaced from YOB‘s 2014 outing, Clearing the Path to Ascend (review here), the band posted an update about the songwriting that referred to “the most beautiful arrangement” they had ever done. When the 18:48 closing track “Marrow” surfaced on their seventh album and Neurot Recordings debut, there was little doubt concerning which was the arrangement in question.
The first time I heard “Marrow” was sitting in the basement of V39, which is the building across from the 013 venue in Tilburg, the Netherlands, where Roadburn is held. Upstairs, the merch market was setting up for the day, but in the basement, in a dark room with a tiny stage, rows of chairs, a small P.A. and a bar in back, was a listening session for the album, the title of which was printed on a small promotional postcard placed on each chair. “Coming this fall.” Fair enough.
“Marrow” is led into by “Unmask the Spectre,” a 15-minute exploration that hits its apex late. There is, however, about 40-seconds of ambient guitar and spacious effects swirling after the chaos has subsided, and the fadeout of that gives flowing movement into the silence from which the opening guitar line of “Marrow” emerges. It’s less than a minute before bassist Aaron Rieseberg and drummer Travis Foster join in, which leaves guitarist/vocalist Mike Scheidt to set the initial atmosphere for what will become YOB‘s boldest and most melodic construction to date. Already by then, Clearing the Path to Ascend has taken listeners up, down and through an emotional torrent, songs like the raging “Nothing to Win” and the perpetually-searching “In Our Blood” establishing the dynamic course beyond YOB‘s beginnings — which, make no mistake, are essential to the makeup of what we think of today as cosmic doom — and further into something wholly their own; a sound as distinct and identifiable as Sleep‘s is to Sleep, as Neurosis‘ is to Neurosis.
It’s just before two and half minutes have passed that “Marrow” kicks in a fuller-toned roll, more low end and harder-hit drums, but the pace is still fluid, more serene than tense. Scheidt‘s vocals follow a pattern of shorter lines feeding into longer ones, his voice clean, ethereal and echoing over the distortion and a shift into the bridge that leads to the first of the song’s choruses:
Fall and see When there’s no ground To feel, To endure Rise, rise in your heart Time will crawl to the sea Time will fall inside the dream
The cycle stops to begin again with the verse, but already the layering in Scheidt‘s voice distinguishes the song as something special and expanding YOB‘s breadth from what they’ve done before. In both his guitar work — a later solo has a wistful blues to it that speaks to classic rock — and his vocals, Scheidt‘s expressiveness throughout “Marrow” is raw. He sounds sincere no matter how many layers of his voice appear, and there are only more as the next chorus arrives. Just past 10:30, after a soulful harmonization of the word “time,” the bass and drums drop out and it’s the guitar left alone again. Producer Billy Barnett contributes Hammond as Rieseberg and Foster rejoin the progression, and Clearing the Path to Ascend‘s final movement is underway.
I didn’t know the lyrics sitting in that small theater room downstairs at V39, but even without, tears welled up in my eyes. It is, as advertised, the most beautiful arrangement YOB have ever done, and “beautiful” is precisely the right word for it. “Marrow” never has its roaring moment as so many YOB songs do, but it builds in that final movement to an apex that’s as satisfying if not more so than any growl could be. Rieseberg‘s bass swells in the mix gorgeously shortly after the 14-minute mark, and Scheidt repeats the last verse over the build in progress. At 17:49, after its complete, swirling crescendo, “Marrow” cuts back to the quiet guitar line that started it. What needed to be said has been said, and the final sustained note hums its finish.
YOB have a tradition of grand closers. It goes all the way back: 2011’s Atma had “Adrift in the Ocean,” 2009’s The Great Cessation had its title-track, 2005’s The Unreal Never Lived had “The Mental Tyrant,” 2004’s The Illusion of Motion had its title-track, 2003’s Catharsis likewise, and 2002’s Elaborations of Carbon, formative as it was, had “Asleep in Samsara.” “Marrow” is not only the most forward-thinking of them, it is a singular achievement in songwriting and execution. For Scheidt, Rieseberg and Foster, it is a triumph along a creative pursuit that seems to be relentless in its tenure and its honesty, and for me, it’s the song by which 2014 will be defined.
Honorable mention to Witch Mountain‘s “Can’t Settle,” Mars Red Sky‘s “Join the Race,” Wo Fat‘s “The Conjuring” and Sleep‘s “The Clarity.”
