Posted in Whathaveyou on January 19th, 2016 by JJ Koczan
This tour will precede what’s been announced as the final studio full-length by (the current version of) Swans, but it seems like it will be telling nonetheless, since in the spectrum of works by Michael Gira, there continues to be a one-thing-leads-to-the-next-thing linearity. What that next thing will be is the question, at least when Swans is put to rest — if in fact they are — and for however long. Recent Gira solo outings have been limited demo material for Swans and so on, but a studio LP doesn’t seem out of the question. But then, neither does anything else. It’s Michael Gira. Not a context you’d call limited as far as possibilities are concerned.
But I’m getting ahead of myself. Dying to hear the sendoff Swans gives itself, and not that there was any doubt, but good to get confirmation that Gira continues to look forward.
Tour dates from the PR wire:
MICHAEL GIRA OF SWANS ANNOUNCES SOLO TOUR
Michael Gira of Swans has announced a London performance at the Barbican on March 30, 2016. The solo London date, his first since 2013’s performance at the Church of St John at Hackney, is part of a European tour through March and April – full details below.
The Barbican show, with Thurston Moore and Laura Cannell opening, is presented as part of Art Assembly’s ‘Saisonscape” series. For more information go to: artassembly.org.uk/saisonscape
MICHAEL GIRA SOLO TOUR DATES 5 March – Brisbane, AU Queensland Gallery of Modern Art 8 March – Melbourne, AU Melbourne Recital Centre 9 March – Sydney, AU Carriageworks 30 March – London, UK Barbican Centre – bit.ly/1N7JbrE 1 April – Moscow, RU ZIL Culture Center 2 April – Saint Petersburg, RU The Place SPB Venue 4 April – Warsaw, PL Pardon, To Tu 5 April – Warsaw, PL Pardon, To Tu 7 April – Berlin, D Volksbühne am Rosa-Luxemburg-Platz 8 April – Copenhagen, DK Jazzhouse 9 April – Oslo, N John Dee Club inside Rockafeller 10 April – Bergen, NO Bergen Kunsthall – Landmark Bar 11 April – Amsterdam, NL Paradiso Upstairs 13 April – Brussels, BE AB Small Club 15 April – Paris, FR Le Point Ephémère
Michael Gira recently announced that Swans are working on their last album in this “current incarnation”. The basic tracks and vocals were recorded at Sonic Ranch studio in Texas with John Congleton as engineer, and with Michael Gira producing. Further recording and mixing took place in Seattle and Berlin and the new album is expected to be released on Mute / Young God Records in the summer of 2016.
Posted in Whathaveyou on October 19th, 2015 by JJ Koczan
I don’t know if the next Swans album will actually be the last Swans album. The language, as mastermind Michael Gira had it, was “This will be the final Swans album (and subsequent tour) for this version / iteration of Swans.” Whether or not that means the band will continue is about as predictable as their music. In other words, I have no clue. They recently announced a new live record, though, to help fund the making of what may or may not be their last outing, and now comes news of two ’90s-era reissues, done up deluxe-style.
White Light from the Mouth of Infinity came out in 1991 and Love of Life came out in ’92, so to have them paired up as a vinyl box set makes sense. The numbers are limited, and as with most of the stuff Young GodRecords does in this vein, I’m sure they’ll be gone by the time the preorder ends, so yeah, if you’d want to get yourself a piece, you might want to do so with some expediency. Not trying to tell you your business or sell you anything — just pointing out the facts.
Info on the reissues follows, gently hoisted off the PR wire:
SWANS REISSUE WHITE LIGHT FROM THE MOUTH OF INFINITY & LOVE OF LIFE
LTD EDITION VINYL BOX / 3CD RELEASE
Swans continue their remastered reissues series on Young God Records in North America and Mute in other territorires with the release of White Light from the Mouth of Infinity and Love of Life on December 4, 2015.
The two albums will be initially released as a limited vinyl box set, presented in the original restored artwork, which includes paintings by Deryk Thomas. The 2500 micron black lined box – with original logo in silver foil block in black paper – will also include 2 rare posters, a CD of outtakes, rarities, contemporaneous live recordings and a download code for both albums.
