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.
Posted in Whathaveyou on July 2nd, 2014 by H.P. Taskmaster
Called to assembly by Hovercraft Amplifiers and Nanotear Booking, the first annual Hoverfest is set to unfold on Aug. 23, 2014. They’ve put together a maddeningly good lineup for their initial installment, culling together Oregon-based acts YOB, Witch Mountain, Holy Grove and Eight Bells, rounding out with New York ambient sludgers Mountain God and getting none other than Billy Anderson to run the sound for the night. Figure it’s gonna be a good time.
Naturally, Hovercraft will provide the backline, and company founder Nial McGaughey provides some insight below via the PR wire on what brought it all together:
HOVERFEST: First-Annual Portland Heavy-Music Festival Featuring YOB, WITCH MOUNTAIN & More Announced
On behalf of Hovercraft Amplifiers, we are thrilled to announce the first-annual Hoverfest, a festival of friends of and music created with Hovercraft amps, which will take place on August 23rd, 2014 in the blocked-off alleyway by Type Foundry Studios at 611 N. Tillamook St. in Portland, Oregon. Presales will be available in the coming weeks, but in the meantime, here is some info on this incredible event. The event is being graciously hosted by Cravedog Media, booked by Nanotear, and the live music on the day of the show will be mixed by the legendary Billy Anderson. Presales will be available in the coming weeks, but in the meantime, here is some info on this incredible event.
Initial Lineup (More TBA): YOB Witch Mountain Holy Grove Eight Bells Mountain God
More info on the inception of Hovercraft Amplifiers and Hoverfest:
As the world of heavy music continues to burst at the seams in the Pacific Northwest and worldwide, so does the need for the equipment to keep things loud. Nial McGaughey, local Portlander and engineering wizard, has been building custom, recycled tube amplifiers since 2010 under the name Hovercraft Amplifiers, a name which is becoming increasingly synonymous with the ear-crushing, chest-thudding sounds of Pacific Northwest heavyweights like YOB, Blackwitch Pudding, Brothers Of The Sonic Cloth, and many more.
After 13 years of playing in bands and building amplifiers for 65amps in Los Angeles, McGaughey returned to Portland to start a new life. The very first Hovercraft amp was built in his living room as he was going through a divorce. Once he figured out how to replicate the sound of highly sought-after, generally unobtainable vintage or custom tube-amps using recycled and sustainable materials, he kept tweaking the sound to improve it even further.
Once he was satisfied with the sound he had created with his own custom amplifer, he consigned it at Old Town Music. Within a couple of weeks he got a phone call that it had sold. That first customer was so satisfied with the amplifier that he started telling people how great it sounded—he loved how reasonably priced it was and the fact that it was made locally, from recycled parts. The demand became so high that Old Town Music requested that McGaughey bring more in to sell. From there, he opted to post some amps on Ebay, which began selling within five minutes of being listed. 500 amps and four years later, the shop space has been transformed into a pile of parts that reaches the garage rafters.
More recently, McGaughey’s self-described “oh shit” moment was when he was in the audience at Stumpfest, and all of the bands were using a backline of Hovercraft amplifiers and cabinets. It was then that he realized he had done something incredibly spectacular and special and wanted to give back to the bands that create such amazing music using the gear. The first annual Hoverfest is the perfect way to celebrate how far Hovercraft Amplifers has come and to reflect on the amazing support the business has gotten from the people who love what they do.
Posted in Whathaveyou on June 25th, 2014 by H.P. Taskmaster
Yes, I am well aware these dates were posted on Monday when Pallbearer announced the run. I couldn’t care less. The press release from YOB gives me an excuse to post the live video of “Nothing to Win” — you’ll note the maddening drums from Travis Foster — shot at this year’s Roadburn fest, and that’s really all I need, if the sheer fact that it’s YOB isn’t enough.