Posted in Whathaveyou on September 19th, 2014 by H.P. Taskmaster
Here’s a thing that’s happening. I won’t get to go, but it looks like a killer weekend, and seeing the finalized schedule — which you can click to enlarge below — I already made out my plan for each of the two days of Amplifest 2014. Will that do me any good when I’m sitting on my ass and not in Porto, Portugal, on Oct. 4 and 5? No, but it’s fun to pretend.
I like the flow of this festival. YOB before Marissa Nadler and Swans. Conan before Wovenhand. There’s a clear aesthetic there that I find admirable. The lineup’s ready to roll and they’ve got film screenings, listening sessions and a whole lot of etc. doing as well, so dig in:
OCTOBER 4th & 5th
Amplifest has been a fantastic ride since its inception in 2011. In the three past editions, we had the pleasure of sharing many unforgettable moments with all of you who joined us: Godflesh in one of the first shows since their reunion; the long awaited return to our country of Godspeed You! Black Emperor; the first time in Portugal of bands like Amenra, Bohren & Der Club of Gore, Ufomammut, Chelsea Wolfe, Jesu and many more, all of them giving all their energy to stun the audience; the art exhibitions at Hard Club; the engaging Amplitalks at O Meu Mercedes; the bonding between artists and audience in between shows.
These are just a few examples – if you have been here before, we’re sure you have your own highlights and special memories. If you haven’t, well, this will be the year. Amplifest will be back in 2014 in the weekend of 4 and 5 of October, taking place in the city of Porto, which was recently elected as European’s Best Destination. This will be Amplifest’s most ambitious edition to date: expect a challenging and eclectic lineup, expect an event from and to music lovers. This will be an edition with a lot of heart so let’s keep riding together – the path is upwards. Thank you for joining us.
Alhousseini Anivolla Ben Frost Black Shape Of Nexus Bosque Conan Cult Of Luna Hexis Marissa Nadler Pallbearer Peter Brötzmann & Steve Noble Pharmakon Swans Urfaust Vvovnds ? Wolvserpent Wovenhand Yob David D’andrea Chelsea Wolfe: Lone March Of The Gods: Botswana Metalheads Terminal Tower
Amplifest is more than a festival, it’s an experience. It is due to happen in Porto, Portugal, on the 4th and 5th of October. Tickets available at AMPLISTORE: 2-day passes: 65 euros 1-day pass: 35 euros
Posted in Reviews on September 3rd, 2014 by H.P. Taskmaster
Clearing the Path to Ascendis the point at which YOB abandons the formula they’ve been building over the course of the last five years. In its construction and in the execution of the songs themselves, it is still very much their own, but stands apart immediately from past outings, particularly the two released since the Eugene, Oregon, trio got back together after their 2005 breakup, 2009’s The Great Cessation(review here) and 2011’s Atma(review here). Clearing the Path to Ascend– also the band’s Neurot Recordings label debut — strips away a lot of what united those two records, elements like catchy openers “Burning the Altar” and “Prepare the Ground,” and a near-standard foray in guitarist/vocalist Mike Scheidt‘s signature triplet gallop, which is something that YOB has used to send chills up doomers’ spines since 2005’s The Unreal Never Lived. Songs like “Breathing from the Shallows,” these massive washes of abrasive, unyielding noise, seem as well to be a thing of the past. That’s not to say YOB can’t or won’t ever incorporate any of these things again, but even if they do, Clearing the Path to Ascendwill have been the record that proved that wasn’t what the band needed to be. In the meantime, what we’re left with on their seventh full-length and pivotal third since reuniting with Scheidt, drummer Travis Foster and bassist Aaron Rieseberg, is a scathingly honest, human creativity unlike anything else in doom, cosmic or otherwise. An hour-plus four-track release with no individual piece under 11 minutes, it is YOB at their most melodically progressive and an album that dares to let its emotional resonance meet and, especially in closer “Marrow,” surpass an at times barbarous tonal heft. YOB haven’t put a studio LP out in a decade that I didn’t pick as my Album of the Year, and given the sincere nature of the material on display here it seems all the more foolish to feign impartiality. I am a fan of the band, and Clearing the Path to Ascendis their most accomplished outing yet.
