Posted in Whathaveyou on February 12th, 2025 by JJ Koczan
There are a few acts down toward the bottom here that I’ve never heard before, and I like that a lot. Always up for a challenging round of googling, I looked up Monica and found who I’m assuming are the right band, from Belgrade, Serbia. The release I put below came out last Fall — it’s a three-songer and is raw as nails until it spaces way out before you realize it. Cool vibe. How on earth I might go about finding D. is a mystery, but this isn’t my first day on the internet so I’ll get there.
More to the point, Bear Stone Festival looks so god damned good. A Place to Bury Strangers are gonna wreck up the place, to be sure, and whatever’s left will be Monolord‘s to flatten. I am very, very much hoping to be in the crowd for this one — remember hat, remember water, remember… the alamo — and if you see me by that riverside, please be sure to say hey. I gotta get that flight confirmed. Too much daydreaming, but can you blame me?
From the PR wire:
Bear Stone Festival 2025: Second Lineup Announcement
The long awaited second lineup announcement for Bear Stone Festival 2025 is finally here!
Below you will find brand new 16 bands which brings the total number of bands that have been announced so far to 33. We still have 8 more surprises for you that we’ll announce as we get closer to the festival.
A Place To Bury Strangers, led by Oliver Ackermann, has been pushing sonic boundaries for nearly two decades, fusing Post-Punk, Noise-Rock, Shoegaze, and Psychedelia into an electrifying and unpredictable experience.
With a refreshed lineup featuring John and Sandra Fedowitz and their own label, Dedstrange, the band continues to evolve, delivering their most dynamic and melodically daring work yet. With their latest album, “Synthesizer” (2024), the band continues to explore different fusions on a wide array of genres confirming once again their legendary status in the underground scene.
MONOLORD
Swedish trio Monolord have carved out a dominant place in the Doom Metal scene with their crushingly heavy riffs, hypnotic grooves, and haunting melodies. Since their 2014 debut “Empress Rising”, they have continued to push the boundaries of modern doom, blending psychedelic textures with bone-rattling low-end.
With a reputation for thunderous live performances and critically acclaimed releases like “No Comfort” (2019) and “Your Time to Shine” (2021), Monolord remains a powerhouse of immersive, slow-burning heaviness.
BRANT BJORK TRIO
Brant Bjork Trio is the latest project led by the legendary Brant Bjork, a pioneer of Desert Rock and a founding member of Kyuss and Fu Manchu. Joined by musicians Mario Lalli and Mike Amster, the trio delivers a raw, groove-heavy blend of Stoner Rock, Funk, and Psychedelic sounds. Known for their dynamic live performances and Brant’s signature laid-back vibe, the trio continues to push the boundaries of the Desert Rock genre.
MAIDAVALE
Swedish Psych Rock band MaidaVale captivates audiences for over a decade with their spirited energy and eclectic blend of Neo-Psychedelia, Krautrock, and influences from Post-Punk, Funkadelia, and North African Blues. Their acclaimed debut album “Tales of the Wicked West” (2016) established them on major European rock stages, while their sophomore release “Madness is Too Pure” (2018) solidified their place in the Psych Rock scene with its bold, experimental sound. MaidaVale continues to push boundaries with their latest album “Sun Dog” earning recognition as one of Europe’s most innovative Psych Rock acts.
CIŚNIENIE
Founded in 2017, Ciśnienie (Polish for “pressure”) combines Post-Rock, orchestral music, and Jazz to create intense, mind-bending musical climaxes. Drawing inspiration from Swans, Fire! Orchestra, Mogwai, Arvo Pärt, and H.M. Górecki, their sound blends baritone sax, violin, and piano with distorted bass and frantic drumming, producing dynamic soundscapes ranging from Ambient Psychedelia to rhythm-driven walls of sound. Having performed over 100 concerts across Europe, the band released their latest live-recorded album, “Zwierzakom” in late 2023.
WEDGE
Wedge, a Berlin-based trio, has been a driving force in the European underground Rock scene since 2014, blending Classic Rock, Kraut Rock, 60’s Garage, and Heavy Psychedelia into their high-energy “Fuzz ‘N’ Roll” sound. Known for their dynamic live performances, they’ve played over 350 shows across Europe, gaining a solid reputation and critical acclaim for albums like “Killing Tongue” (2018) and “Like No Tomorrow” (2021).
ACID ROW
Acid Row is a Prague-based Stoner Rock trio known for fusing Punk energy with elements of Doom Metal, Psychedelic Rock, Noise Rock, and ’90s Grunge. Since their formation in 2012, they have undergone several lineup changes but have stayed true to their rebellious spirit. Inspired by the haunting Blues roots of legends like Robert Johnson, Acid Row carries the torch of Rock and Heavy Metal legacies with raw intensity.
EARTH TONGUE
Earth Tongue is a New Zealand-based duo consisting of guitarist/vocalist Gussie Larkin and drummer/vocalist Ezra Simons, known for their raw, fuzz-drenched sound and unconventional song structures. Drawing inspiration from early Psychedelic Rock and Heavy Garage, their music blends heavy riffs, dual vocal harmonies, and a DIY aesthetic that captures the spirit of 70’s Sci-Fi. With captivating live performances and releases like their debut album “Floating Being” (2019), Earth Tongue has earned a reputation as one of the most exciting acts in the underground Psych scene.
SAUTRUS
Sautrus, formed in 2010 in northern Poland, is a Heavy Psychedelic Rock band known for their unique blend of Psychedelic, Stoner Rock, and ritualistic trance, evoking the sound of the 1970’s. With six releases to their name, including the upcoming album “Lazarus Dilemma” (2024), they have performed at numerous festivals and shared stages with iconic acts like Uriah Heep and Wishbone Ash.
WOLVES OF SATURN
Wolves Of Saturn from Dresden, Germany, are a Desert Rock band known for their immersive sound, featuring fuzz-laden guitars and an array of effects like Plasma Coil and Wahs. Their debut LP, “The Deserts Echo and the Peyote Delusion”, born during the pandemic in a WWII bunker, was released on April 01, 2023 and captures the essence of their unique creative process, blending themes of isolation and freedom into a mesmerising sonic journey.
IAH
IAH is an Instrumental Rock band formed in 2016 in Córdoba, Argentina, consisting of guitarist Mauricio Condon, bassist Juan Pablo Lucco Borlera, and drummer José Landín. Blending atmospheric Post-Rock with the heavy, hypnotic riffs of Post-Metal, their versatile sound defies genre categorization, and they have released five studio albums, including their latest, “V” (2023).
THE FLUKES OF SENDINGTON
All the way from Byron Bay, Australia, The Flukes of Sendington deliver a visceral and cathartic blend of Garage Rock, Funk, Psych, and Indie sounds. Formed in 2024, the band quickly gained momentum with a successful DIY European tour, captivating audiences at festivals like Vierdaagsefeesten Nijmegen and Munich Summer Sessions. With their debut album set for release in 2025 and another tour on the horizon, The Flukes of Sendington are a rising force of unforgettable energy.
FROM ANOTHER MOTHER
Blending Prog Rock, Punk Fusion, and Post-Hardcore, this energetic trio creates total madness at their gigs, blurring the line between audience and band in a whirlwind of controlled chaos. With over 200 live shows and a month-long Balkan tour in 2023, they’ve been spreading love and joy across Europe for more than a decade. Their discography includes two EPs and two albums: “Bratebra”, “Epileptir”, “ATATOA” (Kapitän Platte), and “Zest” (Jeboton).
UMOR
Umor emerges from the depths with low tunings, diminished keys, and a sound steeped in sonic doom, crafting a haunting blend of heavy, atmospheric music. Their music resonates like an apocalyptic hymn, weaving verses of despair, salvation, and inevitable darkness into crushing soundscapes. Umor invites listeners into their realm, where The Sound becomes a cleansing force, vibrating through the core and slowing the beat to an otherworldly stillness.
D.
D. is a three-piece band from Zagreb formed in 2022. Their music blends influences from various eras and genres, ranging from 1950’s Jazz to modern acts like King Gizzard & the Lizard Wizard. Their energetic live performances are characterized by spontaneous jam sessions, creating a vibrant and immersive atmosphere.
MONICA
Monica is a band that captures the raw, emotional essence of desert landscapes, blending the sound of a dying engine with moments of unexpected speed and steady rhythm. Their music evokes the melancholic beauty of a desert rainstorm, where moments of dryness are interrupted by a cloud that brings refreshing, lively change. With their unique blend of melancholic and energetic sounds, Monica creates an immersive experience that resonates with both the harshness and serenity of nature’s unpredictable rhythms.
Posted in Whathaveyou on January 29th, 2025 by JJ Koczan
True, the first SOL Sonic Ride (info here) hasn’t happened yet, as European heavy booking company Sound of Liberation mark their 20th anniversary with a growing series of all-dayers, but this June in Wiesbaden, Germany, SOL Sonic Ride Part II will bring a fine sampling of touring acts to the proceedings, including King Buffalo, Brant Bjork Trio, the resurgent My Sleeping Karma, Valley of the Sun, Daily Thompson, The Machine and Einseinseins. Wait, that’s everybody. Well I guess it’s a pretty solid bill then.