In addition, White Light from the Mouth of Infinity and Love of Life will be available as a 3xCD set (which will include the bonus disc), as well as individual albums on vinyl and digitally.
White Light from the Mouth of Infinity, Swans’ seventh studio album originally released in 1991, is considered the starting point for the second section of Swans’ inimitable history. This will be the first time White Light from the Mouth of Infinity has been available on vinyl since its original release on Young God Records in 1991. The vinyl issue will include the track ‘Blind’, not included in the original release.
Love of Life, the band’s eighth studio album, followed soon after in 1992. The vinyl version of this album has also been unavailable since its original release.
Michael Gira recently announced that Swans are currently working on their last album in this “current incarnation”. The basic tracks and vocals were completed last month at Sonic Ranch studio in Texas with John Congleton as engineer, with Michael Gira producing. Further work will continue in Seattle and Berlin and the new album is expected to be released on Young God Records in North America and Mute Records in other territories in late spring 2016.
Posted in Whathaveyou on September 3rd, 2015 by JJ Koczan
I like it that even when Swans get into crowdfunding, they do it in a way that’s both completely awesome and entirely their own. To help raise money toward the completion of what’s been announced as their final studio album in this form, the New York genre-defilers have issued The Gate, a new live double-album pressed in a one-time-only edition of 2,500 copies with exclusive glimpses at early versions of new songs — demos also included — that will make their way onto said final album, and customized artwork, signed editions, and other price-tiered extras available. They’ve done this kind of one-release-supports-the-next fundraising before, and it’s worked, and I have a hard time imagining that by the time this post is live, the bulk of The Gate won’t be gone. Get it while you can, is what I’m saying.
This from the PR wire:
SWANS HANDMADE 2XLIVECD, THE GATE, LIMITED TO 2500 COPIES IS AVAILABLE EXCLUSIVELY NOW AT YOUNGGODRECORDS.COM. THIS IS A FUNDRAISER EVENT IN SUPPORT OF THE UPCOMING NEW SWANS STUDIO ALBUM.
A NOTE FROM MICHAEL GIRA / SWANS:
We are in the process and making and assembling an edition of 2500 handmade live 2xCD packages and we are accepting orders now at younggodrecords.com. This is part of a tiered system whereby our dedicated listeners can voice their support for the upcoming new Swans album by choosing one or all of several options presented in order to aid us in our journey towards discovering and subsequently nourishing ourselves (and those who might care to travel with us) within a fresh new constellation of sound. Here below is what I’ve written in a newsletter that has been sent to our friends and supporters:
“…Hello There, Michael Gira of Swans here. I thought that, since you signed up to our newsletter, you might be interested to know that the 2xCD live SWANS handmade fundraiser event/portal of support for our (in)glorious efforts is now up at this link. The live 2xCD is called The Gate. I believe it captures the live SWANS experience effectively. The woodblock print is by Nicole Boitos and I draw all over each one and sign it as well. Each one is unique. They’re numbered 1 – 2500 and won’t be available elsewhere… The upcoming album (as yet untitled) will be the last with this core group (comprised of my beautiful friends Norman, Christoph, Thor, Phil, Christopher and myself) and the subsequent (marathon) tour in 2016 will be our last together. As such, I am determined to make this album the most fully realized, cataclysmic, subtle and nuanced, heartfelt and inspirational, truthful and luminous recording that we have yet undertaken. As always, your valued (and quite necessary) support in this perhaps quixotic endeavor is sincerely appreciated. I love you! I thank you!…”
The rapport this group has developed over the last 5 plus years is a gift for which I will remain forever grateful. In live performance it has sometimes lead us to unleash a sound that is not only greater than us but seems to swallow us into its own immanent consciousness and will. It feels great! Oftentimes I’ve spoken to people in the audience after a show and they’ve expressed similar notions. My sentiment at these moments is that I’m delighted to have been of service, but can’t really take responsibility for it, since it’s beyond us too. So, following the final 2016 touring cycle with the wonderful cadre of talented individuals mentioned above, I will continue to record and perform (though perhaps less frequently) using the name Swans, on a project-by-project basis. Acutely aware that the psychic connection with which we’ve been blessed is irreplaceable, I will instead pursue the ever-elusive pathway alluded to above through other means. You can read more about this and other ephemera at the link above.