Opener “In Our Blood” (16:56) begins with a sample that says simply, “It’s time to wake up.” While this would seem to promise an explosion, but instead, Scheidt‘s guitar quietly introduces the undulating rhythm line that will comprise the core of the song, a roll that, when Foster and Rieseberg kick in after the first minute, sets a lumbering course pace-wise that the bulk of the record will stick to. Vocals, which in years past have typically come either in an ethereal wail or destructive growl, are clearer, cleaner and more confident than they’ve ever been — Scheidt‘s debut solo work, Stay Awake(review here), and subsequent touring could easily be read as a factor in that — but when “In Our Blood”‘s first growls arrive shortly before the five-minute mark, they’re no less vicious than they’ve ever been. Already, YOB have changed course from their last several albums, the way Clearing the Path to Ascendlurches gradually to life rather than slamming listeners with an initial immediacy only to expand from there. It comes across as dispensing with a formality — getting right to the heart of the matter in a different way that’s more immersive for the listening experience of the entirety rather than giving an initial standout and then letting the rest of the album make its statement. Another clean, rolling verse ensues and trades back to growls — it’s not a chorus, but a repeated and expanded part, anyway — before “In Our Blood” shifts into its next movement near its halfway point, a bridge leading to an ambient break, Rieseberg and Foster dropping out to leave the guitar as a bed for an expanded version of the sample that began the song, British philosopher Alan Watts asking, “What is reality? Obviously, no one can say because it isn’t words. It isn’t material, that’s just an idea. It isn’t spiritual — that’s also an idea,” before the “Time to wake up” is repeated and the song bursts back to life, Scheidt loosing a roar that’s primal but which serves more of an ambient purpose than an aggressive one. The riff that will serve as the foundation for the remaining time takes hold, a guitar solo is layered in, deep in the mix, and cycles meet a culmination after 15 minutes in as guitars continue to build and growling lines surface from the plod, the last of them sustained to the point of Scheidt‘s voice breaking as the instruments behind end with a barrage of feedback giving way directly to the punch of drums that start “Nothing to Win.”
That punch, which becomes the core of “Nothing to Win” over its 11:22 run, is not to be understated. Foster‘s tom progression is indebted, almost singularly, to Neurosis‘ “Through Silver in Blood,” but the space those fills occupy, the way they’re used in the track and the sheer stamina required to pull them off make them all the more staggering. The second of Clearing the Path to Ascend‘s four pieces is the most intense, playing off building verse tension via those drums and the guitar and bass that follow them and opening to a chorus that arrives at the title line in a manner fitting the conclusion itself — there’s nothing to win. Listening to it, I’m reminded of a conversation about ambition back in 2011 that was part of an interview with Scheidt for Atma, but without a lyric sheet I wouldn’t speculate in concrete terms what’s being won, or not, and either way, the ferocity remains striking, Scheidt moving into a semi-spoken, seething delivery for the verse and layering shouts and growls for the chorus. Foster again takes the lead after halfway through, switching from the chorus progression to an even more intense run of fills that builds for a minute or so until finally the song seems to collapse under its own frustrations, Scheidt growling out a line that turns to a kind of agonized plead before its end, Rieseberg and Foster coming back in over feedback before the guitar rejoins them on the transition into the song’s last movement, a churning riff, deceptively intricate in its timing, taking hold and carrying YOB through the finish, Scheidt reminding along the way that, indeed, there’s nothing to win, channeling the abrasiveness that once fueled “Breathing from the Shallows” or “Kosmos” from The Unreal Never Livedinto a concise declaration that leaves an impression even after the album has finished. Its message gets through, in other words, before a relatively quick fadeout rounds the song out and “Unmask the Spectre” (15:25) begins with a soft guitar line somewhat reminiscent of the opening track and “Marrow” still to come.