Note that if you’re dividing the year into quarters — which is something I do around here every now and again; every couple months — this still only covers half of 2025. I wouldn’t be at all surprised if there’s more to come before the year’s out. 20 years, especially 20 years booking heavy music in a time that’s seen the rise of the internet, a global pandemic, and unprecedented instability generally, is a triumph. They should have a party every weekend if that’s what they want. If it ends up being four throughout the rest of the year, well fucking earned.
From socials:
⚡️20 YEARS OF SOUND OF LIBERATION – SOL SONIC RIDE PART ll⚡️
Hey friends,
The celebration continues! 🪩
Join us for SOL SONIC RIDE PART II on June 28, 2025, as we mark two decades of heavy riffs with another epic festival day!
Expect mind-blowing performances from a killer lineup, including:
KING BUFFALO • BRANT BJORK TRIO MY SLEEPING KARMA • VALLEY OF THE SUN DAILY THOMPSON • THE MACHINE • EINSEINSEINS & more to be announced soon!
This time, we’re taking over Schlachthof Wiesbaden for a day packed with electrifying energy.
Posted in Whathaveyou on December 30th, 2024 by JJ Koczan
The pedigree of drummer Mike Amster is pretty significant at this point. Having been part of Abrams alongside his brother Zach, Mike Amster has drummed for studio and live incarnations of Nebula, Mondo Generator and Blaak Heat Shujaa, and so might be called a ‘journeyman’ if the journey in question was mostly around the Californian desert. A cruiser of said desert, at the very least.
Another impressive line on Amster‘s CV is added as he takes over drum duties for the Brant Bjork Trio, sliding into the rhythm section with bassist Mario Lalli (also Fatso Jetson, Yawning Man, etc.) as Bjork himself handles vocals and guitar. That Amster can hold his own in the material is without question — as a player he’s readily up to the significantly grooving task before him, to be sure — but it’s worth noting he has significant shoes to fill in the role previously held by Ryan Güt, who had been a part of Bjork’s prior solo band and the trio Stöner with bassist/vocalist Nick Oliveri as well.
Stöner is a connection here too, since Oliveri fronts and Amster drums in Mondo Generator, so although Bjork and Amster haven’t been in a band together before so far as I know, everybody’s kind of in the same orbit of each other.
Brant Bjork Trio‘s upcoming 2025 live dates follow. Their post revealing the new lineup was just the photo (which I’ve cropped for sharing purposes), the names and the UK dates. The US shows were announced earlier this month, and if you need to be reminded, the band’s Once Upon a Time in the Desert (review here) was just featured among the best albums of 2024 here, because duh of course it was.
The raw data:
BBT 2025 Brant Bjork, Mario Lalli, Mike Amster
BRANT BJORK TRIO – UK & IRELAND TOUR – JANUARY / FEBRUARY 2025 FRI 24 JAN: THE CRAUFURD ARMS, MILTON KEYNES, UK SAT 25 JAN: REBELLION, MANCHESTER, UK SUN 26 JAN: THE CLUNY, NEWCASTLE, UK MON 27 JAN: AUDIO, GLASGOW, UK WED 29 JAN: GRAND SOCIAL, DUBLIN, IRE THU 30 JAN: LIMELIGHT 2, BELFAST, N. IRE FRI 31 JAN: SIN CITY, SWANSEA, UK SAT 01 FEB: MAMA ROUX’S, BIRMINGHAM, UK SUN 02 FEB: STRANGE BREW, BRISTOL, UK MON 03 FEB: BRUDENELL SOCIAL CLUB, LEEDS, UK TUE 04 FEB: WATERFRONT STUDIO, NORWICH, UK WED 05 FEB: THE FORUM, TUNBRIDGE WELLS, UK THU 06 FEB: THE 1865, SOUTHAMPTON, UK FRI 07 FEB: THE ARCH, BRIGHTON, UK SAT 08 FEB: OSLO, LONDON, UK
03.07 Kansas City MO Record Bar 03.08 Minneapolis MN Turf Club 03.09 Milwaukee WI Shank Hall 03.10 Grand Rapids MI Pyramid Scheme 03.11 Columbus OH King of Clubs 03.12 Youngstown OH Westside Bowl 03.13 Baltimore MD Metro Gallery 03.14 New Hope PA John & Peter’s 03.15 Brooklyn NY TV Eye 03.16 Providence RI Alchemy 03.19 Detroit MI Small’s 03.20 Newport KY Southgate House 03.21 Louisville KY Portal+Artportal 03.22 Chicago IL Reggies
The Brant Bjork Trio: Brant Bjork – guitar/vocals Mario Lalli – bass Mike Amster – drums
Posted in Features on December 19th, 2024 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which ends in January. If you haven’t contributed your picks yet, please do so here.]
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Hi, and welcome to The Obelisk’s year in review for 2024. This is a thing that’s kind of developed over the 15-plus years the site’s been in operation, and it’s something that people sometimes tell me has been a help when it comes to finding new music. I know for myself as well, I’ve referred back to these lists a lot in subsequent years, to see where bands were and where my head was, and so on. Are best-of lists meaningful, at all, in any way? Probably to the person making them, and that’s me, so I’ll proceed.
I thought the format last year worked pretty well, so I’ve hijacked it for use here. Not something I expect anyone to notice, but I did want to mention it on the off-chance. I don’t have a best live album of the year, but there are a few worth talking about, surely.
It’s been a busy, fast year. The barrage of music is overwhelming — and as problems go, that’s among the best ones to have — but I do think we’re seeing some tapering off. Generational turnover is, in fact, a constant, but the 2020s are taking shape now with bands who started making their name around the mid-2010s shifting into headliner status, new bands coming up beneath, more diverse in sound and construction, and with new ideas. This isn’t universal, but it is the ideal vision of the thing. Circle of life and such.
But it’s a lot. Including the 50-releases-strong Quarterly Review last week, I’m well north of having reviewed 400 total different mostly-full-lengths since January. That’s insane. The math is obvious, but I’ll point out anyhow that you could buy an album for every day of the year and have enough for an extra month-plus afterward. An astonishing amount of music, and I’m by no means reviewing everything.
Which brings me to the inevitable last point. I haven’t reviewed everything. If you’re here wondering where Opeth and Blood Incantation are landing on my list, they aren’t. Nothing against either of them, I just haven’t dug into the records since I knew I wouldn’t be reviewing them. The regular standard of doing as much as I can, when I can, about as much as I can, applies.
Please if you disagree with some pick below or other — and if you do, that’s healthy — I kindly ask you to keep things civil in the comments. I’m not here to call people out on enjoying things I don’t — fascism aside — and I know it makes me sad when I break my ass for days to put this together and the first comment is, “NO [WHOEVER]. LIST SUCKS. NEVER READING THIS FILTH AGAIN,” etc. Before you comment, please take a second to read what you put back to yourself for kindness. That’s good for spelling too, not that I’d know.
That’s all the stalling I can do. Time to dive in. Happy holidays.
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The Top 60 Albums of 2024
**NOTE**: If you’re looking for something specific, try a text search.
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60-31
60. Psychlona, Warped Vision
59. Trillion Ton Beryllium Ships, The Mind Like Fire Unbound
58. Massive Hassle, Unreal Damage
57. Temple of the Fuzz Witch, Apotheosis
56. Space Shepherds, Cycler
55. Abrams, Blue City
54. Castle Rat, Into the Realm
53. Heath, Isaak’s Marble
52. Weite, Oase
51. Cosmic Fall, Back Where the Fire Flows
50. Troy the Band, Cataclysm
49. Sunnata, Chasing Shadows
48. Skraeckoedlan, Vermillion Sky
47. Acid Mammoth, Supersonic Megafauna Collision
46. Deer Creek, The Hiraeth Pit
45. Big Scenic Nowhere, The Waydown
44. Grin, Hush
43. The Swell Fellas, Residuum Unknown
42. The Gates of Slumber, The Gates of Slumber
41. Coltaine, Forgotten Ways
40. Mountain of Misery, The Land
39. Mammoth Volume, Raised Up by Witches
38. Delving, All Paths Diverge
37. High on Fire, Cometh the Storm
36. Thou, Umbilical
35. The Giraffes, Cigarette
34. Fu Manchu, The Return of Tomorrow
33. Full Earth, Cloud Sculptors
32. Daevar, Amber Eyes
31. Causa Sui, From the Source
Notes:
Just in case you’re the type of person who’d say, “Oh how could you have a top 60? after a certain number it’s all the same,” I’ll admit that’s true, but 60 is apparently nowhere near the ‘certain number’ in question for me this year. I agonized over this part of the list. More than the top 30, and more than picking a best short release, best debut, or anything else. I wanted basically a second top 30, and I feel like if I saw this as that, as 30-1, I’d congratulate whoever submitted it on their taste. But maybe that’s just me agreeing with myself.
I like the mix of up and comers and established acts here. Sunnata and Skraeckoedlan, The Giraffes, of course High on Fire, Deer Creek and so on, mixing with up and comers like Full Earth, Daevar, Acid Mammoth, Trillion Ton Beryllium Ships, Heath, Troy the Band and Weite. I feel somewhat compelled to justify my High on Fire placement, especially looking at the results so far of the year-end poll. They’re amazing, they’re devastating, they’re a singular live act, but I just didn’t listen to the record that much. There. A big part of me feels like it should be top 10 just by virtue of who the band are, but if I did that for everybody who deserved it, I wouldn’t have room for anything new. All I can do is be honest to my own listening habits and opinions. I know High on Fire are really, really good. I know this album is really, really good. That’s why it’s on this list. Should it be higher? Probably. I’m doing my best.