YOB‘s new album, Clearing the Path to Ascend, on which “Nothing to Win” appears, is out Sept. 2 in the US on Neurot Recordings. One whole day before they start this tour in the Netherlands. Pallbearer‘s Foundations of Burden will be out by then as well.
Info follows, fresh off the PR wire:
YOB: Doom Metal Trio Announces Mammoth UK/European Tour In Support Of Clearing The Path To Ascend
Long-running Oregon doom metal conjurors and recent Neurot signees, YOB, will embark upon a massive overseas trek this Fall. Slated to commence on September 3rd, 2014 in Utrecht, the Netherlands, the band will levy their cathartic riff rituals upon 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.
The tour coincides with the release of the trio’s long-awaiting new full-length, Clearing The Path To Ascend. 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, the four tracks comprising Clearing The Path To Ascend 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 as they’ve ever been. True ascension requires a destruction of those barriers that prevent any movement forward. Unsurprisingly, YOB pummels any and all of these obstacles with absolute authority, clearing the way for a genuinely visceral listening experience and climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
YOB 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.
Posted in Whathaveyou on June 23rd, 2014 by H.P. Taskmaster
By the time Pallbearer hit European shores on Sept. 3, their second album, Foundations of Burden, will be released. YOB‘s forthcoming full-length, Clearing the Path to Ascend, is slated to arrive in September, so presumably it’ll arrive at some point while the two bands are on tour together, bringing some of the best US doom has to offer to a Euro audience who, no doubt, know exactly the quality of the show they’re in for.
Hard not to be jealous of a bill like this, Pallbearer supporting YOB, but at least it’s happening somewhere even if it is another continent. Both of these albums are easily among the second half of the year’s most anticipated, so all the better that they’re getting out and supporting them early.
Dates follow courtesy of Pallbearer, should you want to make travel plans:
We are beyond thrilled to announce our first full European tour in September. We’ll be opening all shows for the mighty Yob. Ticket info will be added in the coming days. See you this fall.
Wednesday, September 03, 2014 NL Utrecht Tivoli de helling Thursday, September 04, 2014 UK Bristol The Fleece Friday, September 05, 2014 UK Manchester Roadhouse Saturday 6 September 14 UK Glasgow Audio Sunday, September 07, 2014 UK Leeds Brudenell Social Club Monday, September 08, 2014 UK London The Underworld Wednesday, September 10, 2014 DE Dortmund FZW Thursday, September 11, 2014 NL Groningen Vera Friday, September 12, 2014 DK Aarhus Atlas Saturday, September 13, 2014 SE Gothenburg Truckstop Alaska Sunday, September 14, 2014 NO Oslo Hostsabbat @ Betong Tuesday, September 16, 2014 FI Helsinki Tavastia Wednesday, September 17, 2014 SE Stockholm Slakthuset Thursday, September 18, 2014 DK Copenhagen Loppen Friday, September 19, 2014 DE Leipzig UT Connewitz Saturday, September 20, 2014 PL Wroclaw Firlej Sunday, September 21, 2014 DE Berlin Bi Nuu Tuesday, September 23, 2014 CZ Prague Klub 007 Wednesday, September 24, 2014 AT Vienna Arena Thursday, September 25, 2014 AT Innsbruck PMK Friday, September 26, 2014 CH Winterthur Gaswerk Monday, September 29, 2014 CH Lausanne Le Romandie Thursday, October 02, 2014 ES Barcelona Razzmatazz3 Friday, October 03, 2014 ES Madrid Villamanuela Saturday, October 04, 2014 PT Porto Amplifest Sunday, October 05, 2014 ES Erandio Sonora Friday, October 10, 2014 GR Athens Kyttaro Club Saturday, October 11, 2014 BE Antwerp Desertfest
Posted in Whathaveyou on June 12th, 2014 by H.P. Taskmaster
YOB have set a September release date for what’s still my most anticipated album for the rest of this year despite the fact that I’ve heard it (once) front to back, Clearing the Path to Ascend. Also their Neurot Recordings debut, it’s comprised of four songs, three of which were aired live at this year’s Roadburn festival in the Netherlands. It’s been a long time since I last heard a YOB record I didn’t make my album of the year, so yeah, this is definitely one I’m looking forward to. I’m sure you are as well, so I won’t delay the info further.