A trailer for the DVD that will accompany the new studio album, in progress, is available for viewing.
Posted in Whathaveyou on July 24th, 2015 by JJ Koczan
Kind of sad to have an end-date put on the Swans reunion, which has to-date produced three expansive studio outings since 2010 — those being that year’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’S To be Kind (review here) — as well as countless tours domestic and abroad, taking the reactivated New York avant gardians around the world and back again. But I get it. Michael Gira, founder, bandleader and wrangler of storms, probably has other things in mind. Maybe a return from Angels of Light‘s dark Americana is in order, or something new altogether. Either way, Swans‘ return has produced some of the richest and most visceral audio of the last half-decade, and we’re fortunate to have had them back while we did.
Of course, there will be more to come before they actually split, I’m sure. Having just finished the touring cycle for To be Kind, Swans will issue a live album — to be titled The Gate and no doubt immediately sell out upon being made available; once again denying me my limited Swansy goodness — and set to recording their “final” studio outing, which I put in emphatic quotes because one never really knows what’s going to happen.
As a general note to anyone who hasn’t seen Swans in this iteration yet. Do it. Even if you don’t like the band, not seeing them live is something you’ll regret.
Okay, here’s word from Gira:
Just got home comatose after finishing up the final leg of our 14 month tour for Swans To Be Kind album. We have come to your town, though it’s doubtful we have partied down. It has been a privilege to be inside the sound that on some nights seems to create itself of its own accord, and it’s gratifying that many of you have conveyed to us that it’s been a positive experience for you too… Next step: Sept 1 we commence a new Swans album. This will be the final Swans album (and subsequent tour) for this version / iteration of Swans. Not really sure what the next step will be after that, but that’s perhaps a good thing… We’ll be making a live album/fundraiser (called The Gate) soon, in order to raise the necessary – somewhat daunting – capital for the studio album, which is bound to be an insatiable beast… more soon, Thanks and Love! – Michael Gira
Posted in Whathaveyou on May 14th, 2015 by JJ Koczan
In case anyone’s forgotten just how fucking groundbreaking — also backbreaking — Swans have been for the last 30-plus years, Michael Gira‘s own Young God Records will oversee a reissue of their first album, 1983’s Filth, that seems intent on giving the rawness of the band’s earliest era its due. Genuinely challenging in its atmosphere, gripping in its chaos and grinding in a way that bands are still imitating today without even knowing where it came from, it’s a record that has touched multiple genres and influenced countless acts along the way, so yeah, to have it come with not only Swans‘ first EP as accompaniment but a host of live material as well, it seems fair to call it a chronicle of that period in their long, tumultuous, interrupted but ultimately triumphant history.
To everything, churn! churn! churn!
Young God Records is releasing a Deluxe 3 CD edition of SWANS debut album FILTH May 26 in North America; Mute releases this package in all other territories.
This 3CD expanded re-issue package constitutes a definitive picture of Swans in the years 1982 – 1983/4. Includes:
DISC ONE: SWANS original debut LP “Filth” from 1983, with the line up of M.Gira, Norman Westberg, Roli Mosimann, Harry Crosby, and Jonathan Kane. Also features versions of “Strip/Burn,” “Heatsheet,” “Blackout,” “Clay Man,” “Stay Here, and “Weakling,” all recorded live.
DISC TWO: Body to Body material comprised of various studio out-takes and live recordings 1982-85, with a nine-minute version of “Raping a Slave,” recorded live in Berlin, 1984 (originally released with FILTH on YGD-11).
DISC THREE: Debut 12″ EP #1, originally released in 1982, Plus additional live performances from NYC and London.