Thank you for your kind attention in this matter. Also, listen to The Giraffes.
You won’t hear me say a downer word about An Earlier Time‘s quieter stretches, but it’s the sweeping moments like “Limitless” that find Boston’s Sundrifter making the most resonant impression. Their third full-length and the follow-up to 2018’s Visitations (review here), it was a strong declaration of who Sundrifter want to be as they continue to grow, and deserved more love than I saw that it got.
Oh, look out for Mr. Blogosphere. He’s out here taking a real risk putting Tranquonauts on the year-end list, like the combining of forces between Melbourne, Australia, heavy psych blues rockers Seedy Jeezus and guitarist Isaiah Mitchell wasn’t gonna work the second time around? Wow, Mitchell‘s and Lex Waterreus‘ guitars sure do sound awesome together. Oh — it’s a hot-take! Better get your react videos ready. The internet is terrible. This album offers escape from it.
At the risk of having to give back my Music-Journalism-Level membership to the Sycophant Society, I’ll dare to point out that Chat Pile are way, way hyped. That happens sometimes. It’s not like they’re out there being like, “Hey we’re the noise rock white dudes shifting paradigms for noise rock white dudes, best in a generation.” It’s people like me with all the hyperbole and comma splicing. I get that too. It’s a sound geared toward inciting a strong reaction, from the sneering sarcasm of the title down. By the way, am I the only one who looks at the title Cool World and thinks of the 1992 semi-animated film of the same name? I kind of hope so. See? Big feelings all around.
Rest assured, I don’t, but if I had any friends, I’d be like, “Hey, you should check out this band Gnome from Belgium. They’ve got fun riffs and they beat you over the head with them until you remember them by heart.” And these ‘friends’ would be all, “Wow man, that sounds definitely like something I would ever want to introduce to the scope of my life experiences! Thank you! I’m so glad to be your friend and the world is definitely a better place with you in it.” And then everybody’s day is better, all because of sharing and the shenanigans-laced riff metal proffered by these three behatted miscreants from Antwerpen.
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26. Brant Bjork Trio, Once Upon a Time in the Desert
Brant Bjork‘s solo band begat Stöner, and Stöner begat Brant Bjork Trio as Bjork, drummer Ryan Güt and bassist Mario Lalli (Fatso Jetson, Mario Lalli and the Rubber Snake Charmers, Yawning Man, etc.). I’ll cop to being a nerd for Brant Bjork‘s output generally — it’s a kind of cool so definitively Californian, my NJ-ass self can’t help but admire it — but the chemistry in Once Upon a Time in the Desert is on point to an undeniable degree, and the songs are a reminder of how the back catalog got so strong in the first place. What else could you want?
Five albums in, a post-arrival Sergeant Thunderhoof stand ready. They know who they are, what they want their songs to do, why and how to make it happen. The Ghost of Badon Hill gives a conceptual focus to unite material intentionally sprawling, and lets listeners immerse in a narrative all the more easily for the quality of its songcraft. Self-recorded, it is masterful in performance and assured of its execution, pored over but not overworked; the happy accidents might have been left in on purpose, but they still sound like accidents. And Sergeant Thunderhoof still sound like a band driving themselves toward the unknown.
Doom metal is lucky to have Early Moods laying out a template for the next generation to hopefully follow. The Los Angeles five-piece’s second full-length, A Sinner’s Past, refined the lurch of their 2022 self-titled (review here), and the combination of hard touring and progressive craft continues to bode well as they look toward their next offering. They’ve put in their work, however swift their ascent to this point might feel, and they’re about one great record away from standing among the best doom of the 21st century. You could easily argue they’re already there. Every reason is accounted for on A Sinner’s Past.
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23. Morpholith, Dystopian Distributions of Mass Produced Narcotics
Iceland’s Morpholith enter the conversation with Dystopian Distributions of Mass Produced Narcotics, which has cosmic-doom breadth and bong-metal crush to spare in the first four minutes of “Psychophere” alone, never mind anything that surrounds. The band’s debut is a bombastic plodder, beating out the march to a futuristic — and cold — vision of the riff-filled land that may or may not be Reykjavik in the wintertime while simultaneously being both very much of weed and not outwardly about it, seeming to have much more than addled, Mid Atlantic Ridge-heavy riff worship because — look out! — they do. If cosmic doom is ever going to be more than a loose thread connecting YOB and Ufomammut, bands like Morpholith need to keep pushing it forward like this. “Dismalium.” I dare you.
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22. Lamp of the Universe Meets Dr. Space, Enters Your Somas
Lamp of the Universe is multi-instrumentalist, songwriter, producer and vocalist Craig Williamson, based in New Zealand. Dr. Space is synthesist, keyboardist, producer, bootlegger and bandleader Scott Heller. The ‘meeting’ of these two expanded minds takes place over two extended tracks, one vinyl side per, of lush psychedelic and multi-tiered drones, absolutely perfect for the zone-out hypnosis you’ve been trying to put yourself in all day but for that pesky consciousness. I wish I could come up with some kind of ritual awesome enough for the keyboard textures in “Enters Your Somas” or the propulsive space rock thuddenchug of “Infiltrates Your Mind,” but some sounds are just too cool for the planet. Come see how the freaks get down.
I spent some significant time with Dool‘s The Shape of Fluidity this Spring, before and after seeing them at Roadburn (review here), which was another highlight of the year. The album’s triumph, in songwriting, in transcending genre bounds and in conveying its theme of breaking loose from the gender binary, gave my parent-of-a-trans-kid self a hopeful vision of a future beyond dark, hateful rhetoric or implied/real violence. It showed me a possible path to victory on what will be and already is a hard road. It was there when I needed it, which is a specific ideal of art providing care. I’ll never forget that.
Granted the Western soundscaping at the outset of the eponymous “Buzzard” lays it on thick, but it’s supposed to! We’re talking fire-and-brimstone earthbound Americana folk with a doomly rhythmic cast, given the self-aware title of Doom Folk by the solo artist Buzzard, aka Christopher Thomas Elliott, laying it on thick is the point. Elliott has a follow-up out soon already. Thinking of Doom Folk as the beginning of a creative progression makes its nuance and individualist drive even more exciting, but the rawness of this debut, the straightforwardness of its structures and the resulting memorability are part of the appeal for sure.
Seven bangers. Not a dud in the bunch. Two nine-minute songs and you still couldn’t say a moment of High Desert Queen‘s rightly anticipated sophomore LP is wasted. Not when you’re building up to the roll of “Head Honcho,” certainly. The Texas outfit built on the good-time largesse and party-but-not-a-party-so-cool-you-don’t-feel-welcome vibing of 2021’s Secrets of the Black Moon (review here) and set themselves vociferously to the task of being the change in heavy rock that they wanted to hear. Palm Reader‘s infectiousness is a strength, both in terms of a catchy piece like “Ancient Aliens” or “Time Waster,” and also in the overarching positive-framed mood and heart so clearly put into the material.
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18. Ufomammut, Hidden
Released by Supernatural Cat and Neurot Recordings. Reviewed May 21.
Now a quarter-century on from their start, Italian trio Ufomammut have yet to put out a record that didn’t sound like a forward step from the one before it. And Hidden is their 10th album. The band are progenitors and refiners of a cosmic doom sound that is unto itself, and cuts like “Kismet” and “Leeched” manage to be both lumbering in their massive-tone grooves and sprawling with a synthy ambience that, though certainly influential, is immediately recognizable as Ufomammut. Hidden is part of a creative trajectory, to be sure, and the arc is ongoing, but there’s more than enough substance here to leave a crater behind in the listener’s brain.
In its arrangement as five separate dreams taking place over its component tracks, the only thing Pentasomnia doesn’t take into account is that another Iota LP was a dream all on its own even before music actually happened. A full 16 years after shaking the galaxy’s core with their 2008 debut, Tales (discussed here, and here), the three-piece of guitarist/vocalist Joey Toscano (Dwellers, Hibernaut), drummer/producer Andy Patterson (The Otolith, ex-SubRosa, etc.) and bassist Oz Yasri (ex-Bird Eater) making a comeback — let alone it actually being good — was nigh on unthinkable. Then you heard “The Intruder” and reality shifted just a bit. Pretty sweet.
Few albums in 2024 were as entrancing as Langt, Langt Vekk, the hopefully-not-a-one-off collaboration between Norwegian progressive heavy instrumentalists Kanaan and neofolk contemporaries Ævestaden. Both adventurous outfits in their own right, the combination of elements, from live drums and synth to traditional plucked strings and Norwegian-language vocal choruses, works stunningly well. That little bit of fuzz in “Habbor og Signe,” or the cymbal wash behind “Dalebu Jonsson” — the songs are full of these little nuances or flourishes waiting to be found, but even with the most superficial of listens, the achievement resounds, whether one approaches from a viewpoint of heavy rock, prog, folk or psychedelia.
