Posted in Whathaveyou on March 18th, 2024 by JJ Koczan
Set for the weekend of Oct. 18-20 and (I think?) celebrating the 10th anniversary of the first Desertfest Belgium, which was held in 2014, the 2024 edition of the Antwerp-based Desertfest has made its first lineup announcement, anchored by Fu Manchu and Russian Circles and featuring a host of others ranging in both geography and style. From the fluid textures of REZN and classic melodic prog rock of Mondo Drag to the reunited Scorpion Child, Bongzilla‘s singularly stoned crust and the expansive riffery of Stoned Jesus, whose Mother Dark complement to early-2023’s Father Light (review here) is awaited, it’s a well-rounded bill even before you account for heavy psych rockers Seedy Jeezus and bluesy ’70s traditionalists Child making the trip from Australia, the latter on the heels of Heavy Psych Sounds reissuing their catalog, the expansive sounds of Messa, and so on.
That it looks like a cool time isn’t really a surprise. Desertfest Belgium has developed a character of its own as the flagship Fall Desertfest in Europe, and while I’ve never been, I always look forward to seeing what it brings to the seasonal cohort of heavy festivals. Already we know REZN will be on tour with Russian Circles, as that was announced last week too, but it’s likely more tours will come from Mondo Drag, Ritual King and others below that haven’t been revealed yet if they’re even at this point finalized. In addition to the usual daydreaming-about-travel, I find thinking about these things and imagining tours and who might have new records out by the time October gets here to be a particular kind of nerdy joy.
The announcement, as per social media:
It’s that time of year again! It’s with great pride and excitement that we announce the first names for DF24! 👁️
Confirmed for Desertfest ANTWERP are: Fu Manchu Russian Circles Stoned Jesus Bongzilla Scorpion Child MESSA Wolvennest Mondo Drag Seedy Jeezus CHILD REZN Ritual King The Abbey Lethvm RRRags Crouch Kara Delik
Three days of delirium and heavy delight are surely awaiting us all in Antwerp!
Posted in Whathaveyou on January 23rd, 2024 by JJ Koczan
I like it when cool things happen to good bands generally, but specifically in this case I’m glad that Child‘s 2023 heavy-blues delve, Soul Murder (review here), is getting another look with the backing of Heavy Psych Sounds — from whom I’m almost an hour removed from discussing as one of the premier heavy labels in the world, so I must be due — since the Melbourne trio basically opened their veins and bled onto the tape, at least if the audio was anything to go by, and at least in the narrative I have of last year in my mind, the corresponding response was not what the record had earned. A Heavy Psych Sounds reissue, which is a first proper physical pressing, will fix that. The concept of one kind of already does.
That Soul Murder will feature alongside reissues for the band’s other releases — 2018’s I EP (review here), 2016’s Blueside (review here) and 2013’s self-titled debut (discussed here) — should hopefully bring more validation the band’s way for what they’ve done over the last decade-plus, and that’s super too, but getting the material out for international distribution is where it’s at here, and preorders for everything go up early next month. If you need more info than that, well, stick around because I’m sure it’s coming.
What I’ve got for now follows here, courtesy of the PR wire:
*** CHILD *** repressing the australian band catalogue with 2023 album Soul Murder for the first time on VINYL and CD
We’re incredibly stoked to announce that the australian psychedelic hard rockerz CHILD are now part of the Heavy Psych Sounds Family !!!
Heavy Psych Sounds Records will release the band’s highly acclaimed 2023 album SOUL MURDER for the very first time on VINYL and CD + repress the first two albums Child and Blueside and the EP I
FOUR ALBUMs PRESALE STARTs: February 7th
BIOGRAPHY
Combine the heavy emotion of the blues, the tone and raw power of hard rock, the finesse of soul and a twist of 60’s psychedelia. It will give you a visceral musical experience that plays directly to your being. That is CHILD. Living for their art, the pubs, the booze, the endless highways and the blues is what makes this band who they are. Child are a must see for those who are worshippers at “the electric church”. The freedom and power of a live performance is important to CHILD in their approach to music, endeavouring to never perform the same way twice. They look forward to once again bringing this to the world on their continued search for sonic paradise.