The package features a 16 panels of previously unseen photos by Catherine Ceresole and Lee Ranaldo (Sonic Youth).
TRACK LISTINGS:
CD ONE: FILTH: 1. Stay Here (5:36) 2. Big Strong Boss (3:02) 3. Blackout (3:47) 4. Power for Power (5:52) 5. Freak (1:13) 6. Right Wrong (4:43) 7. Thank You (3:52) 8. Weakling (5:20) 9. Gang (3:24) 10. Live at The Kitchen, NYC 1982/3 (24:18): a. Strip/Burn b. Heatsheet c. Blackout d. Clay Man e. Stay Here f. Weakling
CD TWO: BODY TO BODY:: 1. I?ll Cry for You (5:41) 2. Red Sheet (3:11) 3. Loop 33 (0:59) 4. Your Game (3:57) 5. Seal It Over (3:48) 6. Whore (3:56) 7. We?ll Hang for That (3:55) 8.Half Life (3:57) 9. Loop 21 (1:26) 10. Get Out (3:31) 11. Job (5:40) 12. Loop 1 (1:01) 13. Mother, My Body Disgusts Me (4:43) 14. Cop (5:56) 15. Only I Can Hear, Only I Can Touch (2:41) 16. Thug (9:44) 17. Raping a Slave (live Berlin 1984) (9:02)
CD THREE: E.P. #1 PLUS LIVE RECORDINGS: 1. Laugh (4:00) 2. Speak (4:24) 3.Take Advantage (4:26) 4. Sensitive Skin (6:05) Live at CBGB NYC 1982-3: 5. Living Arms 6. Howling Red Sheet 7. Big Strong Boss 8. Clay Man 9. We’ll Hang For That. Live at Heaven London 1984: 10. This is Mine 11. Why Hide 12. I Crawled
ll words both CDs M.Gira. Music Gira/Swans. Contributing musicians Filth: M.Gira – bass, vocal, tapes; Norman Westberg – guitar; Roli Mosimann – drums, percussion; Harry Crosby – bass; Jonathan Kane – drums, percussion. Recorded 1983 Vanguard Studios, NYC . Engineer : Mark Berry. BTB CD is comprised of various studio out-takes and live recordings. Thanks to Catherine and Nicholas Ceresole for their contributions.
The following performed live with Swans at one time or another in the years 1982 up to 1985: M.Gira, Norman Westberg, Sue Hanel, Roli Mosimann, Harry Crosby, Mojo, Jonathan Kane, Dan Braun, Thurston Moore, Craig Cafton, Bob Pezzola, Jonathan Prosser… Filth produced by Gira/Mosimann. BTB produced Gira…Perpetual thanks: Daniel Gira, Peter Mason, Kevin Wortis, Derek Woodgate, Jarboe. Packaging design M.Gira for Young God Productions. Execution: Joe Budenholzer. Remastered at Griffin Mastering, Atlanta, Ga. by Chris Griffin.
Posted in Whathaveyou on April 29th, 2015 by JJ Koczan
Has there been a more productive reunion this decade than Swans? Even putting aside for the moment the limited Michael Gira demos and live outings they put out through Gira‘s Young God Records, three propulsive, jam-packed full-lengths — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and last year’s To be Kind (review here) — in a span of four years, plus numerous tours across the US, Europe and most recently Japan. Swans didn’t just just reunite, they reactivated into overdrive.
Up next? The still-avant-after-all-these-years collective will head back to Europe, first to play Turkey and then to spend the bulk of May on the road abroad, returning in July to play All Tomorrow’s Parties in Iceland and hit the north and eastern parts of the continent, also playing Israel in the interim. And when they get back from that, they’ll hit the studio in September to record their fourth long-player since their return, which seems likely to hit early in 2016, at which point one imagines they’ll embark on more touring, limited releases, and so on into an intense perpetuity of assaulting sonics.
Gira announced the intentions thusly:
Swans post live videos, announce recording of new album
“Hello, thank you for listening to our music. I hope it gives you some joy and pleasure.