You know, I’ve kind of dug DVNE records all along, and I can’t really call Voidkind a surprise after 2021’s Etemen Ænka (review here), but these songs — “Eleonora,” “Sarmatae,” “Abode of the Perfect Soul,” among others — hit me much harder than I had expected, and the more I listened to try to twist my head around “Reliquary,” the more the album as a whole revealed of its character and detail. I review a lot of stuff, and I hear more than I review, so I don’t always get pulled back by every record, but Voidkind kept calling for return visits.
Look. If you’re reading this, I know I don’t have to tell you about Orange Goblin. Even if you don’t already have a soft spot for the long-running UK doom rockers, they’re perfectly happy to pummel one into you with Science, Not Fiction, their first album since 2018 and a realignment toward a harder-edged heavy rock sound, where the last, say, two records had leaned more metal. I heard some griping about the production not helping, but I heard absolutely nothing to complain about here. The band are on fire and the recording shows it, the songs aren’t necessarily any great progressive leap but for sure they’re Orange Goblin songs, and for a band who owes nobody proof of anything, they set a high standard and deliver accordingly, like god damned professionals should.
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13. Spaceslug, Out of Water
Released by Electric Witch Mountain Recordings. Reviewed May 14.
What I didn’t get about Spaceslug until I finally saw them live at Desertfest New York (review here) was just how metal the impact of their songs can get. It’s not necessarily that they’ve grown more aggressive, unless you want to incorporate harsh vocals or shouting — “Tears of Antimatter” also has gently-delivered barely-there spoken word, so it depends on the story you want to tell — but the blend of melancholic doom, heavy psychedelia and melodic fluidity that has become Spaceslug‘s stylistic wheelhouse is not to be missed. Out of Water finds them at their broadest and least concerned with genre, and brings into relief how special a band they’ve become. Also it rocks.
No secret how Craneium are doing it on Point of No Return; it’s right there in the songs. All of them. “One Thousand Sighs,” “The Sun,” “A Distant Shore,” “…Of Laughter and Cries,” “Things Have Changed” and “Search Eternal.” Texture and hooks, heft and scope and melody and crash and shove, classy progressive execution and swaggering conjurations. Most of all, songs that stay with you. Chances are, if you heard this record and gave it its due attention at some point in your time with it, you didn’t have to do much more than read the titles to have the tracks playing in your head. That’s not a coincidence. It’s craft. It’s a willful outreach on the part of the band and material. It’s what makes you want to sing along. And why would you not?
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11. Guhts, Regeneration
Released by Seeing Red Records and New Heavy Sounds. Reviewed Feb. 5.
More on it below, but for the moment, suffice it to say that the bludgeoning and/or scathe of Regeneration at its most intense and the depths its mix seemed to find, the debut full-length from New York post-metallers Guhts dared visceral emotionality in a way few records so heavy could or would hope to. The willing-to-break-her-voice-if-necessary performance of Amber Gardner and the weighted undulations surrounding from guitarist Scott Prater, bassist Daniel Martinez and drummer Brian Clemens, the open sway, unfettered crush, and quiet spaces offsetting all that bombast result in both a chaotic feel and an applicable world. Therefore it must be modern. Fine. It sounds like the future.
As to how Philadelphia’s Heavy Temple managed to fit so much swagger onto a single platter, you’d have to ask them, but their second album, Garden of Heathens, landed hard in tone and attitude alike. Songs like “Extreme Indifference to Life,” “House of Warship” and the galloping payoff of “Jesus Wept” ahead of the thrashy finale “Psychomanteum” affirmed what was set out in 2021’s Lupi Amoris (review here) and their earlier short releases while marking out and conquering decisively new territory in their sound. I know it was recorded two years ago or something like that, but it’s still a band beginning to realize their potential in craft and performance, and if a third LP happens sooner than later, so much the better.
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9. 1000mods, Cheat Death
Released by Ouga Booga and the Mighty Oug and Ripple Music. Reviewed Nov. 11.
Whether one embraces Cheat Death because the songs kick ass or because 1000mods are so vivid and uncompromising in pushing themselves forward from release to release, I don’t think you’re wrong. The forerunners of their generation in Greek heavy rock remain among the finest Europe’s heavy underground have to offer, and the atmosphere they’re able to conjure alongside the straight-ahead Matt Bayles-produced punk-metal hooks of these songs is emblematic of why. Without ever giving up their foundation in heavy rock, 1000mods have consistently refined their processes and grown as songwriters. The joke of Cheat Death is how alive the material feels.
Faced with the considerable task of following up the to-date album of their career, Elektrik Ram (review here), just one year later, South African heavy rockers Ruff Majik did not flinch. Instead, Moth Eater takes the outright charge and sharpness-minded efficiency of its predecessor in a stated trilogy that began with 2020’s The Devil’s Cattle (review here) and sets it as the foundation for a confident, creative growth and sustainable expansion of sound. They’re a little more willing to dwell in parts, and they’re well aware of how catchy they can be, but also, they know the power of momentum and they’re fully in control of the narratives they’re telling. As Moth Eater readily demonstrates, it’s hard to know which of that it is that makes them most dangerous.
It’s hard to overstate the accomplishment of Nell’ Ora Blu, and I’m well aware that the critical sphere is full of plenty who’ve spent the better part of 2024 trying. Reasonable. The completeness of the world Uncle Acid and the Deadbeats built in the work based around the concept of soundtracking a giallo film that didn’t exist was singularly evocative. With original dialogue recorded (in Italian) specifically for ‘movie’ ambience, Uncle Acid took what had always been an influence on the band’s sound within genre-cinema and its methods of storytelling, and flipped the process on its head by creating its own story. Their influence is already well spread throughout the heavy underground, for sure, but in bringing a vision to life, this might be the album Uncle Acid have been working toward all along.
A forward-thinking masterwork from even before “Deadname” sneaks a layer of acoustic guitar under the mountain of distortion in the verse lines and “Arrival” and “Transitions” give evocative chronicle to the album’s trans-experiential theme — it is the band’s first since guitarist/vocalist Simona Ohlsson transitioned, and admirable for both its projected triumph and vulnerability around that — the fifth full-length from Vokonis continues the progressive path they have walked for the last decade-plus. A lineup change has brought some shift in dynamic, but a new strength of voice behind the material that makes “Phantom Carriage,” “Chrysalis,” and, suitably enough, “Arrival,” feel like a declarative pinnacle, and having something to say makes the raw impact of its heaviest moments all the more powerful.
There’s little funnier to me about heavy rock as it exists in 2024 than the idea that Greenleaf would be a band people take for granted. “Oh, Tommi Holappa and Company putting out another collection of classic-heavy and blues-rocking bangers? Business as usual, I guess.” Until you listen to the album, maybe. Then you get the tumble of “Avalanche,” the hooks in “Breathe, Breathe Out,” and “A Wolf in My Mind,” the subdued-bluesy pair “That Obsidian Grin” and “An Alabastrine Smile” to remind how you much this band has been able to grow since Arvid Hällagård made his first appearance with them a decade ago, the way they’re able to move through a jam and land in a groove as solid as “Oh Dandelion,” reminiscent of Clutch in its start-stop funk but defined by its own persona. Every Greenleaf record is a gift. If feeling that way means I’m not impartial, good. We understand each other.
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4. Rickshaw Billie’s Burger Patrol, Big Dumb Riffs
Promises made, promises kept. Austin-based crunch purveyors Rickshaw Billie’s Burger Patrol stripped any and all excess out of their approach on Big Dumb Riffs, resulting in a quick-feeling collection of memorable, heavy tracks that, whether fast like “1800EATSHIT” or slow like “In a Jar,” are united in the album’s central stated purpose. Already an established brand of heavy revelry, the three-piece didn’t change anything radically in aesthetic terms, but the songs found their target one after the other, front to back, and were clever and well composed, however willfully lunkheaded the central riffery might have been. They’re headed to Europe in Spring, and I’m already hearing rumors of a next record, so keep an eye out in 2025.
Slomosa‘s released-in-2020 self-titled debut (review here) was a salve to many in troubled times, representing a next-generation hope for underground heavy in energetically-delivered, classic-feeling songs. Tundra Rock, which gives a name to the band’s style seemingly in direct answer to anyone who might class them as ‘desert,’ confirms the Norwegian four-piece at the forefront of an up and coming cohort of younger acts beginning to find their expressive modus and step beyond their root influences. Tundra Rock finds Slomosa doing this while giving their dual-vocal live dynamic vibrant studio representation and growing their material in character and melody alike. Heavy rock and roll is Slomosa‘s for the taking.
A record that didn’t need to be loud to be heavy, Brume‘s Marten is without question my most-listened-to album of 2024. That needs no qualifying. I had high expectations going into it after seeing the San Francisco band at Desertfest New York 2022 (review here), and Marten surpassed every hope I might’ve been able to harness for it and then some. The collective voice of the band incorporating multiple viewpoints from bassist/vocalist/keyboardist Susie McMullan, guitarist/vocalist Jamie McCathie, drummer Jordan Perkins Lewis, and in her first appearance as a full-on member of the band, cellist/vocalist Jackie Perez Gratz (Grayceon, Amber Asylum, etc.), resulted in a fluid but deeply divergent collection, comprised of songs that went where they wanted to go — or didn’t, thank you very much — according to their own whims and purposes. It is a landmark for Brume and, if any number of subgenres are lucky, a blueprint from which others will hopefully learn.