Since the release of their runaway self-titled debut in 2014, Child have continued to develop their unique brand of heavy blues through constant writing and extensive national/international touring. The band released the follow-up ‘Blueside’ in December 2016, which builds on this foundation to deliver a disc of pure sonic expression whilst following in the long tradition of the blues. 2018 saw the release of Child’s first EP, simply titled ‘I’. Recorded live to tape, ‘I’ is a glimpse into the boundless directions that could be taken on upcoming releases.
CHILD is Mathias Northway – guitar/vocals Michael Lowe – drums Rhys Kelly – bass
Posted in Features on December 18th, 2023 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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It is encouraging in the extreme to see heavy music, as both concept and practical reality, growing more diverse. For all its rebellious airs, rock and roll has always been predominantly white and male, and its heavy underground form is no different. But for any artform to survive let alone evolve, it has to be open to new ideas and perspectives, and I firmly believe that the underground is becoming a more inclusive community. It has a distance to go that can only be measured in light years, but progress is progress.
2023 was a stunner from the start, with early highlights that stuck around and were joined by more as the months progressed. And while we’re speaking about it in past tense and it’s wrap-up time and so on, there are still new releases coming out every day and week. All over the planet, the heavy underground represents a vibrant subculture, rife with creativity and purpose, speaking inside genre and out, and all the time looking to grow artistically and in terms of listenership. As a result, the work being released holds itself to a high standard.
And yes, that’s true even if it’s about bongs.
Actually, that such willful primitivism is taking place at the same as doom forays into goth, psych forays into mania and tone-worshipping stoner rock seems intent to both double-down on simplicity while expanding into increasingly progressive territory is emblematic of that very standard and the diversity among practitioners of these styles in the current and up and coming generation.
One could go on here, speculate on future directions and so forth, but frankly there isn’t time just now. The list you see below is mine. I made it. It’s informed by my listening habits — what I had on most — by what I see as the greatest level of achievement by the band in question, and in some cases by critical import. It’s a weird mix, but let’s face it, you don’t care. The bottom line is all I’m claiming to represent here is myself and this site.
Accordingly, as with every year, I’ll ask you to please be mindful of the feelings and opinions and others if and as you proffer your own. I love comments here, I love discussions on this post most of any throughout any year, every year, but that can’t happen if somebody’s being a jerk, so don’t. If you disagree with me or someone else, I don’t care if you have a 40-page treatise on your opinion or if you just don’t dig a thing, but if you’re seeing these words, it is our responsibility to each other to be respectful and kind.
Beyond that, in advance of what’s about to unfurl below, please know that I thank you for reading.
**NOTE**: If you’re looking for something specific, try a text search.
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The Top 60 Albums of 2023
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For the last two years (2022 and 2021, linked for reference), I’ve done my own list as a countdown from 60, and since it feels both like way too much, over-the-top, totally unnecessary, and like a completely inadequate sampling of what was worth hearing this year, I guess it’s the way to go once again. Right now is the first of three times I’ll encourage you not to skip this list.
