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.
04.13.14 — 07:28 — Sunday morning — Hotel Mercure, Tilburg
Morning in Tilburg. Got back to the hotel last night and tried to get writing immediately but kept falling asleep at the keyboard. I’d wake up a couple seconds later and find a string of semi-colons a line long. It’s been a while since that happened. It finally came to the point where I semi-consciously reasoned that I’d be better off sleeping than having it take seven times as long to write because I couldn’t stay awake. I guess we’ll see how the reasoning works out.
Roadburn 2014 Day Three started for me more or less immediately after I closed the lid of my laptop in the afternoon. It was a day of kickass bands, noble intentions, and in my case, dragging ass. Some tough decisions. Will it be Indian or Old Man Gloom, Loop or -(16)-? Mansion or Horisont? A lot depended on my energy level at any given second, and a telling moment was when during YOB I was upstairs on the balcony of the Main Stage room and I opened the package of a protein bar only to have it be broken and two-thirds of it fall out of the wrapper onto the floor. Oh, I was a sad little monkey. I went and got myself dinner and said it was going to be okay. And it was, but for a second there the god damn world was about to end.
Better news is that all the bands I saw yesterday completely destroyed. In very different ways, to be sure. I watched more full sets than in the prior two days, bands like Noothgrush, Gozu, YOB, and Old Man Gloom offering thrills to the dedicated many who stuck around for the duration. When Noothgrush came out to open the Main Stage, vocalist Dino Sommese — in addition to referring to his band as “DIY punk; kinda angry, kinda slow” and backing up his punker perspective by talking some shit on corporate sponsorship — set about unleashing some of the nastiest screams I’ve heard the whole festival. Real, crusty, sludge. It wasn’t “post-” anything. It was visceral.
They’re a West Coast band, were gone for a while and came back a couple years ago. 11Paranoias were on at Het Patronaat, but Noothgrush set the tone for the day in both their unbridled riff-led filth and the fact that it compelled me to stay where I was for just about the whole time. Admittedly, I did poke my head into the Green Room to check out the beginning of Monster Truck – stoner rock; good for the soul — but from there I basically sat tight until Gozu were going on in the Green Room. For them, Roadburn 2014 is the start of a European tour that’ll go until they hit Desertfest in a couple weeks, and for me, it was a pleasure to watch them kill it so hard in that space.
Because that’s the thing about Roadburn. Well, one of the things. You can see a band 100 times, then see them at Roadburn and know it’s different. I’ve had that happen in years past and itwas the same with Gozu. Every band is on top of their game and from the lights to the sound to the projections behind, the 013 crew is so professional that it all looks and sounds great. I could not tell you how many times I’ve seen those dudes — Marc Gaffney, Douglas Allen Sherman, Joe Grotto and Mike Hubbard – play a song like “Meat Charger” from 2010′s Locust Season(review here). I suppose it’s less with this lineup, but still, no matter how many more times I catch Gozu at places in Boston, I will have seen them at Roadburn and know that means something.
I had a moment with Gozu similar to watching Hull the other day, and I realized that it was being happy for hometown guys making good at Roadburn, and that’s the first time I’ve really thought of Boston as being my hometown as well as New York (or New Jersey, but in the Netherlands, you just say New York). One more reason the 2014 fest is special to me. Getting to see YOB twice — and getting to hear their forthcoming album, Clearing the Path to Ascend, didn’t hurt either. It’s their third time here, and each time, the Eugene, Oregon, trio have played two sets, which is efficient if nothing else. Yesterday was The Great Cessationin full. Seems redundant to say it was fantastic, or at least needless, but YOB on the Main Stage at Roadburn. If there’s ever a band who ever fit in a place, it’s them and there. What a pleasure to watch.
The Great CessationI would count as the angriest of YOB‘s record, and especially in the context of hearing the new record a couple hours before, it’s material and a method of writing they’ve progressed beyond. Anger is still a factor, but The Great Cessationis so rife with disappointment, with frustration and rage. Of course that only made the songs more vicious. I was genuinely surprised when I walked out from the balcony to go back downstairs and closer to the front that it was still day outside. If anything was ever going to darken the sky, it would have to be “Silence of Heaven.” I look forward to seeing them again today and to becoming acquainted with their new songs. The second track on Clearing the Path to Ascend has some of the most furious drums I’ve ever heard from Travis Foster. We’re talking Through Silver in Blood-level. Can’t wait to see that live.
