There’s a lot to unpack here, even before you get to the audio. Soma — or SOMA, all-caps to highlight the acronym Sacred Order of Mystic Apogees — is a five-piece-and-then-some collective from the Asbury Park area of New Jersey. The music they play is connected to psychedelic rock in its rhythmic underpinnings and some of its tonal presence, but it is not rock and roll and while Your Soul is the Holy Sound is definitely interested in communion, the carefully arranged five tracks across the 30 minutes of the record aren’t getting there with volume or riffs. Instead, Soma perform a kind of devotional music known as kirtan, which is call-and-response chanting set to music.

At least some members of the group are rooted in the Jersey Shore rock underground, however. Stephen Triolo (Slow Rise, Constellation of Angels) and Robert Ryan (ex-Lord Sterling) take part, the latter under the assumed name of Shivanesh, and the lineup is completed by Kalpa, Nataraja and Vasudeva, also presumably assumed names, while Krishnadas Sharma, Madhuri and Bhakti Devi contributed backing vocals, John Krajewski, Triolo (who also mixed) and Nicholas Sudol recorded and Adam Vaccarelli at RetroMedia Sound in Red Bank mastered. It was recorded in an episcopal church. It is a cultural blend that is particularly New Jerseyan.

My beloved Garden State houses about 10 percent of the US population of Indian immigrants, and the town where I grew up, Parsippany (farther north from Asbury/Red Bank, and only in the state itself does that in any way matter), is an enclave to the point that the schools take off for Diwali and other holidays. At the same time, I don’t think I’ll be the first to note the Italian cultural influence in the region. They made The Sopranos about it, if you want to go just by the stereotypes or get a lesson in the state’s secondary, not-really-legal bureaucracies. But the Jersey is there in Soma‘s kirtan chants as well, and with the 10″ edition of the record put together through Samaritan Press with art by David V. D’Andrea (Om, etc.), the overarching impression is surprisingly encompassing for something that’s still just a half-hour long.

“Chamundaye” begins with a singular joy in its execution. As promised, the crux of what Soma do is in the call and response — a voice leads, others follow and repeat. If you’re open to it — and that’s going to be a question of some magnitude depending on how you feel about worshiping gods — the song is made to be sung, and that sense of outreach, of bringing the listener into the proceedings of Soma‘s homage, is the presiding impression across Your Soul is the Holy Sound. In addition to opening, “Chamundaye” is the longest inclusion (immediate points) at 7:53, and it grows to some proportion by the time it’s wrapping up, but while it has an instrumental melody, the bulk of its impact is in the percussion, whether that’s handclaps or hand-drumming, along with the melody of voice and (I think) sitar drone.

Your Soul is the Holy Sound does not get so danceable again, but it stays reverent. “Father of Ma’at” has a spoken part over an instrumental exploration that winds up in a meditative flow, mellow again with hand percussion and a variety of string sounds and rhythmic nuances. It’s more than just an instrumental transition piece, but no question it and the penultimate “The Tarot Will Teach You,” also sans vocals, were placed to offset “Chamundaye,” the centerpiece “Shiva’s Grace” and the closing “Garland of Names” that brings the ceremony to a rousing conclusion in calling out various deities, among them Krishna, Rama, Shiva, Vishnu, Buddha, Jesus, in succession. “The Tarot Will Teach You” is shorter and more directly keyboardian feeling, but the tabla and jangling bells provide organic movement beneath.

The big question here, as regards Your Soul is the Holy Sound and Soma more generally, is whether we’re talking about cultural appreciation or appropriation, because even if these guys have been on this track of influence since the krishna-core days of NJ’s 1990s punker underground, to look at the basic superficial optics, you’ve still got a bunch of dudes from Jersey playing traditional music from half a world away, under assumed names. There’s no getting away from that, obviously, and Soma‘s methodology deals with it through the deep respect for the source material. This isn’t Elvis Presley taking the music Black people were making in the South and making it palatable for white folks. It’s a celebration of form.