This is the second. Here we go:
60. Codex Serafini, The Imprecation of Anima (review here)
59. Strider, Midnight Zen (review here)
58. Black Helium, Um (review here)
57. Humulus, Flowers of Death (review here)
56. Fuzz Evil, New Blood (review here)
55. Blood Lightning, Blood Lightning (review here)
54. Rotor, Sieben (review here)
53. Cleõphüzz, Mystic Vulture (review here)
52. Black Sky Giant, Primigenian (review here)
51. Khan, Creatures (discussed here)
50. Slumbering Sun, The Ever-Living Fire (review here)
49. Massive Hassle, Number One (review here)
48. Búho Ermitaño, Implosiones (review here)
47. Black Moon Circle, Leave the Ghost Behind (review here)
46. Oldest Sea, A Birdsong, a Ghost (review here)
45. Edena Gardens, Dens (discussed here)
44. Merlock, Onward Strides Colossus (review here)
43. Obelyskkh, The Ultimate Grace of God (review here)
42. Lord Mountain, The Oath (review here)
41. Dorthia Cottrell, Death Folk Country (review here)
40. Yawning Balch, Volume One / Volume Two (reviews here and here)
39. The Golden Grass, Life is Much Stranger (review here)
38. Somnuri, Desiderium (review here)
37. Haurun, Wilting Within (review here)
36. Bees Made Honey in the Vein Tree, Aion (review here)
35. Stinking Lizaveta, Anthems and Phantoms (review here)
34. Black Rainbows, Superskull (review here)
33. Polymoon, Chrysalis (review here)
32. Fuzz Sagrado, Luz e Sombra (review here)
31. Yawning Man, Long Walk of the Navajo (review here)
Notes:
This is the third time I’m telling you not to skip this list. Linking to more on these is new. I haven’t done that before for this part of the list, but I hope it helps if you want to dig in.
That Khan stands out to me as needing to be higher given the quality of the work itself, but I got there late. But if you sent this into the year-end poll as your top 30, I feel like you wouldn’t be ‘wrong’ with some of the showings here, whether that’s the blinding shimmerprog of Polymoon, Merlock’s axe-swing sludge or Dorthia Cottrell of Windhand’s acoustic-based solo work.
Strong debut full-lengths from Haurun, Oldest Sea, Boston supergroup Blood Lightning, Cleõphüzz who already broke up, the aforementioned Merlock, mega-weirdos Codex Serafini, Slumbering Sun (kin to Monte Luna and Destroyer of Light), Church of the Cosmic Skull offshoot Massive Hassle, Turkish heavy rockers Strider and Californian metal traditionalists Lord Mountain. Established outfits like Yawning Man, Stinking Lizaveta, Cottrell, Black Rainbows, The Golden Grass, and Rotor continue to explore new avenues of their sound.
In the meantime, the respective progressions displayed by the likes of Black Helium, Fuzz Sagrado, Somnuri and Bees Made Honey in the Vein Tree, the e’er-listenable Fuzz Evil and Argentinian instrumentalists Black Sky Giant offered thrills anticipated and not. Humulus bringing in Stefan Koglek from Colour Haze was a nice touch, and though I haven’t even reviewed it yet, the third and maybe-last Edena Gardens LP completes that collaborative trilogy with members of Causa Sui and Papir as fluidly as one could ask, which is only saying something because of the personnel involved.
There are a ton of others I wanted to put on this list, but numbers are cruel and if I get into decimals or fractions or something like that I’m going to end up huddled in a ball crying. But please know that because something’s not here doesn’t mean it sucked even just in my own opinion or whatever. At the end of the list come the honorable mentions and rarely have they been so honorable.
Buenos Aires trio Moodoom nailed a classic, ’70s-style Sabbathian blues rock with a non-cornball vintage feel better than anyone else I heard who tried in 2023. Their Desde el Bosque didn’t top half an hour, but you can almost feel the heat from the tubes of the amplifiers behind it, and it’s such an organic flow that it’s undeniable as an LP. Dig that creeper riff in “El Ente,” man. Proh. Toh. Doom.
The eighth full-length in a career that goes back 33 years, Zero Minus Infinity is the second Negative Reaction album since guitarist/vocalist Kenny Bones moved himself and the band from Long Island to West Virginia and revamped the lineup, and it’s a beast. It’d be here for “I’ll Have Another” alone with that crush of distortion and Bones raw-throating “It’s you I need,” on repeat, perhaps to alcohol, but that’s just one example of the disaffected delights on offer from the kings of anxiety sludge.