Given its heavy/atmospheric tradeoffs — in softer parts, Scheidt‘s guitar seems to have been recorded in some terrifyingly vast expanse, at night — set out along a linear path and the melodic instrumental complexity at which it arrives in its apex guitar solo, it seems fair to think of “Unmask the Spectre” as a lead-in for “Marrow,” but at more than 15 minutes, it’s also a substantial portion of the album, and the fact that it’s paired well with the closer shouldn’t necessarily detract from its individual appeal or the work it does in furthering the atmosphere of Clearing the Path to Ascendoverall, cutting back as it does the furious push of “Nothing to Win” and moving YOB back into a more gradual space, patient, encompassing, and resoundingly slow. A high-viscosity chug takes hold as the main riff cycles through early, having lumbered forth from the quieter start, and “Unmask the Spectre” seems to take a different path toward similar venting to “Nothing to Win,” growls and screams topping steady thud from Foster and starts and stops in the bass and guitar. By this point in the album, it’s easy to be lost in Clearing the Path to Ascend, particularly on the first couple listens, and “Unmask the Spectre” sets an especially turbulent course on which the listener is carried, moving between this thunderous stomp and the airy quieter movement, underscored by various rumbling threats, vague noise, and low-mixed shouts and effects-distorted pleas. A rising shout before five minutes in reintroduces the heavy progression, Scheidt losing his fucking mind in the process, and the momentum is carried into the song’s next stage. If there’s a spectre being unmasked, it starts to happen at about the sixth minute, at which the tense, crushing heft spreads itself out to some kind of resolution, Scheidt taking a cleaner approach vocally over his riff, Rieseberg‘s smoothed out bassline and Foster‘s more forward-directed drums. A wavering guitar solo follows a verse past halfway through, but there’s another dropout. As low and minimal as YOB get on Clearing the Path to Ascend, heaviness is never completely absent, Scheidt whispering over windy backing swirl and his own barely-there guitar before Foster thumps the lurch back into place, a crawling return to YOB at their most feedback-drenched and excruciating. It seems like that’s going to be the end — both preceding cuts have had clearly announced final movements — but there’s a switch to cleaner vocals again and the guitar teases melodic leads. It’s a sudden cut to the backing “wind,” but the subdued guitar accompanies, seeming like it’s searching for a way to lead directly into “Marrow,” and not quite making the switch seamless, but coming as close to tying the two pieces together as one could reasonably ask.
Before the album was recorded, the band posted an update to Facebook referring to “the most beautiful arrangement we’ve ever written.” No question “Marrow” (18:49) was the arrangement being described, and accurately. It is lush, and gorgeous, and where it wants to, it launches into a soothing wash of tone more cathartic than “Catharsis” and arguably YOB‘s most singularly ambitious song. Like “Unmask the Spectre,” it starts quiet, but instead of bursting out, Foster and Rieseberg join the quiet guitar line early, making for a more gradual beginning, less jarring in its shift. At 2:25, a fuller rumble emerges, but the soft guitar line is still repeated over it, a peaceful, almost resigned mood emanating from the heavy rollout. There are no growls or screams on “Marrow,” the vocals entirely clean-sung for the duration, but it is Clearing the Path to Ascend‘s most righteous moment, conveying more of an emotional turbulence than a musical one in its initial verse and the movement to the first chorus, which arrives subtly just after five minutes and surprises with Scheidt layering his voice for a kind of harmonized choir effect, resulting in his most soulful performance to date, in YOB or out of it. A quick second to catch breath — one needs it — and the verse is renewed. I’m not sure I can properly convey the sense of arrival that chorus brings with it, or how gently it comes on, led into by a first stage already departed from the verse but not yet giving away the full breadth to come. The effect is only enhanced the second time through, the chorus expanded as “Marrow” moves toward its 10th minute, building to a thudding head, the word “time” repeated and drawn melodically into a hymnal. At 10:33, with more than eight minutes to go, the bass and drums drop out to let the guitar set the foundation of the album’s finale. As with the intro, the guitar, bass and drums all explore this part so that it’s not so much a minimalist interlude as an essential piece of the whole, a background layer of organ — or guitar effects made to sound like organ — hinting of the epiphany and climax still to come. Scheidt sings low and quiet after 12 minutes in, a verse that leads to the most gripping and resonant guitar solo I’ve heard since Ancestors‘ “First Light,” very classic rock in its style, but speaking more to the central melody of “Marrow” than a YOB lead ever has to its respective song. It swirls louder in the mix and carries into a heavier movement — Rieseberg‘s bassline no less astounding than any of the guitar layers — and the vocals return after a few measures to drive “Marrow” further toward into apex, which arrives in multiple stages as a wash of immersive realization. It ends, without a second wasted, by cutting back to the quiet guitar line that introduced the song and noodling out the last note for a final echo giving way to silence.