I acknowledge breaking my own rules here — splits are always, until and including this year, categorized as short releases in these lists — but when it came to it, the thought of putting Elephant Tree and Lowrider‘s The Long Forever anywhere else, considering it as anything else, seemed ridiculous. Especially if you count writing the liner notes for it, I’ve gone on at length about the release as an intersection of crucial moments for the respective bands, with Lowrider following their first album in 20 years, Refractions (review here), and Elephant Tree answering the progressive statement of their own second LP, Habits (review here), both released in 2020. The storyline gets deeper as Elephant Tree also look to reestablish themselves following a near-fatal accident suffered by guitarist/vocalist Jack Townley, melding rawness of tone with lush vocal harmonies, and Lowrider drag fuzz-rock traditionalism kicking and screaming into a reality of being both fun and intelligent. There ultimately was nothing else to call The Long Forever than the album of the year. If that comes with an asterisk because it’s a split, it doesn’t lessen the effect of hearing it at all. So yeah, I’m breaking the rules of the game. I’m inconsistent. Unprofessional. Biased. I don’t know what to tell you except love makes you do crazy things. In these songs themselves — do I even need to talk about the collaboration — and in the drive behind them, that’s what most resonates here.
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The Top 60 Albums of 2024: Honorable Mention
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If the 60 above wasn’t enough, here are more leads to chase down, alphabetical but in kind of a hyper-specific, ass-backwards-seeming way:
Acid Rooster, Alber Jupiter, Altareth, Alunah, Astrometer, Bismarck, Black Capricorn, Blasting Rod, BleakHeart, Blue Heron, Bongripper, Boozewa, Caffeine, Carpet, Castle, Cleen, Clouds Taste Satanic, Codex Serafini, Cold in Berlin, Cortez, The Cosmic Dead, Crypt Sermon, Daily Thompson, Deadpeach, Deaf Wolf, Demon Head, Destroyer of Light, Dopethrone, Duel, Earth Ship, Elephant Tree, Emu, Familiars, Bill Fisher, 40 Watt Sun, Ghost Frog, Goat Major, Guenna, Heath, High Reeper, Hijss, Horseburner, Ian Blurton’s Future Now, Insect Ark, Inter Arma, Kelley Juett, Juke Cove, Kalgon, Kandodo, Kant, Kariti, Kungens Män (x2), Kurokuma, Leather Lung, Legions of Doom, Lord Buffalo, Magic Fig, Magick Brother & Mystic Sister, Magick Potion, Magmakammer, Mammoth Caravan, Massive Hassle, MC MYASNOI, Merlin, Methadone Skies, Monkey3, Morag Tong, The Mountain King, Mount Hush, MR.BISON, My Dying Bride, Myriad’s Veil, No Man’s Valley, Norna, The Obsessed, Oryx, Pallbearer, Patriarchs in Black, Pia Isa, Planet of Zeus, Red Mesa, Rezn, Rifflord, Sacri Monti, Sandveiss, Satan’s Satyrs, Saturnalia Temple, Scorched Oak, Sheepfucker & Kraut, Slift, Slower, Slow Green Thing, SoftSun, The Sonic Dawn, SONS OF ZÖKU, Spacedrifter, Spiral Grave, Spirit Mother, Stonebride, Sun Blood Stories, Sunface, Sun Moon Holy Cult, Swallow the Sun, The Swell Fellas, Swell O, Temple Fang, 10,000 Years, Thomas Greenwood and the Talismans, Thunderbird Divine, Tigers on Opium, Traum, 24/7 Diva Heaven, Valley of the Sun, Vlimmer, Void Commander, Weather Systems, The Whims of the Great Magnet, Whispering Void, White Hills, Per Wiberg, Esben Willems, Worshipper, WyndRider…
Notes:
With the eternal caveat that I’ll be adding to the honorable mentions for the next few days as people drop names they remembered and I forgot, I’ll say I can live with the list as it is now. I wouldn’t go so far as to say I’m happy with it, but I’ll live. I felt like there was just too much good stuff in the 60-30, stuff that deserved a better look, and god damn, look at the honorable mentions. You’re gonna tell me Rezn wasn’t top 30 material? Or Inter Arma, or 10,000 Years (who I still need to review), or Kandodo or Cortez, or Bongripper, Blue Heron, Merlin, Slower? Mount Hush, Vlimmer, Destroyer of Light — I could do this all day. That Carpet record. That MR.BISON record. Valley of the Sun. I see these names and want to punch myself. Then I see the names in the top 30 and I go, “Well…” and kind of have to hold off. I guess that means it turned out to be a pretty fantastic year.
I know for a fact I didn’t hear everything that came out, and I’m willing to bet that any number of people who see this will have their own opinions on the best albums of 2024 from top to bottom. I celebrate this difference and look forward to being exposed to new sounds because of it. Let comments fly, please. Once again, my only ask is that you keep it kind as relates to my own list(s) and any other picks someone might offer. If I’ve got facts wrong, something was a Dec. 2023 release instead of Jan. 2024, whatever, by all means, let me know. But we’re all friends here and being a jerk about it solves nothing.
And yes, I’ll admit to projecting some self-criticism in the Elephant Tree/Lowrider selection for album of the year. All I can tell you is I stand by that pick. It’s that because when I was putting together the list, it couldn’t have been anywhere else. I don’t love breaking my own arbitrary rules nearly as much as I love imposing those arbitrary rules in the first place, but sometimes apparently one is forced from one’s comfort zone to their own general betterment. Who knew?
Of course we’re not done yet.
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Debut Album of the Year 2024
Guhts, Regeneration
Other notable debuts (alphabetical):
Azutmaga, Offering
Buzzard, Doom Folk
Castle Rat, Into the Realm
Cleen, Excursion
Coltaine, Forgotten Ways
Full Earth, Cloud Sculptors
Goat Generator, Goat Generator
Goat Major, Ritual
Grave Speaker, Grave Speaker
Guenna, Peak of Jin’Arrah
Hashtronaut, No Return
Heath, Isaak’s Marble
Hijss, Stuck on Common Ground
Kalgon, Kalgon
Kant, Paranoia Pilgrimage
Kitsa, Dead by Dawn
Leather Lung, Graveside Grin
Legions of Doom, The Skull 3
Magic Fig, Magic Fig
Magick Potion, Magick Potion
Morpholith, Dystopian Distributions of Mass Produced Narcotics
Myriad’s Veil, Pendant
Neon Nightmare, Faded Dream
Plant, Cosmic Phytophthora
Rabid Children, Does the Heartbeat
Saltpig, Saltpig
Semuta, Glacial Erratic
SoftSun, Daylight in the Dark
Spacedrifter, When the Colors Fade
Sun Moon Holy Cult, Sun Moon Holy Cult
Ten Ton Slug, Colossal Oppressor
Tet, Tet
Tigers on Opium, Psychodrama
Tommy and the Teleboys, Gods Used in Great Condition
Troy the Band, Cataclysm
Weather Systems, Ocean Without a Shore
Esben Willems, Glowing Darkness
Young Acid, Murder at Maple Mountain
Notes:
First about Guhts: From the Andy Patterson recording and parts of the songs themselves, Guhts weren’t hiding influence from the likes of SubRosa or Julie Christmas, Made Out of Babies, etc., but what Regeneration did so well — and what I was trying to convey above — was take those recognizable elements and redirect them toward an expressive individuality. That album could be punishingly heavy or sweet and soothing and the fact that you never quite knew which was coming next was a major asset working in the band’s favor. There are a lot of killer debuts on this list, and plenty I’m sure that I’ve left off because, well, I’m inept, but Regeneration was so sure of what it was about and so crisp in making that real through sound that it’s still stunning.
A lot to celebrate on this list. Full Earth at the outset of a hopefully long-term progression. Tigers on Opium with attitude and craft. Castle Rat giving stage drama studio life. Weather Systems picking up where Anathema left off. Promising starts for Pontiac, Hashtronaut, Neon Nightmare, Cleen, Coltaine, Troy the Band, Buzzard, Magic Fig, Legions of Doom, and Heath, among others. If you’re worried about the state of underground heavy music, you don’t need to be. Granted the future of anything is unknowable even before you apply “uncertain times” caveats and all the rest, but bands are stepping up to carry the torch of established sounds and pushing themselves to realize new ideas — whether that’s Guhts and Magic Fig or Tigers on Opium, or Legions of Doom, Ten Ton Slug, Weather Systems and Monolord’s Esben Willems, new players or ones who’ve been around for decades.
If you want a top ten — and who doesn’t? — in addition to Guhts, make your way through Full Earth, Sun Moon Holy Cult, Morpholith, Guenna, Coltaine, Troy the Band, Young Acid, Emu, Buzzard and Kant to start, and you can dig deeper from there. That’s actually 11, but I don’t care. More new music won’t hurt you.
We press on.
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Short Release of the Year 2024
Moura, Fume Santo de Loureiro
Other notable EPs, Splits, Demos, Singles, etc.