From the PR wire:
YOB: Clearing The Path To Ascend Artwork + Track Listing Revealed; Record To See Release This September Via Neurot Recordings
This September, two years after leveling the expectations of critics and listeners alike with Atma, doom trio powerhouse, YOB, will unveil Clearing The Path To Ascend, an aptly titled album for what will undoubtedly be the crowning achievement for a band whose journey now nears two decades of creating music that is at once commanding and cathartic.
As is the YOB way, the four tracks comprising Clearing The Path To Ascend 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 as they’ve ever been. True ascension requires a destruction of those barriers that prevent any movement forward. Unsurprisingly, YOB pummels any and all of these obstacles with absolute authority, clearing the way for a genuinely visceral listening experience and climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own.
YOB’s music is not unlike the path that’s let them to their current place among heavy metal’s elite, slowly building from a hushed ethereal vapor into the thunderous and masterful tumult of sound domination. The ethereal mists of Eugene, Oregon no doubt provided the perfect catalyst for founding member and vocalist Mike Scheidt to call up the signature of surging doom that would soon come to garner YOB its current position as one of the most respected and revered bands in all of heavy metal. While giving due sonic credit to the cornerstone influences such as Cathedral, Sleep, Electric Wizard, and Black Sabbath — YOB immediately set out to define a sound wholly singular and utterly devastating in its cathartic enormity.
Those threads of progressive rock and drone that have always underscored the music of YOB are now fully realized with Clearing The Path To Ascend. Drummer Travis Foster wields his signature rhythmic furor here with bombastic precision while bassist Aaron Rieseberg coils around the sonic tide with an unforgiving churn all the while in a deadly synchronicity with Scheidt’s uncanny vocal range and its pendulous movement between the triumphant howls of a medieval madman and the earth splitting growls of a war-battered titan.
With Clearing The Path To Ascend, YOB explores a thunderous dimension that’s familiar in its auditory clout but completely new in the execution of its trajectory, taking the band’s sound into a remarkable place as ethereally compelling in its aesthetic, as it is merciless in the magnitude of its sound.
Comments Scheidt, “Writing this album felt like being plugged into a main. Emotionally, it’s our heaviest. But it also has some real beauty and light. We dug the deepest we ever have to get to the heart of these tunes.” Behold the artwork that will adorn this work of art, and check out the track listing below:
Clearing The Path To Ascend Track Listing: 1. In Our Blood 2. Nothing To Win 3. Unmask The Spectre 4. Marrow
This is the first audio that’s been made public from YOB‘s due-in-September seventh album and Neurot Recordings debut, Clearing the Path to Ascend, and mostly, it confirms that YOB are still YOB. The landmark Oregonian cosmic doom trio haven’t decided to become YOB Lion and do a reggae record — though no doubt they’d pull it off — and they haven’t lost the balance of weight and atmosphere that’s made their work so influential over the last decade. They’re still YOB. Good.
What it doesn’t do is show off quite how far out YOB go on Clearing the Path to Ascend. It doesn’t give a sense of the patience at work in the album or some of its expansive elements into classic rock, experiments in furthering parts of YOB‘s approach that may have always been there but have come clearer into focus. But time’s limited and for a first listen to the album and a first look at the artwork, I’ll take it.