Downpour is one of two 2023 outings from upstart progressive Norwegian instrumentalists Kanaan, as they answered its Spring release with the jammy Diversions Vol. 2: Enter the Astral Plane. Any way you go, composed or improvised, this is a band with a special chemistry. In addition to the nodder highlight “Amazon,” which brought a collaboration with Hedwig Mollestad and the dense boogie riff-push of “Black Time Fuzz” at the start, they proceeded on an evolutionary path that looks now like it will go as long as they do. For now, in its urgency and space both, Downpour is a pinnacle achievement. How long that lasts depends on what comes next.
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27. Mathew’s Hidden Museum, Mathew’s Hidden Museum
Some records make a world. Mathew Bethancourt of Josiah, Cherry Choke, etc., put at least a solar system into the self-titled debut from his solo-project Mathew’s Hidden Museum. Melding lysergic experimentalism and off-kilter vibing with classic boogie, acoustic grunge, the piano quirk of “Golden” and more, it drew lines connecting disparate ideas and ended up making its own kind of sense, with depth enough in its layers that when I close out a week with it half a decade from now (inshallah), I’ll probably still be talking about it. Go get swallowed.
Recorded in Winter 2021/2022, Borracho‘s Blurring the Lines of Reality carried its where-did-we-go-wrong head-scratching sensibility into 2023, where to be sure it remained relevant. The Washington D.C. riffer trio know who they are and what they’re about, and their songwriting, groove and total lack of pretense continue to satisfy five records later even as the band pushes themselves further in structure and craft. And if you’d hold the social comment of their lyrics against them, first, grow up, second, your loss. Give me that smooth jam at the end of “Burning the Goddess” every time.
It was a total shock when superlatively-filth-encrusted sludgers Khanate not only returned with the surprise release of their first LP in 14 years, but that they pulled off such a remarkable change of style, abandoning their former miseries in favor of a more upbeat, uptempo outlook and poppier structures. What’s that you say? That didn’t happen? The record was just so completely, engrossingly wretched that my unconscious mind actually replaced it with something more palatable because Khanate stretch the limits of what punishment human beings can absorb in sound? Well fucking right on. That sounds like Khanate.
Oslo-based doom rockers Saint Karloff harnessed an energy that 25 years ago or so propelled the very beginnings of modern Scandinavian heavy rock and roll, and they did it as a duo paying tribute to bassist Ole Sletner as well. Rife with familiar genre elements, stoner riffing, and band-in-room vibes, and even a little cosmic prog in closer “Supralux Voyager,” Paleolithic War Crimes had its emotional crux in its celebration of song and style, and so became the successful rebound after a terrible loss. If you call yourself a fan of heavy rock, chances are there’s something for you in it.
Though they released the single-song I EP (review here) in 2018, the severely-titled Soul Murder is their first full-length since late-2016’s Blueside (review here). It puts the heavy blues frontmanship of guitarist/vocalist Mathias Northway at the fore as he, bassist Danny Smith and drummer Michael Lowe offer the most live-sounding studio effort I heard this year. Even if you go beyond the songwriting, the soul in the performances, the emotionalism and the believability of their blues, the classic warmth in their tones, the epic oil painting from Nick Keller that adorns its cover, you still have vitality (yes, even in slow parts) and the instrumental conversation happening between the members of the band. The degree of that alone warrants inclusion here.
It can be a challenge to keep up with the ongoing progression of Bergen, Norway, progressive black metal innovators Enslaved, but these 32 years on from their founding it remains worth the effort. Heimdal followed tumultuous but busy years for the band, who mostly supported 2020’s Utgard (review here) digitally for obvious reasons, and was perhaps that much freer in its experimentation as a result of the period of less live activity. However they got to the keyboard part sticking out of “Congelia,” it is only fortunate that they did, since certainly in another couple decades the rest of us might actually be on Enslaved‘s wavelength, and we’ll be glad for it. Until then, they outclass just about everyone’s everything across the board. One of the world’s best bands, outdoing themselves as ever.