I know I said this when I saw them play at Roadburn earlier this year, but it’s worth repeating: YOB are a once-in-a-generation band. It is rare enough to find an act willing to push itself at all creatively seven albums in, but to deliberately cast off any sense of playing to expectation in favor of such raw expression — it’s the kind of thing that one or two groups in a decade might actually manage to pull off. More importantly, in doing so, Clearing the Path to Ascendmakes YOB‘s a more sustainable evolution by breaking down the increasingly rigid boundaries of “what YOB sounds like” and commandingly taking their songwriting to somewhere new both for them and for the genre as a whole. Nearly 15 years on from their first demo, they sound like they’re just getting started. If this album is true to its title, and YOB are clearing their path by tossing away these preconceived notions of what they are and what “doom” is, and if perhaps what comes next is ascension, then so be it. They’re obviously ready.
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Here is the Music Player. You need to installl flash player to show this cool thing!
This one’s a couple minutes shorter than the last few have been, but lacks nothing for substance, and particularly after YOB‘s “Marrow,” anything I put at the end would’ve just been filler to meet some imaginary obligation on my part. If you feel like you’re lacking the four minutes, give me a call and we’ll chat about records for the rest of that time. It’ll be a hoot. In any case, I think there’s plenty here to sink into — stuff that for a lot of people, myself included, will be on year-end lists and albums for which 2014 will be remembered when all is said and done. Two of my four current contenders for Album of the Year are featured, first and last.
Parts of this podcast are gorgeous, parts are ugly, but I think everything here holds up in terms of quality and listening back, I like the way this one gets immersive with a mix of longer tracks and shorter ones, slower and faster, etc. As always, I hope you enjoy, and I thank you sincerely for taking the time to check it out.
Lo-Pan, “Regulus” from Colossus (2014)
Steak, “Liquid Gold” from Slab City (2014)
The Well, “Mortal Bones” from Samsara (2014)
Orange Goblin, “The Devil’s Whip” from Back from the Abyss (2014)
Kvlthammer, “Hesh Trip” from Kvlthammer (2014)
Snailking, “To Wonder” from Storm (2014)
Earth, “From the Zodiacal Light” from Primitive and Deadly (2014)
Pallbearer, “Watcher in the Dark” from Foundations of Burden (2014)
Sorxe, “Her Majesty” from Surrounded by Shadows (2014)
Humo del Cairo, “Tres” from Preludio EP (2014)
Joy, “Miles Away” from Under the Spell Of… (2014)
Megaton Leviathan, “Past 21” from Past 21: Beyond the Arctic Cell (2014)
Bong, “Blue at Noon” from Haikai No Ku – Ultra High Dimensionality LP (2014)
YOB, “Marrow” from Clearing the Path to Ascend (2014)
Posted in Whathaveyou on July 22nd, 2014 by H.P. Taskmaster
I’ll be honest. There are times when I post about all these badass European fests when I get frustrated, wondering when I might get to see Conan and Black Shape of Nexus and YOB and Wovenhand on the same bill in the US. But you know what the answer to that question is? Never. It’s never gonna happen. Talk to me all you want about the growing fest culture in the States — meaning there are like two that are sustainable over the long term — but we’re likely to win the World Cup before we’re able to make a show like this happen. Our healthcare sucks too and we’ve spent over a decade bankrupting ourselves fighting needless wars so that five or six dickbags can viciously profiteer therefrom. You take the good with the bad. At least we’ve got new Sleep.
I won’t get to Amplifest in Portugal, unfortunately, but if you’re in that part of the world at the beginning of October, consider yourself fortunate. The two-dayer has confirmed screenings for two Chelsea Wolfe films, and added Swans and others to its already considerable lineup.
AMPLIFEST: Chelsea Wolfe’s “Lone” and “March of the Gods” to be screened || Swans, Cult of Luna, Ben Frost & more confirmed
Amplifest is due to happen in Porto, Portugal, on the 4th and 5th of October. This year’s line-up features performances from Swans, Cult of Luna, Ben Frost, Conan, Pallbearer, Wolvserpent, Wovenhand, Pharmakon and more. Tickets on sale.
Chelsea Wolfe’s “Lone” and documentary on metal music in Botswana “March of the Gods” will be screening in Amplifest 2014, scheduled to the weekend of October 4th and 5th. With talks with the confirmed artists and exhibitions still to be announced, this year’s edition will also feature concerts and performances from artists as influential and important to modern art and music as Swans, Cult of Luna, Ben Frost, Marissa Nadler, Yob, Wovenhand, Wolvserpent, or Pharmakon, to name just a few.