From the PR wire:
YOB, Clearing the Path to Ascend Teaser
YOB: DOOM METAL CONJURERS REVEAL FIRST VIDEO TEASER; FORTHCOMING NEW FULL-LENGTH TO BE UNVEILED VIA NEUROT THIS AUTUMN
Long-running Oregon doom metal conjurors and recent Neurot signees, YOB, are pleased to unveil the first taste of their forthcoming new long player. Titled Clearing The Path To Ascend, the trio’s latest audio exploration was recorded at Gung Ho Studio in Eugene, notorious for its reserve of vintage equipment, alongside longtime collaborator/iconic sound-sage Billy Barnett, who mastered YOB’s Atma, The Great Cessation, The Unreal Never Lived and The Illusion Of Motion. Mastering was handled by Brad Boatright (Sleep, Beastmilk, Nails) at Audiosiege Engineering. The result is a wholly cathartic, sonicly enormous, riff-soaked sound collage of dark and light.
Comments founding vocalist/guitarist Mike Scheidt, “Writing this album felt like being plugged into a main. Emotionally, it’s our heaviest. But it also has some real beauty and light. We dug the deepest we ever have to get to the heart of these tunes.”
Posted in Whathaveyou on April 28th, 2014 by H.P. Taskmaster
Over the last couple years, the number of Roadburn‘s fest-exclusive releases has been quietly growing. In 2013, one could pick up vinyl from Dread Sovereign and The Obsessed, and this year, no less than the grind royalty of Napalm Death put together an EP. Add to that live records from YOB and Candlemass and you have a bit of a series going. Or Burning World Records has a bit of a series going, anyway.
Today the label has put the word out that they’ve culled all the leftover vinyl and instead of hording it all to themselves, holing up in a corner somewhere with their arms wrapped tightly around Our Pain is Their Power, they’ve decided to make it available to the buying public who maybe didn’t get the chance to pick the stuff up at the fest itself. In addition, Burning World has made Elder‘s Live at Roadburn 2013 — which I’m told has one or two of my photos in the layout — available as a pay-what-you-want download, which if nothing else is generous. Elder‘s on tour now in Europe with Hull, so that ties together nicely.
Burning World sent the following down the PR wire:
Roadburn Festival exclusive vinyl
We managed to get our hands on these exclusive and limited Roadburn Festival 2014 only vinyl releases:
Napalm Death – Our Pain Is Their Power – The Roadburn Festival EP Yob – The Unreal Never Lived live at Roadburn 2012 2LP Candlemass – Live At The Marquee 1988 2LP
Free Elder Live at Roadburn download
Download Elder Live At Roadburn 2013 from Bandcamp. As usual with the Roadburn releases this download is free (or more exact ‘pay what you want’). If you need more you can pre-order the album on cd (in digipack with artwork) here (vinyl is sold out, get it on tour with the band).
04.13.14 — 22:38 — Sunday night — Hotel Mercure, Tilburg
I own one really nice pair of socks. They’re black, a name brand, and I don’t know when I picked them up, but they breathe, they’re comfortable, and most of all, they fit my silly clown feet. As someone who doesn’t usually wear shoes that require socks let alone the socks themselves if he can help it, these socks are where it’s at. I took them out of my luggage on Friday and went to put them on and I was like, “What the hell am I doing? I’ve still got three more days here! I can’t waste the good socks!”
Well, today I wore the good socks. The occasion was as fitting as any: the Roadburn 2014 Afterburner, a stripped down, laid back incarnation of Roadburn proper that closes out each year. Three stages. For me the big difference was in how I decided to approach the schedule. Apart from needing to be at the Main Stage in time to take pictures, I didn’t worry about getting up front, or getting somewhere 25 minutes beforehand. I let myself be a little freer to roam around. I don’t have up-close shots of everything I saw, but it was good to experience the fest like I think a lot of people do, just wandering back and forth between the rooms, enjoying the music in one, going back to the last, going back to the next and so on. In any case, I’ve no regrets.