If you’ve ever read up on the Hare Krishna movement or anything like that, you know the goal is to curry favor from the gods basically by calling them out and saying their name over and over again. I have no religion and no gods, period, but I do find the idea charming of being able to basically nag one’s creator-figureheads into doing what you want them to do, and I think anyone who’s ever been a parent asked the same question 50 times in a two-minute span can appreciate the image as well. Kirtan is a part of this, and in “Chamundaye,” “Shiva’s Grace” and “Garland of Names,” and even in the drones and flow of the instrumentals, Soma bring these songs to life in a way that bleeds love.

Its not always a soothing listen, and it’s not supposed to be. The idea is to get your blood moving, to get you excited, to get the gods excited, and then I think everybody just parties and things are cool until someone comes along and is like, “Yeah my god is named Sassafras” and then war has to happen forever or somesuch. The net-negative cultural effect of religiousness notwithstanding — though that’s a big ‘un to put aside — Soma seek spiritual enrichment through time-tested means and find ways to make traditionalist sounds their own without cheapening the presence of history in the material or giving up raw sonic impact. It is a work of outreach such that nearly every second doubles as an invitation to the one hearing it: “Come. Be a part of this with us.”

SOMA, Your Soul is the Holy Sound (2025)

SOMA on Bandcamp

SOMA on Facebook

SOMA on Instagram

Samaritan Press website

Samaritan Press on Instagram

Samaritan Press on Facebook

No strangers to rollercoasters, last week, Solace lost their original frontman Jason. Next week, they’ll embark on a tour headed westward to appear at Planet Desert Rock Weekend in Las Vegas, playing Virginia, Georgia, Louisiana, Texas and Arizona with a parade of killer supporting acts. I guess that makes this week the time to announce the band has signed to Magnetic Eye Records and will reissue their debut album, 2000’s Further (discussed here), in honor of its 25th anniversary, as well as hit the studio to record a follow-up to late-2019’s The Brink (review here) for release later this year.

That’s the plan, I guess. Plans change, but the prospect of new music from Solace is enticing, even as the band are mourning their recent loss. And for a holdover, a revisit to the first record is nothing to complain about. I’m stoked to see these guys in Vegas. It’s been too long. And this announcement might amount to paperwork since Solace released their last album on Blues Funeral Recordings and the first two through MeteorCity and so have worked with Jadd Shickler on releases for their entire career through different labels, but I’m happy for the excuse to put Further on again and remind you that the band uploaded all their records to YouTube (not the EPs/live stuff yet, so far as I know) for your streaming enjoyment. The Brink is at the bottom of the post as well, just to cover all sides.

A quarter-century on from Solace‘s first LP, here’s looking forward:

SOLACE sign with Magnetic Eye Records!

American metal stalwarts SOLACE have signed a multi-album contract with Magnetic Eye Records. The five-piece originally from Asbury Park, New Jersey will issue an expanded edition of their debut album “Further” in celebration of its 25th anniversary this summer, along with their upcoming fifth full-length also via the label in the last quarter of 2025.

SOLACE have already announced US live dates for early 2025. The roadtrip through the South and Southwest kicks off on January 23 at Bandito’s in Richmond, VA. Please see below for all currently confirmed shows.

SOLACE comment: “Solace are happy to announce our signing to Magnetic Eye Records, a label we respect and more importantly who respects us”, guitarist Justin Daniels writes on behalf of the band. “We’re looking forward to an awesome partnership that lets us get more of our dirt metal out to the world.”

Daniels continues: “This announcement is bittersweet in coming just a week after the passing of our original singer Jason. If nothing else, Solace perseveres as long as we can lift guitars and switch on amps. We move through sadness and look forward to honoring Jason’s legacy and our own with this newest chapter of the band.”

Jadd Shickler adds: “I had the privilege to sign Solace in 1999”, the Magnetic Eye director adds. “They were the best band my first label ever signed, and they still are. Through different incarnations and numerous line-ups, I’ve dedicated countless years to making sure as many people as possible saw and heard their greatness, and I’m more than ready for Magnetic Eye Records to ram Solace’s music down throats for countless more years to come.”