There was a bit of a break before Old Man Gloom went on. I thought I’d check out Carlton Melton instead, but they’re doing a jam with Dr. Space today and I started remembering the good times I had with Seminar II: The Holy Rites of Primitivism Regressionismand stuck it out in the Main Stage room. I haven’t listened to much Old Man Gloom since, and probably should’ve picked up their 2012 return outing, No, but for funds. They were fairly incredible and, as I thought just about no one would be able to do, managed to follow YOB. That shouldn’t be such a surprise with the all-star lineup of guitarist/vocalist Aaron Turner (Isis), guitarist/vocalist Nate Newton (Converge), bassist/vocalist Caleb Schofield (Cave In) and Santos Montano (Zozobra), but at one point I had to stop and say to myself, “So this is probably what it was like to see Neurosis 15 years ago.” Not a bad response for a band to evoke. “To Carry the Flame” from Nowas a particular highlight, and had me wondering if Roadburn might see an Isis reunion maybe in 2015 or sometime in the future beyond.
Part of the appeal of seeing Old Man Gloom was that I’ve never seen them before and may or may not ever get to see them again. That’s what kept me there the whole time. With Finland’s Mansion, the situation was similar. Their 2013 We Shall LiveEP (review here) intrigued with its cultish leanings and semi-psychedelic churn and the new single Congregation Hymns Vol. 1 has only furthered interest. Dressed all in black, in turtlenecks save for their bassist, who had a button-down (heathen!), Mansion projected religious righteousness well, and that’s cool since it’s part of their aesthetic, but it was really the songs I was there for. Vocalist Alma Mansion had a calm intensity that came to bursts of energy in the title-track from the EP, the band behind her following suit in both atmosphere and presence. I think a lot of people were getting ready for Loop to hit the Main Stage, but the Green Room was still pretty full as Mansion got going, and they delivered something I’ve seen no one else here have on offer. Chalk their new single on my list of records I wish I’d bought.
To be fair, Loop are touring the US this coming week — especially after seeing them play here, I can’t help but think that’s the wrong choice, and not because of the band– but to see them headline at Roadburn, particularly after their reunion came about following Loop guitarist/vocalist Robert Hampson sitting in with Godflesh last year, seemed fitting. I won’t profess to be an expert on Loop‘s records, Heaven’s Endand A Gilded Eternityare certainly top quality psych-gaze and were decades ahead of their time, but they’re not something I put on every day or every week, so for me it was more about just watching the band and seeing Loop for what they brought to the show. They seemed aware of the gravity of the situation, but handled themselves expertly and where Old Man Gloom had been about bombast and urgency, Loop were a more patient, gradual vibe. It worked well, but I was about ready to close out the night and so headed over to Het Patronaat for the first time of the day to catch Los Angeles noise rockers -(16)-.
I caught wind of Zoloft Smilearound the time it was released, and the sludgy outfit’s return over the last several years has only furthered appreciation. They were West Coast hardcore intense, but with thicker tones right on the edge where noise rolls into sludge. Fast. Mean. Loud. Perfect for Het Patronaat‘s relatively compact stage, incredible volume and otherworldly vibe, the stained glass church windows, woodwork, all of it covered in -(16)-‘s spilled guts. They were a steamroller from word one, vocalist Cris Jerue bounding from one side of the stage to the next while founding guitarist Bobby Ferry and the relatively recently-added rhythm section of bassist Barney Firks and drummer Dion Thurman did likewise. Their energy was infectious, and brought fitting symmetry to the crust with which Noothgrush had started my day.
That bookend in mind, I decided it was time to call it a night and headed back to the hotel, exhausted by grinning. Today is the Afterburner, which cuts the number of stage from five to three, and while it’s supposed to be the laid back finish to Roadburn similar to how the Hard Rock Hideout on Wednesday eased attendees into the festival mindset, I’ve got no real letup in terms of bands I want to see, from Selim Lemouchi’s Enemies honoring the fallen The Devil’s Blood guitarist to YOB again and Triptykon. Plus a fanzine to put together. Much to do this last day here. I better get to it.