After finishing the final issue of the Weirdo Canyon Dispatch, the day began with a moving tribute to former The Devil’s Blood guitarist, the late Selim Lemouchi from players who knew him, including his sister and ex-The Devil’s Blood frontwoman Farida Lemouchi, billed as Selim Lemouchi’s Enemies and playing the 2014 Earth Air Spirit Water Firealbum from Lemouchi‘s post-The Devil’s Blood project, Selim Lemouchi and His Enemies. There were 10 people on stage — two drummers, four guitars, bass, two keyboards, and Farida Lemouchi on vocals, honoring her brother by playing his songs. It was a powerful experience to be sure, in part because of the otherworldly feel of the music, but even more just on the emotional level of those involved, still clearly grieving the loss.
It felt somewhat voyeuristic to be taking photos in front of the stage. I’d never flatter myself into thinking that being in the photo pit, particularly on a stage so high, effects the performance one way or another, I just mean that these were people in mourning. His sister especially. I cannot and would not imagine that loss, and to have it so soon after, when all people still just have nothing more than dogma and hollow epithets to offer for the sense of injustice you feel. In a way it was the heaviest set of the weekend, but it was also beautiful, the band playing to images of Selim projected behind the songs with which he was moving on from The Devil’s Blood and into unknown sonic territory. I’ve heard from several natives how much he’s missed, And you could tell watching the players on stage that Lemouchi was well loved, even by his Enemies.
There was what felt like a moment of exhale when they were done, a picture of Lemouchi left on the projector screen on the empty stage, and in the Green Room, extreme Swiss duo Bölzer went on seemingly with the intent to blast their way through the reverent spirit with a filth-caked maelstrom. To be fair, they would’ve blasted through any kind of atmosphere; hardly seemed like a personal thing. It was kind of a jump from one end of the spectrum to the other, and they were a standout on and otherwise psych-heavy Green Room lineup of Aqua Nebula Oscillator, who opened, The Papermoon Sessions, New Keepers of the Water Towers, Harsh Toke and Lumerians. Coming out of the Main Stage room still wowed by the raw human spirit of what I’d just seen, my head wasn’t in it for Bölzer, but I was in a clear minority. Not only was the Green Room full, but the hallway outside was full too. Couldn’t get near them.
That would be a kind of running theme soon enough, but Avatarium were next on the Main Stage. The Stockholm natives released their self-titled debut last fall on Nuclear Blast, and are notable also for boasting Candlemass bassist and principle songwriter Leif Edling in their lineup, but Edling was absent owing to illness so Avatarium played with a fill-in and treated the crowd to their progressive melodic metal, vocalist Jennie-Ann Smith borrowing cadences from Ronnie James Dio (a better source than most) and leading the five-piece into a set that sounded ready for any number of summer festivals over here. A little clean for my personal tastes, but well performed by the band, who were not long in distinguishing themselves from Candlemass. Pretty much immediate, actually.
Papermoon, the collaboration between Electric Moon and Papir, was happening in the Green Room, and I caught some of that while simultaneously wishing I had been in two places at once to see more of the Sula Bassana set the other night as well as Papir on their own, but every Roadburn requires hard choices. The Papermoon Sessions(review here) debut full-length from the combined unit was a jammer’s joy, and if what I caught of them tonight was anything to go by, it’s worth hoping they do another. YOB were getting ready to go on the Main Stage playing three out of the four cuts on their new album, Clearing the Path toAscend as well as others from the back catalog, and particularly after watching them nail The Great Cessationyesterday, it wasn’t something I could stand the thought of missing.
I debated even typing this, because it sounds like hyperbole, but it’s honest in terms of how I feel about them so I’m going with it. YOB are a once-in-a-generation band. Every generation you get a few landmark acts who not only distinguish themselves from their peers and become influential, but who take the creative lessons of their forebears to a genuinely new place. Sleep did it. Neurosis did it. YOB are doing it. I can’t think of another act from the US who’ve left such a mark in the last decade of heavy. Tonight, guitarist/vocalist Mike Scheidt, bassist Aaron Rieseberg and drummer Travis Foster greeted a crowd as much theirs as any they’re likely to encounter and treated them to essentially the next step in their ongoing progression, taking the lessons of 2011’s Atma(review here) and breaking their own rules with a languid, psychedelic opener and a classic rock finish the sprawl of which is worthy of the entire vinyl side it will no doubt receive upon its release.