” I am pleased that you have discovered our music through this medium. I view this experience as the equivalent of previewing a record in a record store in days of old. However, if you wish to experience the music in its’ fullest form, I would strongly encourage you to acquire it in a physical format you can bring into your home. Not only will you then be able to experience the richest version of the music sonically, but you will also be afforded the opportunity to enjoy the tangible artwork, which was conceived in tandem with the music, and serves as a further portal to experiencing the total conceptual and spiritual and emotional content of the work we have labored, lovingly, to bring to you.
I love you, – Michael Gira / Swans / Young God Records”
Meanwhile, band primum mobile Michael Gira posted this update on his personal FB feed:
These are the remaining Swans shows for 2015. In September we’ll begin recording the new album. (apparently NOT playing Exit Festival in Poland as previously announced. see edited post below).
5.02 Istanbul, Turkey FSK Saloon 5.03 off Istanbul 5.04- fly- 5.05.15 Arhus, DenmarK at Vohalle- confirmed 6.015.15 Stavanger, Norway at Folken – confirmed 7.05.15 Bergen, N at USF Verteft- confirmed 8.05.15 Oslo, N at Vulkan – confirmed 9.05.15 Trondheim, N at Blaest – – confirmed 10.05.15 off 11.05.15 Gothenburg, Sweden at Sticky Fingers-confirmed 12.05.15 Malmo, S at Babel- confirmed 13.05 off 14.05 Nijmegen, NL- Doorroosje–confirmed 15.05 Dortmund, Germany- FZW-confirmed 16.05 Liege, Belgium at Les Ardents Club – confirmed 17.05 Kortrijk, Belgium at De Kreun- confirmed 18.05 leave off 19.05 leave off May 20 Bristol at Marble Factory- confirmed May 21 London, UK- The Roundhouse- confirmed May 22 Liverpool, UK, Liverpool sound Festival May 23 Glasgow at Art School- confirmed May 24 Belfast at Mandela Hall- confirmed May 25 Dublin at Button Factory- confirmed may 26 off May 27 Norwich, UK at Epic Studios confirmed May 28 off May 29 Nimes, France- Festival- May 30 Barcelona- Primaververa Festival- May 31 depart Europe for ny no shows in june July 3, Gydina, Poland- Open-Er Festival- confirmed July 4 Reykavik, Iceland- ATP Festival- confirmed July h Berlin, D – Volksühne – confirmed July 6 off- fly to Tel Aviiv July 7- Tel Aviv, Israel- HaTeatron Club – confirmed July 8- Paris, F- Trabendo Club- confirmed July 9 – off fly to Kiev July 10 – Kiev- Ukraine- Sentrum confirmed July 11-off – fly to Skopje July 12 – Skopje, Macadonia, MKC- confirmeded July 13 off July 14- tba July 15- tba July 16- tba July 17 Ostrava CZ Ostrava Festival- confirmed July 18 Crispendorf, D- Chaos Descends Festival- confirmed
Posted in Features on December 22nd, 2014 by JJ Koczan
Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.
This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.
I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.
Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.
The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.
A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.
Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.
His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”
An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.
I initially made this list without Alunah‘s excellent third album and Napalm Records, but when it came down to it, not having the UK four-piece on here haunted me to the point where I had to come back in and swap them out with somebody else. Just couldn’t live with myself for not giving this record its due, which, to be frank, I’m still not since it should be higher on the list than it is. At least it’s here though, so the mistake is somewhat corrected.
The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.
Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.
Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.
Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.
Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.
Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.
For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.
You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.
Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.
Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.
14. Brant Bjork and the Low Desert Punk Band, Black Power Flower
Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.
An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.
What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.
My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.
10. Montibus Communitas, The Pilgrim to the Absolute
Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.
Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”
Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.
Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.
A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.
What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.
A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angelsthat brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.
In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.
Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.
Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.
Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend — YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.
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Honorable Mention
First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.
A few other honorable mentions:
Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.
Sólstafir, Ótta — They were originally on the list proper but had to be moved to make room for Alunah. I didn’t really get to know this record in 2014 anyway.
Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.
Truckfighters, Universe — I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.