Aktopasa, Ultrawest
Alreckque, 6PM
Bog Wizard, Journey Through the Dying Lands
Conan, DIY Series Issue 1
Cortége, Under the Endless Sky
Cult of Dom Keller, Extinction EP
Michael Rudolph Cummings, Money EP
Deer Lord, Dark Matter Pt. 2
Eagle Twin & The Otolith, Legends of the Desert Vol. 4
Fuzznaut, Wind Doula
Fuzzter, Pandemonium EP
Geezer & Isaak, Interstellar Cosmic Blues and the Riffalicious Stoner Dudes
Harvestman, Triptych EP(s)
Hermano, When the Moon Was High
Hollow Leg, Dust & Echoes
Holy Fingers, Endless Light Infinite Presence
King Buffalo, Balrog
Lurcher, Breathe EP
Okkoto, All is Light
Ord Cannon, Foreshots EP
Orme, No Serpents No Saviours
Pelican, Adrift/Tending the Embers
Pontiac, Hard Knox EP
Rope Trick, Red Tide EP
Sacred Buzz, Radio Radiation
Smoke & Doomsday Profit, Split
Spiral Guru, Silenced Voices EP
Toad Venom, Jag har inga problen osv...
Trigona & IO Audio Recordings, Split
Various Artists, International Space Station Vol. 2
Notes:
This category includes so much and can range so vastly between an EP that’s about 30 seconds short of being a full album to a standalone single released just for the hell of it to a band’s first rehearsal room demo. “Short releases” encompasses a lot, and as noted above, I’ve already broken my rules about where splits go. What about The Otolith and Eagle Twin? Geezer and Isaak? Smoke and Doomsday Profit? Trigona and IO Audio Recordings? The International Space Station four-wayer? If I’m crossing lines, don’t these also need to be considered as full-lengths?
You know what really sucks about it? This is an argument I’m going to have with myself for probably the next year. An existential crisis playing out in the back of my mind. More important? The Moura EP. The soundtracky textures the Spanish folk-informed progressive psychedelic rockers brought to the follow-up for their second album were both otherworldly and ground-born, and the material put emphasis on how much care and craft goes into their work while retaining the organic core against the threat of pretense. It was my most listened to short release of 2024, followed by Pelican, Holy Fingers, Pontiac, Toad Venom, Hollow Leg (x2), and Sacred Buzz. A new King Buffalo single was a late-year boon, that Hermano was worth it for the previously-unreleased studio track alone, and strong showings from Michael Rudolph Cummings, Deer Lord, Conan and Cortége, along with the aforementioned splits, assured that through the entire year, attention spans would receive consistent challenge in the movement from one thing to the next.
By way of a familiar confession, my list of short releases is nowhere near complete. It never is, and it never really could be. I’m sure there will be some I left out that I’ll add in for honorable mentions, etc., but I stand by the Moura pick for best short outing. They brought a soul to it that put the lie to the notion of EPs as between-album gap-fillers, and in a year that didn’t lack substance among its brevity-focused options, Fume Santo de Loureiro stood out in character, aesthetic and songwriting. Nobody else is making music quite like Moura.
If you have more to add here, by all means, please and thank you. Comments are below.
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Live Albums
Live Album of the Year 2024
Temple Fang, Live at Krach Am Bach
Castle, One Knight Stands: Live in NY
Danava, Live
Elder, Live at Maida Vale
Snail, Thou Art There
Stöner, Hittin’ the Bitchin’ Switch
Sula Bassana & Skyjoggers, Split
The Whims of the Great Magnet, Live at Bankastudios Maastricht 22-12-2023
Notes:
Fewer releases listed here than last year, but some killer ones for that. I put Temple Fang out there as live album of the year, and since we’re late in the post I’ll tell you honestly that it probably could be any of these on a given day. Danava’s live record crossed decades in badassery, the Sula/Skyjoggers split captured the vibe of a club night in Germany, the Whims of the Great Magnet’s live release made an excellent predecessor to their out-this-month studio album, Snail recorded theirs at a show I put on, Stöner capture the end of their two-album cycle with an awesome set, and Elder are Elder. The Maida Vale recording is short, and their songs are long, or you probably would’ve heard a lot more about that this year. If/when they do a proper live album, it will be a no-brainer.
But the Temple Fang has it all in molten progressivism, heavy tones, immersive psychedelia and outright soul, and of the bands I’ve managed to list here — if you want to add to the list, please do — there’s nobody who so much defines what they do by its live incarnation. Temple Fang’s music changes every night. They follow where it leads in a different way, and the ritualization of their performance comes through in Live at Krach Am Bach resoundingly. I’m not saying a bad word about their studio work to this point, but their heart manifests in a different way and at a different level onstage. They’re a great band and this shows a big part of why.
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Looking Ahead to 2025
Names, right? This one’s all about the names? Get to the names, jack? Okay, calm down.
With eternal appreciation to the folks of fine, upstanding moral character in the ‘The Obelisk Collective’ group on Facebook for the assistance, here’s a smattering of what one might look forward to in 2025:
Aawks, After Nations, All Them Witches, Amber Asylum, Author & Punisher, Bandshee, Black Spirit Crown, Bog Wizard, Bone Church, Borracho, Bronco, Buzzard, Dee Calhoun, Causa Sui, The Cimmerian, Clutch, Conan, Corrosion of Conformity, Daevar, Dead Meadow, Dead Shrine, Demons My Friends, Dream Unending, DUNDDW, Dunes, Flummox, Fuzz Sagrado, FVZZ POPVLI, Gaytheist, Gin Lady, Gnarled, Gnod & White Hills, Gods and Punks, Godzillionaire, Haze Mage, Kaiser, Kal-El, King Buffalo, Lamassu, Lo-Pan, Madmess, Mantar, Masters of Reality, Messa, Seán Mulrooney, Mouth., New Dawn Fades, Nightstalker, Øresund Space Collective, Pentagram, Pesta, Pothamus, Dax Riggs, Seedy Jeezus, Slomatics, Slow Wake, Stoned Jesus, Stone Machine Electric, Temple Fang, 3rd Ear Experience, Triptykon, Trouble, Turtle Skull, Warlung, Weedpecker, Yawning Balch, Year of the Cobra, YOB… and because it still hasn’t happened and someone invariably calls me out if they’re not listed: Om.
If you have names to add, “smash that comment button,” in the parlance of our times. Only don’t really smash it because you might hurt your hand or break your phone with your awesome strength.
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THANK YOU
It was among my primary goals for this post that it should be shorter than last year’s, and it looks like I’ll achieve that with room to spare, so I’m glad. Sometimes I get carried away, I think I probably don’t need to tell you.
Before I let go of 2024 — actually I still want to review that The Whims of the Great Magnet studio release and I’ve got a Darsombra video premiere set before the end of the year, news to catch up on from like the last two weeks and a whole lot more to cover — I’d like to take a moment to thank you one more time for reading and for being part of this project this year and each year it’s been ongoing. Your support is absolutely what keeps this site going and it means more to me than I can ever hope to comprehend.
Thank you to The Patient Mrs., who in the course of a given week let alone year puts up with more of my bullshit than any human being should ever have to. “Yes, love, the world’s ending and we have no money and the house is falling down around us and the dog needs to pee, but I just need two or three hours to go sit and write about riffs — is that cool?” Or better, when I’m pissy about it. The “my wife is a saint” routine is pretty played out as far as dudely excuses for being selfish, lazy and/or dumb go, but well, I am all of those things on the extreme regular and she hasn’t booted my ass to the curb yet. I find this to be a reason to celebrate and a thing to appreciate. I am loved and cared for in ways I could never hope to earn.
Thank you to my family for their support, year in and year out. They’ve all got Obelisk shirts and they all wear them, and while I’m not sure they understand the true depths of egoistic depravity involved in this project, they’ve been on board with it since the start, and this includes my wife’s side of the family as well. I am incredibly lucky to have the life I have.
I’m going to keep listening to music, keep writing about it as much as I can. I’m not quite as generally panicked about it as I used to be — older, busier in different ways, over the FOMO, maybe a little more discerning in terms of taste? — and I’m significantly less likely to break my brain answering email, but I’m doing my best.
The Obelisk presses on into what will be a busy 2025. I’ve got trips slated to Planet Desert Rock Weekend in Las Vegas this January, Desertfest Oslo in May, Freak Valley in Germany in June, Bear Stone in Croatia in July, and Desertfest New York in September, with more hopefully to come. I look forward to these adventures and to doing the writing that will happen as part of them, and one more time, I thank you for your time and attention in reading, in the past, now, and in the future. I’m taking tomorrow off. All the way off. Back on Monday for more.
Posted in Whathaveyou on December 6th, 2024 by JJ Koczan
As first confirmed last month with the announcement of the UK and Ireland dates below, Brant Bjork Trio will continue to support their new album, Once Upon a Time in the Desert (review here) — issued through Bjork‘s reinvigorated imprint Duna Records — by taking it to the stage. Following up on the January/February run abroad, a US tour will pick up on March 7, one day short of a month from the last UK date in London, and loop the three-piece of Bjork, bassist Mario Lalli and drummer Ryan Güt through the upper Midwest, the Northeast, and back into the Midwest to finish in Chicago on March 22.