SOLACE Live 2025:
1/23 Richmond, VA – Bandito’s w/ Book of Wyrms + Hagstone
1/24 Atlanta, GA – Star Bar w/ Hot Ram + Brood of Mockers
1/25 New Orleans, LA – Siberia w/ Wizard Dick, So Awful + Burial Gift
1/27 Houston, TX – Black Magic Social Club w/ Grim Trophies + Mr Plow
1/28 Arlington, TX – Growl Records w/ Sons of Gulliver + King Otter
1/29 Austin, TX – Valhalla w/ Crimson Devils + Ungrieved
1/30 Tempe, AZ – Yucca Tap Room w/ Jupiter Cyclops + Weapon of Pride
2/1 Las Vegas, NV – The Usual Place, Planet Desert Rock Weekend

Tour event page: https://www.facebook.com/events/606276371903208/

SOLACE are celebrated veterans of the American metal scene. Hailing from Asbury Park, New Jersey at the windswept shore of the Western Atlantic, the band was founded in 1996. Built on a solid foundation of classic metal, early doom and punk ethic, the original four-piece infused a healthy dose of hardcore fury into grooving, grinding sludge.

Debut full-length “Further” garnered immediate attention for SOLACE on both sides of the Atlantic at the turn of the millennia. Three years later, the sophomore album “13” (2003) witnessed the Americans expanding and solidifying their style by highlighting the epic side of their songwriting. In the wake of this album, the band was invited twice to perform at the prestigious Roadburn Festival in 2006 and 2009, which further endeared them to an international audience.

Following a string of singles and EPs, the shoremen returned with acclaimed third album “A.D.” in 2010. Although the release was again well received, a hiatus followed during which SOLACE implemented some changes in their line-up. This maneuver got the heavy ship afloat again, and the remarkable full-length number four, “The Brink” made landfall in 2019. This album has been described as a glorious trek through churning riffage, weighty doom power and drunken sea shanties, while the massive use of NWOBHM dual-guitar attack was also gladly noted.

SOLACE call their amalgamation of doom and heavy metal with hardcore elements dirt metal, while elsewhere it has been somewhat tongue-in-cheekly dubbed shorecore. Others file the New Jersey five-piece under stoner metal – and in truth, all these descriptions fit to an extent.

SOLACE aim to release their upcoming fifth full-length via Magnetic Eye Records by the end of 2025.

P.S.: In January 2025, original SOLACE singer Jason L. sadly passed away, just as the band prepare to honour their classic debut album (and the first to feature Jason’s vocals) as an expanded new edition this summer. Raise a glass to his legacy and everything he brought to the band during his formative years as their tortured and brilliant frontman.

Line-up:
Justin Daniels – guitar
Justin Goins – keyboard, vocals
Tim Schoenleber – drums
Mike Sica – bass
Tommy Southard – guitar

https://www.facebook.com/SolaceBand/
https://diedrunk.bandcamp.com/
https://solace-merch.printify.me/products

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Solace, The Brink (2019)

Solace, Further (2000)

Black Sabbath, Convention Hall, Asbury Park, 1975

In the annals of Black Sabbath bootlegdom, there are two unofficial documents of the original-lineup era that stand above the rest as utterly essential for their sound quality and the band’s performance. One is Paris 1970 (discussed here), and the other is this recording from Aug. 5, 1975, from Asbury Park, New Jersey. The show was at Convention Hall, right on the Boardwalk of the beach town, and the band were in the US promoting the yet-to-be-released Sabotage, and as one can hear in the renditions of “Hole in the Sky,” “War Pigs,” “Spiral Architect” and on and on, the band was pure stoned fire. Captured at what I’d gladly argue was his peak as an actual singer, if not as a frontman, vocalist Ozzy Osbourne engages the crowd and nails each song, even if he flubs the lyrics here and there, as on “Symptom of the Universe” early in the 100-minute set. With solos from guitarist Tony Iommi and drummer Bill Ward — sadly nothing from the bass; it would be amazing to have a Geezer Butler solo captured in such fidelity — the band is both vibrant and poised, and whether they’re ripping into “Supernaut” or jamming out an early version of what would become “Rock ‘n’ Roll Doctor” on 1976’s Technical Ecstasy, Black Sabbath absolutely laid waste to Asbury Park (it would take the shore town decades to recover) and, seemingly, everyone in the vicinity. As Ozzy says at the beginning of “Hole in the Sky”: “Are you high?” Cheers. “Are you HIGH???” Louder cheers. “So am I.”