Steak, Slab City — An impressive debut following two strong EPs.
Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.
Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.
Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.
Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!
Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.
Slomatics, Estron — Another one I’m just getting to know, but am very much digging.
Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.
Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.
The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.
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Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.
Thank you.
More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.
And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.
Posted in Whathaveyou on November 13th, 2014 by JJ Koczan
Considering that by the time they hit the road in May to support their latest album, To be Kind (review here), they were already playing new material, it’s probably safe to figure Swans will have progressed significantly when February rolls around, and that if they’re still around, “Frankie M.” and “Don’t Go” will be much different than they were when they started out. Or at least a little different. Probably angrier. Okay.
The Michael Gira-led troupe had previously announced an initial batch of 2015 dates that I didn’t get to post because I suck at this and they’ve just added some more for March and April. My trouble is debating whether I want to go north to Portland or south to Providence to see them in February. Maybe I’ll just drive to Albuquerque. That seemed like a nice town.
Swans will release a new digital EP called Oxygen with a few different versions of the To be Kind track of the same name on Nov. 25. You should buy it because when Swans sell things they use the money to make more music.
Dig:
Swans add March and April dates to 2015 N. American touring
Swans have commenced the sixth leg of a year-long world-wide tour celebrating the release of their 2 CD set To Be Kind, the third studio album from this outfit since their reactivation by band primum mobile Michael Gira in 2010 after a 14 year hiatus. In addition, on November 4 they re-issued their 1983 debut album Filth on vinyl for the first time in decades. In addition on November 25 they release a digital EP of “Oxygen” from To Be Kind, featuring four different versions: an edit of Oxygen by Mute founder Daniel Miller, a live version from Primavera, an early version recorded at Gira’s home and an acoustic version recorded at StudioMute.
The touring line-up is: Michael Gira – guitar, voice (original Swans); Norman Westberg – guitar (original Swans); Christoph Hahn – guitar (mid period Swans and most Angels Of Light); Phil Puleo – drums, percussion, dulcimer etc etc (final Swans tour and most Angels); Chris Pravdica – bass and gadgets (Flux Information Sciences / Services/ Gunga Din); Thor Harris – drums, percussion, vibes, dulcimer, curios, keys, etc etc… (Angels / Shearwater). I’m hoping you’ll consider advancing this show with a feature, CD review or advance blurb.
To Be Kind was produced by Michael Gira, performed by the touring line-up, recorded by the venerable John Congleton at Sonic Ranch, outside El Paso Texas; further recordings and mixing were accomplished at Congleton’s studio in Dallas, Texas. Gira says of the new album, “A good portion of the material for this album was developed live during the Swans tours of 2012/13. Much of the music was otherwise conjured in the studio environment.” The album debuted at #37 on Billboard’s Top 200 sales chart and has garnered a huge amount of ecstatic coverage from a host of impressive outlets.
SWANS North American Tour Dates 2015 2/17/2015 Portland ME Port City Music Hall 2/18/2015 Providence RI Columbus Theatre 2/19/2015 Montreal QC Theatre National 2/20/2015 Toronto ON Phoenix Concert Theater 2/21/2015 Chicago IL Thalia Hall 2/23/2015 Grand Rapids MI The Pyramid Scheme 2/24/2015 Cincinnati OH Woodward Theater 2/25/2015 Cleveland OH Beachland Ballroom 3/23/2015 Philadelphia PA Union Transfer 3/25/2015 Baltimore MD Baltimore Soundstage 3/26/2015 Richmond VA The Broadberry 3/27/2015 Carrboro NC Cats Cradle 3/28/2015 Atlanta GA Terminal West 3/29/2015 Knoxville TN BIG EARS Festival 3/3/12015 Jacksonville FL Jack Rabbit’s 4/1/2015 Saint Petersburg FL State Theater 4/2/2015 Pensacola FL Vinyl Music Hall 4/3/2015 New Orleans LA One Eyed Jacks 4/4/2015 Dallas TX Trees 4/6/2015 Austin TX The Parish 4/9/2015 Albuquerque NM Sunshine Theate