Posted in Whathaveyou on March 31st, 2014 by H.P. Taskmaster
Fucking hell, Roadburn. That’s not even fair. To take YOB‘s front to back performance of 2005′s The Unreal Never Lived from the 2012 fest and put it out as a 2014-fest-exclusive, limited-to-500 copies 2LP? You know I just lost my fucking job, right?
In all seriousness (which the last paragraph wasn’t, except for that part about being unemployed), I remember quite clearly having my chest cavity caved in by this set — one of two the Eugene, Oregon, trio would perform at Roadburn that weekend; they played Catharsisin full for the other, which felt like the universe was doing me a personal favor by making happen — and it was one of very few ultra-heavy experiences I can say in all seriousness hit me on a spiritual level. Which is why I’m going to start saving my pennies now so that hopefully in a couple weeks I’ve got enough to pickup a copy.
Having been there, I suggest if you’re going you do the same.
Roadburn to Release Yob’s The Unreal Never Lived – Live at RB 2012 On Vinyl Only at This Year’s Festival On Thursday, April 10th
The Roadburn only vinyl releases have become a tradition the last few years. Proceedings started in 2012 with the Voivod – Live At Roadburn 2011 LP and the Ulver Roadburn EP, followed last year by Dread Sovereign’s Pray To The Devil In Man EP and the Godflesh live Streetcleaner set.
This year is no exception , and we once more present a special release for you: In conjunction with their much anticipated Roadburn 2014 performances, we will release YOB’s The Unreal Never Lived – Live At Roadburn 2012 (2LP) at this year’s festival on Thursday, April 10th.
The tracklist is as follows: A ‘Quantum Mystic’ B ‘Grasping Air’ C ‘Kosmos’ D ‘The Mental Tyrant’
Mixed by Marcel van de Vondervoort
Mastered by James Plotkin
YOB‘s The Unreal Never Lived Live at RB 2012 (2LP) is limited to 500 copies, only to be sold at the Roadburn Festival 2014.
Posted in Whathaveyou on February 13th, 2014 by H.P. Taskmaster
This morning brings the news that Oregonian cosmic doom forerunners YOB will issue their next full-length through Neurot Recordings. Fans will recall that Neurosis guitarist/vocalist Scott Kelly also appeared on YOB‘s last album, 2011′s Atma (review here), and the two bands have played shows together enough that the alliance between YOB and Neurosis‘ label certainly makes sense. Details on the record itself are slim, but YOB will be at Roadburn this year, and hopefully one of their sets will have some room for material from their forthcoming seventh album.
Hot off the PR wire:
YOB: Oregonian Doom Metal Trio Join The Neurot Recordings Family
Neurot Recordings is pleased to welcome long-running Eugene, Oregon-based doom metal trio, YOB, to their expanding household of eclectic, thought-provoking music. The band — founding vocalist/guitarist Mike Scheidt, drummer Travis Foster and bassist Aaron Rieseberg — will release their seventh studio offering this Fall preceded by an appearance at the illustrious Roadburn Festival in Tilburg, The Netherlands in April.
Comments Scheidt of the recent union, “YOB is very happy to have signed to Neurot for our new album. Travis, Aaron and I agree that Neurosis is the epitome of forward-thinking heavy music, made with zero compromise. Our love for their music is total. Neurot’s dedication to putting out uncompromising music is no different. To have this opportunity to put an album out on their label is an honor that runs deep. We cannot wait to share our new music with Neurot and our friends worldwide.”
Neurosis’ Steve Von Till notes, “This was meant to be. Neurot has always sought out to work with those who share in the purification of spirit through sound and who harvest their sound from originality and intensity. When I listen to YOB, see them leave it all on the stage, or share a conversation with them about life, I can say beyond a shadow of a doubt that they embody what Neurot stands for completely and we are so very honored that we get the opportunity to work together with them on their next album.”
Adds Scott Kelly, “YOB, as with all things that actually matter, there is only one. They have built their temple with a foundation concreted in absolute truth. The truth is the riffs, the truth is in the delivery, it’s in the unwavering commitment, and in the handshake and the look in their eyes. If you don’t know them, then you are fucking up your own lifes’ truth. There’s is nothing heavier on the face of this earth than this band. The Neurot Family is honored to be a part of legacy of this, the monolithic treasure of sonic achievement that is YOB.”
Further details on YOB’s forthcoming new release to be unveiled in the coming weeks. Stay tuned.