I won’t doubt the veracity of that claim, which is to say, he probably was high. Black Sabbath‘s adventures in weed, cocaine, booze, etc., are well documented, and as they were about to release their sixth album, they were about to enter the period in which that excess of excess would begin to take its toll, eventually leading to the split with Osbourne and a collaboration with then-Rainbow vocalist Ronnie James Dio. Of course, they would put out Technical Ecstasy and 1978’s Never Say Die before that happened, and both of those albums certainly have their moments, but there’s a reason the t-shirt says you can only trust yourself and the first six Black Sabbath records, and it seems that no small part of that reason is because by the time they were six and then eight years removed from their genre-defining 1970 self-titled debut, they were fried on multiple levels. “Are you high?” Cheers. “So am I.”

That of course is just one example of choice banter from Ozzy throughout. He talks about the “new album” a lot, tells the crowd he loves them multiple times, and at the end of the set, says on behalf of himself and the band behind that the New Jersey crowd is, “a good bunch of people.” It’s the kind of thing that would rare make it onto an official live release, since it so directly ties it to the place and the specific date, but in hearing it some 43 years after the fact, it brings the listener that much more into the moment of what was happening that night, at that time, at that particular gig. And that’s the thing about the Convention Hall show. It was a stop on the tour. They’d have another show the night after and/or the night after that. This could’ve been Black Sabbath any other day of the week, and they’re utterly lethal. Even the slow-rolling beginning section of “Megalomania” sees them dominating.

There are various stories about this show. One that it was a radio broadcast. Another that it was recorded and intended for release as a live album that was subsequently shelved. I don’t know how true any of that is or isn’t — neither is outside the realm of possibility; it’s not like the rumor is it was actually recorded by time travelers who wanted to do the future a favor and record the best show the band ever played — but I know that this set is just as essential as any official live record Sabbath ever put out, if not more so, and that it demonstrates the power in Black Sabbath‘s delivery at the time. They were dead on.

I’ve been a bootleg nerd for a while and have amassed a decent Sabbath collection at this point, but if you have a favorite you’d like to campaign for — I hear good things about London ’78, and of course there’s the 1974 California Jam — please feel free to let fly in the comments. In the meantime, as always, I hope you enjoy. How could you not?

—

I don’t know how many typos there are in the section above, but I was falling asleep pretty hard for a little bit while putting it together, so I’m sure there are some. I’ll try to read it over in the next day or so and make copy fixes. Sometimes that kind of thing happens when you start writing at five in the morning, even with a decent amount of coffee in your system.

This weekend is Desertfest in London and Berlin. If you’re going, I hope you have a great time. I’ll actually be in the UK from May 13-23, which is just a week late to catch the festival. Timing is everything. I’m planning on seeing Elephant Tree though while I’m in town at The Black Heart. That will be fun. Fingers crossed for a new song or two in the set.

Feels like the bulk of this week was still Roadburn recovery, but actually most of it was baby time. The weather in New England has turned from shit-miserable to less-shit-miserable — Spring has sprung! — so I’ve been able to take The Pecan out for walks and that kind of thing. He’s sitting up and proto-crawling, but not standing yet at all. We’ve started him on solid foods, puffs and the like. Obviously I regret not starting my “Doomestic Living” blog when he was born. I’d basically have to give this up though to do it right and clearly that’s not something I’m prepared to do.

My therapist this week told me I should write about my experience with having an eating disorder. That’d be a fun one. I’d like to do that. Don’t really have the time, aside from the odd mention here of starving myself or, alternately, not, and being miserable about one or the other or both. Front to back I’m pretty wretched either way.

To wit: my wife and I were talking about this or that old busted appliance the other day, and I said something about, “weighs 300 pounds and doesn’t work,” waited a second and then added, “I can relate.”