“Lone” works as a cinematic counterpart of Chelsea Wolfe’s latest album “Pain is Beauty”, but it stands perfectly on its own as a beautiful and enthralling art piece. Crafted both by Wolfe herself and renowned director Mark Pellington, “Lone” brings to a visual dimension all the distinctive factors in Chelsea Wolfe’s music: beauty in darkness, innocence and violence. Following her memorably breathtaking show at last year’s Amplifest, we will again be delighted by Chelsea Wolfe’s art, this time on screen.
Heavy Metal music is, unquestionably, a product of western culture – but the anger that leads to such an extreme way of expression is universal. “March of the Gods”, directed by Raffaele Mosca, is a rockumentary that portrays the thriving Metal scene in Botswana, a sparsely populated, and mostly deserted, country in Southern Africa. With a focus on the story of Wurst, one of Botswana’s most popular metal bands, the film shows us how such an orthodox music style can blend with African traditions and create a microcosm full of passionate and peculiar characters.
Announced acts: Alhousseini Anivolla, Ben Frost, Black Shape of Nexus, Bosque, Conan, Cult of Luna, Hexis, Marissa Nadler, Pallbearer, Peter Brötzmann & Steve Noble, Pharmakon, Swans, Urfaust, VVOVNDS, ?, Wolvserpent, Wovenhand, Yob
Amplifest is more than a festival, it’s an experience. It is due to happen in Porto, Portugal, on the 4th and 5th of October. Tickets available atAMPLISTORE: 2-day passes: 65 euros 1-day pass: soon
Posted in Whathaveyou on July 16th, 2014 by H.P. Taskmaster
The bill spans some of the heaviest bands in Scandinavia already, and then they decide to bring in the YOB/Pallbearer tour for a stop on the final day. All the more reason to tip the cap to Norway’s Høstsabbat, now in its second year. In 2013, the Oslo stage was graced by the likes of Tombstones and High Priest of Saturn, and in addition to the aforementioned American acts, Høstsabbat 2014 will be marked — that’s not to say awesomely scarred — by appearances from Suma, Saturnalia Temple, Ocean Chief, Kong and many more. It’s going to be a very, very heavy weekend in Norway come Sept. 12-14.
An announcement with the finalized lineup for the three-dayer, courtesy of the PR wire:
Høstsabbat 2014 Final Line Up
Høstsabbat is a newborn initiative, brought to life in 2013 by people involved in the underground scene in Norway.
It’s a DIY-festival, in collaboration with the student-organisation at Betong in Oslo, Norway, focusing on presenting the best underground bands Norway has to offer. This year the formula is pushed a step further, and includes aspiring talent from our brothers in the east as well as an international day on Sunday September 14th.
Over three days you can experience slow and crushing doom, heavy bluesrock, stoner, proto-heavy metal, psychedelic spacerock and prog. The concerts will be held on two different stages, located in the same venue. In addition to this, you’ll find stands, food, beverages and diverse stimulation for your ears and mind. Top Notch DJ’s, including Walter Roadburn himself will accompany your nights with the right soundtrack..
Høstsabbat takes place on Friday 12th through Sunday 14th of September 2014.
Cheap accommodation is located nearby the venue, and the damage for a three-day ticket is about 65 euros.
Posted in audiObelisk on July 16th, 2014 by H.P. Taskmaster
It’s a formidable batch of streams this time around from Roadburn 2014, with YOB‘s The Great Cessation played in its entirety, and gigs from Indian, who by all accounts killed at the fest, Morne, ditto, Lord Dying and more. For me though, like the first batch with their Lenny Kaye jam, the highlight is probably Harsh Toke. They were my find of the fest. When their Light up and Livealbum came out in 2013 on Tee Pee, I guess I didn’t pay enough attention and missed it, but after seeing them with the aforementioned Mr. Kaye, I knew there was no way I was going to let their set at the Afterburner pass without watching at least for a little bit.
As such, the San Diego jam-rippers were how I closed out Roadburn 2014, stopping by the Green Room to watch them tear into heavy psych fluidity as though you could actually tear into something fluid. Killer band. I’ve spent much time with Light up and Livesince April, and I’m glad to have the chance — thanks, as always, to Marcel van de Vondervoort and his crew — to relive their show. That’s not to mention YOB doing The Great Cessation, which was hypnotic to the point of being trance-inducing, and Morne and Indian and The Vintage Caravan, Lord Dying and Obliteration, the last two adding a malevolent, lurching extremity. Very cool mix.