Keeping busy, then. That was the theme for the Trio‘s 2024 as well. I was fortunate enough to see them in Budapest (review here) before the record came out, and man, what a party that was — and no, not just because it was on a boat. Playing songs from Brant Bjork‘s unparalleled catalog in desert rock, they brought new material and old to life in a way that dared the audience not to boogie, and sure enough, the crowd I was in couldn’t resist. Not the first time, hopefully won’t be the last, and if you’re someplace where they’re going to be, you likely don’t need me to tell you it’s an occasion worth showing up for. At least you can make your plans early.
Dates follow here for both tours, as yoinked from socials:
BRANT BJORK TRIO – UK & IRELAND TOUR – JANUARY / FEBRUARY 2025
FRI 24 JAN: THE CRAUFURD ARMS, MILTON KEYNES, UK SAT 25 JAN: REBELLION, MANCHESTER, UK SUN 26 JAN: THE CLUNY, NEWCASTLE, UK MON 27 JAN: AUDIO, GLASGOW, UK WED 29 JAN: GRAND SOCIAL, DUBLIN, IRE THU 30 JAN: LIMELIGHT 2, BELFAST, N. IRE FRI 31 JAN: SIN CITY, SWANSEA, UK SAT 01 FEB: MAMA ROUX’S, BIRMINGHAM, UK SUN 02 FEB: STRANGE BREW, BRISTOL, UK MON 03 FEB: BRUDENELL SOCIAL CLUB, LEEDS, UK TUE 04 FEB: WATERFRONT STUDIO, NORWICH, UK WED 05 FEB: THE FORUM, TUNBRIDGE WELLS, UK THU 06 FEB: THE 1865, SOUTHAMPTON, UK FRI 07 FEB: THE ARCH, BRIGHTON, UK SAT 08 FEB: OSLO, LONDON, UK
03.07 Kansas City MO Record Bar 03.08 Minneapolis MN Turf Club 03.09 Milwaukee WI Shank Hall 03.10 Grand Rapids MI Pyramid Scheme 03.11 Columbus OH King of Clubs 03.12 Youngstown OH Westside Bowl 03.13 Baltimore MD Metro Gallery 03.14 New Hope PA John & Peter’s 03.15 Brooklyn NY TV Eye 03.16 Providence RI Alchemy 03.19 Detroit MI Small’s 03.20 Newport KY Southgate House 03.21 Louisville KY Portal+Artportal 03.22 Chicago IL Reggies
The Brant Bjork Trio: Brant Bjork – guitar/vocals Mario Lalli – bass Ryan Güt – drums
[Click play above to stream Brant Bjork Trio’s Once Upon a Time in the Desert in full. It’s out Friday on Duna Records.]
Yeah, desert rock would probably exist in some form without the contributions to it that Brant Bjork has made over the last 25 years as a solo artist, but it wouldn’t be half as rad. Self-releasing through a reignited Duna Records, he is teamed here with Mario Lalli of Fatso Jetson, Yawning Man (and adjacent projects), and drummer Ryan Güt, who began in the prior incarnation of Bjork‘s solo band, continued with Bjork in the trio Stöner, and has held the position as Brant Bjork Trio evolved from that group, which featured Nick Oliveri (also ex-Kyuss, Mondo Generator, etc.) on bass and vocals.
Mario Lalli and the Rubber Snake Charmers toured with Stönerin 2022, but of course the association goes farther back than even Lalli‘s guest appearance on Bjork‘s first solo record, Jalamanta (reissue review here), which came out through Man’s Ruin Records in 1999, to when they were teenagers. Both are founding figureheads in desert rock, Lalli starting out in the mid-’80s in Yawning Man and Bjork a few years later drumming and songwriting in Kyuss before eventually joining Fu Manchu, also on drums, but while the past laurels are many, Once Upon a Time in the Desert has little time to dwell in its nine songs and 41 minutes.
Produced by Bjork and Lalli and engineered by longtime-associate Mathias Schneeberger (who mastered Jalamanta, as one example), the new album not only establishes a more firm partnership between the two mainstays and their secret weapon of a drummer, but basks in a groove that’s emblematic of how they got to be ambassadors of the genre in the first place. It’s been a long road getting from there to here, bringing these players together in this incarnation of Bjork‘s solo band, and they’ve arrived at a place of a distinctive, classic cool.
And they know it. Once Upon a Time in the Desert doesn’t have a narrative thread drawn across its tracks as the title might lead one to believe, but it does tell a story just the same of who these players are and where they’re at at this point in time. There are self-aware displays of persona in the lyrics, as with “UR Free,” which communicates its message as the album opener directly to the listener — the “you” in this case — however or to whomever it may have originally been written.
In the first of several resounding hooks — see also: “Backin’ the Daze,” “Astrological Blues (Southern California Girl),” and “Sunshine is Making Love to Your Mind,” among others — “UR Free” casts a laid-back vision of active whateverism. Lines like “If you want some fun/Go have some fun today/If you wanna cry/Then let your tears fall from your eyes/We all fall down sometimes,” are inclusive and markedly open in terms of perspective, the kind of perspective that might, in a while, find a mind making love to the sunshine, perhaps blissfully, serenely stoned. It’s not all so peaceful as regards lyrics, as “Magic Surfer Magazine” describes an all-alone kid in the desert looking at a surfing magazine.
Leaving aside the of-personal-significance and often-forgotten experiential wonder of print media –holding a picture of a surfer and wanting to surf — it’s a straightforward contrast between the desert and the ocean, and affecting in the chorus: “So lonely/In my bedroom/Dreamin’ every night/I’m gonna be a surfer too.” I don’t know if Bjork is talking about himself there, and I don’t know if he surfs — he was in Fu Manchu, which I feel like should count for surfer cred either way — but the memory-in-song storytelling frame is one that has typified his work in recent years across projects. Stöner‘s “Rad Stays Rad” from their 2021 debut, Stoners Rule (review here), is a ready example, and part of that pandemic-born outfit’s purpose was a nostalgic stripping down to the core elements of desert rock to begin with; arguable as a kind of looking back. The most obvious instance on Once Upon a Time in the Desert — beyond the title itself — is “Backin’ the Daze.” Duh.
If you’re wondering why it’s Brant Bjork Trio and a more band-like moniker in the vein of Stöner, the answer would seem to be that the roots of the songs are his, whatever Lalli and Güt are bringing to the finished product of the album as a whole. Bjork is also alone in handling vocals. But while the writing modus and attitude are familiar, there’s no discounting the life and tonal presence Mario Lalli brings to the recordings. His bass is very much present in the mix throughout, and in the mini-jam of “Astrological Blues (Southern California Girl),” the low end twists with grace around the central figure on guitar as it proceeds through the song’s back half. The bass and guitar are not in competition by any means.
“Down the Mountain” aligns the three-piece around a likewise fluid nod, and everyone shines, and in the crashout start of “Rock and Roll in the Dirt,” the tones are aligned for suitable grit, Lalli and Güt carrying the rhythm in the midsection as the guitar weaves in and out. A balance between studio clarity and live energy is resonant, and even a straight-ahead early piece like “Higher Lows” has space in its sub-five-minute run to conjure some desert expanse, and the finale “Do You Got Some Fire?” feels even more vital with Güt‘s double-kick underscoring its groove following the pattern of the riff.
The Brant Bjork Trio have over 50 years of experience at this thing between them. To get a whole record of Bjork and Lalli together, well, it’s not the craziest idea ever since they’ve been in each other’s orbit and shared space on albums plenty of times over the course of the last three-plus decades, but it is something special that longtime fans of either’s work in other contexts will be glad to embrace. They are accordingly pro-shop, and has been the case on every Bjork-related recording he’s been part of since 2016’s Tao of the Devil (review here), Güt revels in the swing and is a master at finding the rhythmic dynamics in Bjork‘s riffs. Change is the order of the universe, but one hopes that partnership continues to develop.
And listening to Once Upon a Time in the Desert, it’s easy to apply the same to Lalli and Brant Bjork Trio as a whole. All three of them have other bands, projects, incarnations, whathaveyou, and they’re rarely static in moving between them, but if this album, the touring they’ve done leading up to it and the touring they’ll do probably over the next year to support it are a fleeting moment, it’s one worth appreciating.
Brant Bjork Trio, “Backin’ the Daze” official video
Once upon a Monday evening, and a boat, in Budapest.
The hajò in A38 Hajó translates to ‘ship’ in English, and indeed, it’s a big ol’ boat. Docked, so it’s not like we were listing one way or the other, though as Earth Tongue got started about 36 seconds after I walked in, I could swear I felt the floor move a bit.
The New Zealand duo have been in town — and by that I mean in Europe — for I don’t know how long already supporting their new album, Great Haunting, and the sun was still coming through the western side of the ship’s rooftop terrace as they played. Open walls, breeze, park across the street probably getting some wub of the pleasantly surprising tonal density on offer. To walk in a place you’ve never been and be rolled over by groove from Gussie Larkin’s guitar and Ezra Simons’ drums, the two sharing vocals throughout with a style that was punk and indie as much as stoner anything while also heavy as hell, a bit of playfully murderous Satanism to make it a good evil time, and almost folkish in some — just some — of the melodies coming through, but using the two-piece configuration not to highlight rawness, but versatility. It was quite a sight to see.