(pause for laughter)

As I’m flying to London next Saturday, I’ve of course packed as much into the coming week as possible. I’m not sure yet what my days will be like in the UK, but of course I’ll do as much as I can when I can. In the meantime, here’s what’s coming up as of now, subject to change of course:

Mon.: Dee Calhoun review.
Tue.: Tunguska Mammoth review/stream.
Wed.: Abramis Brama review; Big Kizz video premiere.
Thu.: Drug Cult review/video premiere.
Fri.: Mos Generator album stream.

Alright, y’all. I’m gonna check out. I’ve got work to do over the weekend, so I’ll be around. Would be nice to catch up on email and Facebook messages, but at this point that feels like a longer-term project. Way, way behind, as usual.

Have a great and safe weekend. Enjoy the Sabbath, have fun, be safe, and eat some ice cream. I’ll see you back here Monday for another onslaught of riffy whatnot.

Please check out the forum and radio stream.

The Obelisk Forum

The Obelisk Radio

They touch every now and again on late ’60s psychedelic garage pop, but at their core, there’s very little about The Ribeye Brothers that one could classify in one way or another as nonsense. Not no-nonsense, no-frills, but very few. On their fourth album, Call of the Scrapheap — released this year on Main Man Records — the Jersey-based five-piece prove heavy on wit and self-deprecation and light on flourish. That’s not to insinuate the 14 tracks on the 40-minute album, all but five of which clock in under three minutes, are somehow lacking, just that they’re efficient in a classic pop sense. Verses lead to strong choruses, organs complement guitars, and vocalist Tim Cronin and guitarist Jon Kleiman lead the band through good-time misery that makes as much use of Cronin‘s lyrical wit as any other element, the earliest cuts “Apples, Plums and Pears” and “Come in Last” setting the tone for the mood that the rest of the album follows through.

That mood? Filled with dry sarcasm, pointed self-critique and sometimes hilarious turns of phrase. “Apples, Plums and Pears” offers a straightforward hook in, “It’s cloudy all the time/The sun it never shines,” but “Coward’s Way” turns cliche on its head with “Some say it’s the coward’s way/I say cowards stay/I say cowards stay too long,” and “Good as New” asserts that “My good as new/Is neither good nor new.” Cronin‘s voice is perfectly suited to delivering these lines, he keeps a tongue-in-cheek feel that neither undercuts the sincerity in what he’s saying nor makes Call of the Scrapheap too wallowing. In addition, the upbeat rocking vibes of “Come in Last” and buzzsaw fuzz of “Smart Like Aristotle” provide an endearing contrast to the negativity of prose, giving The Ribeye Brothers a more complex vibe than they’d have if all the tracks were as much downers musically as they seem on the surface to be lyrically. Even as Cronin asserts that it’s cloudy all the time, the music behind him — provided by Kleiman, guitarist Brent Sisk, bassist Joe Calandra and drummer Neil O’Brien (who also did the album cover) — is as sunny as one could ask it to be.

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I don’t get down that way as often as I used to, but once every year and a half or so, Asbury Park does me just right. Last night was one such occasion. I left the office a bit after 8PM, sloshed my way through the rain Southbound on the world famous Garden State Parkway, down to admirable Asbury mainstay The Saint, where West Virginian instrumental riffers were joined by Jersey‘s own The Atomic Bitchwax and The Ominous Order of Filthy Mongrels, who were about halfway through their set when I forked over my $12 and got in.

Despite having On the Radar-ized them as far back as last April, and despite my fandom of guitarist Mike Schwiegert and vocalist Kevin LeBlanc‘s prior bands (Lord Sterling and A Day of Pigs, respectively), and despite living a mere 90 minutes away, it was my first time catching The Ominous Order of Filthy Mongrels live, and I was glad to have the chance to do so. They’ve got some classic crossover in their sound that they offset with noisy crunch and thick tones, and with their first full-length reportedly in the can, there seems to be much more to look forward to.

The five-piece were something of a standout on the bill for how aggressive they were, but there was no denying the formidable presence they brought to the stage. LeBlanc is a natural frontman who plays to the strength of his screams, and Schwiegert — joined on guitar by Dave Anderson — excellently displays his hardcore roots without giving in to East Coast chest-thumping cliche. The material they played was pummeling, and it looked as though they were having fun finding out just how heavy they can be.