No big surprise there, I guess, since the festival has become so eclectic. Plenty to dig into here so I won’t delay further:
Harsh Toke – Live at Roadburn 2014
Horse Latitudes – Live at Roadburn 2014
Indian – Live at Roadburn 2014
Lord Dying – Live at Roadburn 2014
Morne – Live at Roadburn 2014
Obliteration – Live at Roadburn 2014
The Vintage Caravan – Live at Roadburn 2014 (Friday, April 11th)
Yob – Live at Roadburn 2014 (The Great Cessation)
Thanks to Walter and Roadburn for letting me host the streams. The first and second batches are still available as well, and for all of the Roadburn 2014 coverage, click here.
Posted in Features on July 8th, 2014 by H.P. Taskmaster
Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.
Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.
Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.
In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.
If I left something out you’re dying to hear, please let me know in the comments.
Thanks in advance for reading:
1. Alunah, TBA (Sept.)
Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.
2. Apostle of Solitude, Of Woe and Wounds (Oct.)
These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.
3. Blackwolfgoat, Drone Maintenance (Aug. 26)
Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.
4. Blues Pills, Blues Pills (Aug. 5)
The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.
5. Bongripper, Miserable (July 7)
You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.
6. Botanist, VI: Flora (Aug. 11)
I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.
7. Brant Bjork, TBA (TBA)
When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.
8. Earth, Primitive and Deadly (Sept.)
The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.
9. Electric Wizard, Time to Die (Sept.)
“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.
10. Fever Dog, Second Wind (TBA)
Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.
11. Goat, Commune (Sept. 23)
Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.
12. Grifter, The Return of the Bearded Brethren (Aug. 11)
UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.
13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)
Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.
14. Ides of Gemini, Old World New Wave (Sept. 16)
Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.
15. John Gallow, Violet Dreams (Aug. 4)
Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.
16. John Garcia, John Garcia (Aug. 5)
A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.
17. King Buffalo, TBA (TBA)
Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.
18. Kings Destroy, Kings Destroy (TBA)
Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.
19. The Kings of Frog Island, V (Fall)
Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.
20. Lonely Kamel, Shit City (Sept. 9)
I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.
21. Lo-Pan, Colossus (Oct. 7)
Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.
22. Novembers Doom, Bled White (July 15)
One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.
23. Pallbearer, Foundations of Burden (Aug. 19)
Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.
24. The Skull, TBA (TBA)
For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.
25. Snail, Feral (TBA)
Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.
26. Steak, Slab City (Sept. 9)
After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.
27. Stubb, Cry of the Ocean (TBA)
It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.
28. Torche, TBA (TBA)
Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.
29. The Well, Monomyth (Late Summer)
I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.
30. Witch Mountain, Mobile of Angels (Sept.)
Please note: The original cover art with this post was not final and has been replaced with the above band photo.
Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.
31. YOB, Clearing the Path to Ascend (Sept. 2)
Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2012’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.
Other Notable Mentions
Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:
Acid King — Were listed in January, but their record has a Feb. 2015 release date.
Bright Curse — Second album recorded at Skyhammer Studios.
Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.
Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.
40 Watt Sun — There was some word of this early in the year, but nothing since.
Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.
It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.
Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.
Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.
Lowrider — They’re working on it, but don’t hold your breath to have it out by December.
The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.
Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.
Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.
Pink Floyd – Believe it when I see it, but I honestly couldn’t care less either way if I tried.
Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.
Sun Voyager — Upstate NY youngsters had hinted at new recordings.
Again, if I forgot anything — and I’m sure I did — please let me know in the comments.
In the second video teaser to herald the album’s September release below, YOB guitarist/vocalist Mike Scheidt discusses the motivations at work in the songwriting for the forthcoming Neurot Recordings debut, Clearing the Path to Ascend, citing an emotional basis in the material that’s brought out more than ever before, and talking about the band as part of a general quest for the defining of self and the making of who they are. There’s a music clip in it too, but hearing Scheidt speak candidly about what hedoes is always fascinating (I’ve been fortunate more than once; see here and here and also here) for the thoughtfulness of his perspective, and that manages to come through in the clip, brief though it is.