Every Roadburn I allow myself to watch one band from the side of the stage. This year it was YOB, and not for the first time. Each of the new songs stood out for a different reason, whether it was the hook of the one that opened their set (track three on the album if I’ve got the order right), the maddening churn of Foster‘s drums leading the way through what I was later told is called “Nothing to Win,” or the patient unfolding of the album opener, played third, which brims with tension and meets a payoff no less rich. They backed the new material with “Adrift in the Ocean” and the title-track from Atmabefore closing out with “Quantum Mystic” from 2005’s classic-to-be, The Unreal Never Lived, which they also performed in full at Roadburn 2012 — that set, like the Candlemass Epicus Doomicus Metallicus set, is out on vinyl now — and giving everyone a moment to let their brains reconstitute. Two nights of YOB in a row. I’d be lying if I said I didn’t wish there was a third to be had.
Now. Triptykon would be starting their headlining set soon on the Main Stage, but Carlton Melton and Øresund Space Collective keyboardist/all-around aces human being Scott “Dr. Space” Heller were doing a collaborative jam at Cul de Sac that had been on for a couple minutes. I shot over to catch some of that hoping maybe for a place where I could see the band. No dice on that, but I stood in the back for a couple minutes and closed my eyes and grooved out to the ultracosmic vibes. I don’t know if it was all recorded, but Roadburn could do a series of releases just of the jams this year, between this one, Lenny Kaye and Harsh Toke, Niklas Barker and Reine Fiske, Oeds Beydals, Papermoon and so on. Maybe not the best marketing move. I’ve never had much of a nose for business.
Back in the reaches of the 013, the Tom G.Warrior-fronted Triptykon made ready to once again darken the skies of Planet Roadburn, now celebrating their new release, Melana Chasmata, as they celebrated their debut, Eparistera Daimones, by playing their first live performance at the Warrior-curated Roadburn 2010 event, “Only Death is Real.” Three cuts from Warrior‘s prior band, Celtic Frost, were aired — “Messiah” and “Circle of the Tyrants” — but with a brand new record and as the new band moves further away from the old, it only makes sense the focus would be on Triptykon. Joined on stage by guitarist/vocalist V. Santura, bassist Vanja Šlajh and drummer Norman Lonhard, Warrior (né Fischer) was statesmanlike and seething in kind, and while I’m sure they’d already gotten rid of plenty of copies of Melana Chasmata, set-opener “Black Snow,” “Tree of Suffocating Souls,” and “Altar of Deceit” made a compelling argument toward purchase. As release parties go, it was formidable.
About halfway into their set, San Diego’s Harsh Toke – whose jam with Lenny Kaye on Friday has already become a Roadburn 2014 landmark in my mind — hit it in the Green Room, and I decided a little more of the ol’ back and forth was warranted to see them play their own material. I think they made a lot of friends this weekend, and not just by passing out beer cans from the stage (though that never hurts). Their heavy push was right on with or without the psych legend accompanying, and when it came time for me to do so, I decided they were how I wanted to end the night. I stood for a few minutes inside, then a few minutes in the doorway, then I went back to the Main Stage, then back to the Green Room, then upstairs, then back down, then around the foyer of the 013, then back to the doorway of the Green Room, and that was when I got that sinking, nagging feeling that I couldn’t avoid it anymore and my Roadburn was over. Time to leave.
I have many, many people to thank and it’s hit the point where I’m starting to nod off, so I’ll save that for the travel tomorrow, but as an initial blanket statement that I hope provides some warmth: Thank you. So much.