The Atomic Bitchwax, on the other hand, seemed just to be having fun. Not counting the couple minutes I saw at Roadburn, it was the first I’d seen them since the release of their latest album, The Local Fuzz (review here), and while they capped their set with about 20 minutes of that 42-minute instrumental riff-fest, they ran through a handful of other songs first, including “So Come On,” “Shitkicker” and the Core cover, “Kiss the Sun,” which served as a reminder of just how much a part of the Bitchwax guitarist/vocalist Finn Ryan has become since coming on board prior to the release of 3 in 2005.

Rightfully so since he used to be in Core, Ryan took lead vocal on that song as per usual, but bassist/vocalist Chris Kosnik seems to have stepped back on some of the material from 3 and 2009’s TAB4 as well — “Destroyer” from the former comes to mind — though both had smiles on their faces for “Gettin’ Old” from the band’s classic 1999 self-titled debut. The Atomic Bitchwax being rounded out by “Monster Bob” Pantella on drums, Kosnik is the only remaining founding member, but without hesitation, I’ll say their set at The Saint was among the tightest I’ve ever seen them, and I’ve seen them plenty.

Kosnik and Ryan were completely locked in on bass and guitar, their fingers rapidly making their way through the band’s signature winding riffs with speeds approaching Slayer levels at times during “The Local Fuzz.” That album probably took some flack for moving so far away from 4‘s pop-based songwriting modus — it’s easy to see it as a kind of “diarrhea of the riff” — but live, it made more sense, and it seemed almost as though the band were stripping everything down to the essential parts, and answering those who likewise denigrated 4‘s hyper-accessibility by saying, “Well, you want fuzzy riffs, here they are.” And there they were. For about 20 minutes solid.

And I guess if Karma to Burn is going to get a lead in, there probably isn’t one more appropriate than that. The trio’s anti-bullshit stance is long noted, most recently evinced on their second album for Napalm Records, V, but as they ran through a set of their numerically-titled instrumental pieces, it became increasingly clear that something was amiss, particularly with guitarist Will Mecum.

When drummer Rob Oswald (ex-Nebula) came around his kit early on to fix the foot of his bass drum, Mecum cursed audibly and with frustration. I don’t know what the situation is with the band, if he was pissed at Oswald for something or if he stubbed his toe — I refuse to speculate or spread rumors needlessly — but something had him off his game. He played much of the set like some men operate heavy machinery: with his ballcap pulled down over his eyes and his shoulders slumped in contempt.

And though he spent a significant amount of time facing the wall to the side of the stage, leaving Oswald‘s near-flatly-set toms high cymbals and bassist Rich Mullins with the task of acknowledging the audience in a manner not unlike someone trying to explain away a domestic disturbance to the cops the neighbors called, (prior to their going on, Mullins had told me the tour was, “a lot of work”), they sounded really good. It was almost in spite of themselves.

They’re clearly three very different individuals — Mecum with his grit and seemingly endless supply of riffs, Mullins with his gaunt rocker’s looks and stage presence, and Oswald the beardo wizard in back launching into impossible-looking fills — and again, I don’t know what the situation is in the band, but Karma to Burn has become so influential in heavy rock because there’s a special chemistry among the players, and that came through in the songs. They cut the set short, nixing “41” from 2009’s Appalachian Incantation among others, and obviously it was a bad night for the band, but I didn’t leave The Saint disappointed.

The music was right on and I got to see a new band for the first time, a local staple who were mind-bogglingly tight, and an act who’ve left an indelible mark on their genre. It was a good night, I got to see some good people. For $12 on a rainy Tuesday, you can’t reasonably ask much more than that. It was a bummer that it was a bummer for Karma to Burn, but hopefully they’ll make it up on the rest of the tour, which hits Boston tonight (Sept. 7, with formidable locals Black Thai and Ichabod) and Brooklyn tomorrow, once again with The Atomic Bitchwax on the latter bill as a replacement for the apparently-defunct Black Pyramid.

More pics after the jump. Thanks to The Saint for being so brightly lit.

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