Clearing the Path to Ascendis out in September on Neurot, and in addition to their European tour with Pallbearer, a handful of YOB dates for the West Coast have been announced, including the previously noted Hoverfest on Aug. 23. The PR wire has details under the video.
YOB, Clearing the Path to Ascend Teaser 2
YOB: Oregon Doomsmiths Post Second Clearing The Path To Ascend Video Teaser; US Tour Dates Announced
Oregon doomsmiths, YOB, will released their long-awaited full-length, the aptly titled Clearing The Path To Ascend, via Neurot Recordings this Fall. Recorded at Gung Ho Studio in Eugene, notorious for its reserve of vintage equipment, alongside longtime collaborator/iconic sound-sage Billy Barnett, and mastered by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering, Clearing The Path To Ascend is undoubtedly the crowning achievement for a band whose journey now nears two decades of creating music as commanding as it is cathartic. As is the YOB way, the tracks here don’t simply offer a vacuous glimpse into the already riff-soaked doom genre. These songs demand the tandem attention of mind, body, and soul – etching a mark across a sound that finds YOB as formidable and unequaled as they’ve ever been. The path to ascend is clearly an arduous one, fraught with the peril of mediocrity. Thankfully, YOB pummels that path, climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
As a precursor to the release, YOB is offering up a second Clearing The Path To Ascend video teaser. Produced by William F. Haldane of Solder House, the near four-minute video details the writing process, concept and emotional journey that embodies the record as a whole.
In related news, YOB will bring their otherworldly riff rituals to the stage later this month on a handful of West Coast live excursions that will include performances in Sacramento, Oakland and Seattle as well as a headlining performance at Portland’s Hoverfest alongside Witch Mountain, Lord Dying, Eight Bells and more!
The tour comes in advance of the band’s previously announced overseas trek this Fall. Slated to commence on September 3rd, 2014 in Utrecht, the Netherlands, the band will level twenty-eight cities, the tour coming to a close on October 11th, 2014 at Desertfest in Antwerp, Belgium. YOB will be joined by Little Rock doom bringers, Pallbearer.
YOB: 7/25/2014 Starlite Lounge – Sacramento, CA w/ Giant Squid, Will Haven 7/26/2014 Oakland Metro – Oakland, CA w/ Black Cobra, Augurs 8/01/2014 Space Eugene – Eugene, OR w/ Hell, Diseased Reason, Broken Dead 8/09/2014 El Corazon – Seattle, WA w/ Wounded Giant, Transient 8/23/2014 Hoverfest – Portland, OR w/ Witch Mountain, Lord Dying, many more…
UK/EU Tour 2014 w/ Pallbearer: 9/03/2014 Tivoli de helling – Utrecht, NL 9/04/2014 The Fleece – Bristol, UK 9/05/2014 Roadhouse – Manchester, UK 9/06/2014 Audio- Glasgow, UK 9/07/2014 Brudenell Social Club – Leeds, UK 9/08/2014 The Underworld – London, UK 9/10/2014 FZW – Dortmund, DE 9/11/2014 Vera – Groningen, NL 9/12/2014 Atlas – Aarhus, DK 9/13/2014 Truckstop Alaska – Gothenburg, SE 9/14/2014 Hostsabbat @ Betong – Oslo, NO 9/16/2014 Tavastia – Helsinki, FI 9/17/2014 Slakthuset – Stockholm, SE 9/18/2014 Loppen – Copenhagen, DK 9/19/2014 Connewitz – Leipzig, DE 9/20/2014 Firlej – Wroclaw, PL 9/21/2014 Bi Nuu – Berlin, DE 9/23/2014 Klub 007 – Prague, CZ 9/24/2014 Arena – Vienna, AT 9/25/2014 PMK – Unnsbruck, AT 9/26/2014 Gaswerk – Winterthur, CH 9/29/2014 Le Romandie – Lausanne, CH 10/02/2014 Razzmatazz3 – Barcelona, ES 10/03/2014 Villamanuela – Madrid, ES 10/04/2014 Amplifest – Porto, PT 10/05/2014 ES ESonora – Erandio, ES 10/10/2014 Kyttaro Club – Athens, GR 10/11/2014 Desertfest – Antwerp, BE
Clearing The Path To Ascend will be released on September 1st, 2014 in the UK and Europe and in the US on September 2nd, 2014 via Neurot Recordings.