“Out of This Hell” was a highlight, with the wah doing some of the singing as well, and the stops and turns through cycles of riff underscored with, sparse in construction and arrangement but made full through tone, giving up nothing of instrumental tightness for the dual vocals. Nuance waiting to be heard. They made the darkness in their sound a part of the fun, a smiling threat no less sincere. People cheered when they came back out to break down their gear, which to me spoke of their winning folks over, but maybe that’s not necessarily a surprise. They made it easy to get on board, and considering the likelihood of my seeing New Zealand anything, ever, in any context, the radness perhaps came with a bit of extra novelty.
I’ve been in Hungary for a couple weeks now, but am still very much a tourist, however confident my ‘köszönöm szépen’ at the grocery store has gotten. I last saw Brant Bjork, in this very configuration — with Mario Lalli on bass and Ryan Güt on drums, playing as Brant Bjork Trio — at Desertfest New York (review here) this past September, and while the band and I are from nowhere near the same place, biome, whatever, I still had a bit of home-comfort at the thought of watching them play. Their forthcoming album, Once Upon a Time in the Desert, is a to-form, to-a-high-standard groover, and while I suppose that’s gonna be true anytime you put Lalli and Bjork on a record together, well, it’s true this time too.
I moved up front while Lalli did the line check after meeting a few new friends from Buda and/or Pest and telling them about my adventure driving the little electric cart around Margít Island earlier in the day and getting ab recommendation to bit Wave Music to go record shopping. I had to move back up — not trying to be rude to anyone; just don’t want to miss my chance and I’m not good looking enough for people to make way when I say excuse me and try to get past — and I was glad I did because it filled in quickly. The sun wasn’t yet all the way down, but the lights were on and they were playing blues over the P.A., which felt right on. Bit of sway for the boat. I wished I had brought water, but I always do when I don’t, so I just drank that tension and let it be for a couple minutes. Dudes were gonna roll. The volume was gonna hit — it certainly had in Earth Tongue, even if it started with a bit of surprise at 19.30 on the dot more or less. An hour later, just an hour after I awkwarded my way through the door, there they were.
They played a goodly portion of the album — heads up on “Coming Down the Mountain, y’all — along with selections out of Bjork’s catalog from “Mary You’re Such a Lady” to “Too Many Chiefs,” which had dudes bouncing up front, and I gotta be honest with you, as much as I do the critic thing and try to take people’s work seriously because I believe it deserves serious consideration, I really just needed to let it go for a few fucking minutes. When they hit into “Sunshine,” I was perfectly happy to loosen the plugs in my ears and pull my head out of my own ass and relax. Yeah, it’s cool to go to a club show in a foreign city. It’s cool to be on a boat without any real plan for how I’m gonna get back to the apartment after. Hell, my niece is here for the week and she even came out for it. I can close my eyes and enjoy a thing for a few, right? Just a few? I’ll go back to writing on my phone like a dick when this song is over, I swear.
I saw this every time — every time — but I’ll say it again: Ryan Güt, man. Dude swings with the swing, and when he hits the snare on “Let the Truth Be Known,” he’s not trying to be mean about it, but he’s making a point, god damn it, and it’s a point worth making. The place had gotten what I’d consider packed out for a Monday night, and as I will, I hung in the back for a while and enjoyed the breathing space without giving up the volume of the jam being cast into the streetlit Magyarorszag night. Hétfőn. School night for me. Not even shitting you. Language lesson at 8AM tomorrow. Real life. “Bread for Butter.”
By the time they got to “UR Free,” they were long since rolling, and following it up with “Trip on the Wine” brought a bit of mellow after the tense verses of the newer song, a complement that worked better on stage than I’d have expected, and while “Trip” didn’t have the keys like on the album, that gave the guitar solo a little more emphasis in the easy-rolling nodder, building in volume and daring some nasty in the fuzz; the pot, stirred. They jammed on it — legit — and brought it down smooth, not that there was ever a doubt. “Somewhere Some Woman” followed, for another rad turn.
Live LP? Well, Lalli just put one out with The Rubber Snake Charmers, and Bjork and Güt have one coming from Stöner, but if they managed to capture this lineup at work, it’d be with the price of admission for their take on “Automatic Fantastic” alone. They ended the set proper with that — as one would — and came back out for the new single “Backin’ the Daze” as the first of a two-part encore, following up with “Freaks of Nature” to finish the night. I bought my niece an Earth Tongue shirt and we split about a literal minute before it ended, which I’ll say I don’t regret because indeed it sounded fucking awesome echoing out into the night from the A38. Ditto the cheers after.
While I’d point out this Trio configuration as a standout in itself, you don’t need me to tell you to see Brant Bjork. He’s a captain of cool and the foremost ambassador of Californian desert rock, but I’ve done that shit before and if you didn’t get the message then, I doubt you’re (1:) still reading or (2:) inclined to now, so, fine. What I’ll say instead is that for me, this was a pretty special night, and when I think back on the four weeks I’ll have spent in Budapest this summer, I know damn well this is part of what I’ll remember most fondly. Also that I was able to catch the tram home without screwing it up. Not nothing considering a general weakness for navigation. Must’ve been a good one. Yeah, it was. I asked if I could do my morning lesson Wednesday instead. Fingers crossed.
More pics after the jump if you want to hit that up. Thanks for reading either way.
Posted in Whathaveyou on February 1st, 2024 by JJ Koczan
In the interest of framing a discussion, we’ll call it the debut album from Brant Bjork Trio being recorded this week by the three-piece in California. But really, it’s not the first record Brant Bjork and Mario Lalli have made together, and it’s not the first record that Brant Bjork and Ryan Güt have made together — it’s just the first time the three of them are together under this configuration. Güt, on tour with Bjork and Nick Oliveri as part of Stöner, I’m pretty sure drums on the upcoming Mario Lalli and the Rubber Snake Charmers release, and there was no shortage of crossover jamming on that tour between Stöner and Lalli‘s emergent project, spearheaded aside from his tenure with Yawning Man or Fatso Jetson.
So familiar-enough dudes, but with new songs. I guess they need to get it all done as soon as possible because in March it’s back on the road. First they’re in South America, then Australia, then Europe this Spring for three Desertfests and Sonic Whip in the Netherlands and more besides, including club shows with Ruff Majik (who also have new stuff in the works) and Monkey3 (who have a new record on Napalm out in March). A summer or September album release doesn’t seem unreasonable to anticipate, all the more since Brant Bjork Trio have already been confirmed for Rock im Wald (end of July) and Hoflärm in Germany and SonicBlast Fest in Portugal this August, which speaks of more European touring to be announced for later in the year.
Here are all the tour dates I could find. Note they were also at Planet Desert Rock Weekend in Las Vegas this past weekend. I assume the eventual LP will be on Heavy Psych Sounds, but you never know until you get the ‘X-person who’s signed to Heavy Psych Sounds signs to Heavy Psych Sounds’ news announcement. Always fun, those. Anyhoo:
Heading into the studio this week to capture these tres hombres grooving a righteous batch of new tunes !
In March we head out to rock in South America and Australia ✌🏽🎵🙏 good times roll on ⚡️⚡️⚡️
Brant Bjork Trio SOUTH AMERICAN TOUR 2024 !! 06/03 Casa de Salud Concepcion Chile 07/03 Metronomo Santiago Chile 08/03 Casa Aurea Sao Paulo Brazil 09/03 Uniclub Buenos Aires Argentina 10/03 Plaza Mateo Montevideo Argentina
Brant Bjork Trio w/ Full Tone Generator Get DOWNunder ! 28/03 – Barwon Club Geelong 29/03 – Frankston Singing Bird Studio 30/03 – Gasometer Hotel Melbourne 31/03 – Crown & Anchor Hotel Adelaide 03/04 – The Basement Canberra 04/04 – Dicey Rileys Wollongong 05/04 – Marrickville Bowlo Sydney 06/04 – Mos Desert Clubhouse Gold Coast 07/04 – Panthers Port Macquarie NSW
Sound of Liberation proudly presents: BRANT BJORK TRIO – EURO 2024 TOUR 10.05.24 (NO) Oslo, Desertfest 11.05.24 (NL) Nijmegen, Sonic Whip 12.05.24 (DE) Cologne, Club Volta * w/ monkey3 14.05.24 (DE) Hamburg, Bahnhof Pauli 15.05.24 (DE) Bielefeld, Forum 16.05.24 (BE) Sint-Niklaas, De Casino * w/ monkey3 17.05.24 (UK) London, Desertfest 18.05.24 (FR) Wasquehal, The Black Lab 19.05.24 (FR) Nantes, Le Ferrailleur 20.05.24 (FR) Paris, Backstage By The Mill 22.05.24 (DE) Aschaffenburg, Colos-Saal * w/ Siena Root 23.05.24 (CH) Aarau, Kiff * w/ Ruff Majik 24.05.24 (DE) Munich, Feierwerk * w/ Ruff Majik 25.05.24 (DE) Erfurt, VEB Kultur * w/ Ruff Majik 25.05.24 (DE) Berlin, Desertfest 28.05.24 (NL) Amsterdam, Melkweg