Mondo Drag‘s fourth album was also their first in eight years, and with it the Oakland outfit put the lie to the stereotype that prog music is staid. Indeed, the crux of Through the Hourglass came with the passing of founding keyboardist/vocalist John Gamiño mother, in whose honor the Days of Our Lives reference in the title was made. That personal exploration of loss became a classic melancholy progressive psychedelic rocK, bolstered by a partially revamped lineup that includes bassist Conor Riley (Birth, ex-Astra) and drummer Jimmy Perez alongside the established character in the guitars of Nolan Girard and Jake Sheley (both also founding members). Likewise beautiful and sad, songs like “Passages” and “Death in Spring” resonated with the universal experience of mourning as filtered through a rich breadth of influences, memorable movements and entrancing melody. One hopes it was a comfort to Gamiño as surely it has been to others.
With shorter, tightly composed songs, Northern Ireland trio Slomatics managed to make the most atmospheric record of their career to-date. Their seventh LP, it used its time in songs like “Time Capture” and “Zodiac Arts Lab” to underscore the melody that’s been in their sound all the while but has never as much been the focus when set next to the abiding crush of David Majury and Chris Couzens‘ guitars, and though he’s behind the kit, drummer/vocalist Marty Harvey seemed all the more a frontman as his voice soared when called upon to do so. Of course, there was still plenty of time in the 36-minute run for Slomatics‘ crushall in “Wooden Satellites,” “I, Neanderthal,” later in “Voidians,” and so on, but it’s clear their range and reach have grown and their gradual evolution has brought a new level of complexity to their approach. If they keep this up, they risk feeling compelled to stop calling themselves Neanderthals, and while that would be a bummer, one very much hopes they keep it up anyway.
A new solo incarnation of Hamilton, New Zealand’s Craig Williamson — who is best known for his other one-man operation, Lamp of the Universe — the full-band-style heavy roller riffs throughout Dead Shrine‘s The Eightfold Path scratched what must have been a pretty fervent itch for heavy groove, classic swing, and fuzz, fuzz, fuzz, which cuts like “The Formless Soul,” “As Pharaohs Rise,” and side-ending self-jammers “Enshrined” and “Incantation’s Call” fortunately also have a mix spacious enough to hold. Williamson has rocked plenty since the turn of the century when he was in the heavy rock trio Datura, and around 2010 when he had the trio Arc of Ascent going. That band and this one have a lot in common, but Williamson has proven his most sustainable and seemingly preferred way of working is solo, and as one, Dead Shrine stands alongside Lamp of the Universe (wait for it…) in a way that feels like it could be longer term, even as Williamson seemed to blur the lines between the two sides on Lamp of the Universe‘s own 2023 outing…
Although they’re certainly distinct enough to be separate from each other at this point, Dead Shrine and Lamp of the Universe obviously share a lot in common and it felt right to pair them like this. Every year I give myself one ‘#a’ pick, so this is it for 2023 and I’ll just use it to say how incredibly vast Lamp of the Universe has become. While remaining loyal to its beginnings in acid folk and meditative psychedelia, Williamson‘s multi-instrumentalism, the scope of his production, and the absolute care he puts into the project have brought it beyond what reasonable expectations might’ve been. And in part, by that I mean Kaleidoscope Mind rocks. That wah solo in “Golden Dawn?” The blowout drums behind nine-minute opener “Ritual of Innerlight?” Goodness gracious, yes. Even “Immortal Rites,” which is about as close as Williamson gets to Lamp‘s beginnings here, has evolved. But it’s also still the same thing in the root. I don’t know. If you don’t stretch reality to get there, try again later. The most honest thing I can say about it is I feel lucky to be a fan.
It was the feeling that at any given point they might just go anywhere that made Sherpa‘s Land of Corals a surprise as the Italian practitioners of the psychedelic arts have thrown open the doors of both perception and microgenre and come across as thoroughly willful in their krautrock-minded ethereality, and just because the listener doesn’t know what might be next doesn’t mean the band aren’t working with a plan regardless. The follow-up to 2018’s Tigris and Euphrates (review here), the six-song/39-minute collection seemed to be fearless in what it took on, and though much of it was less serene than either of their first two outings, the divergences and the complexities in mood, ambience and arrangement render Land of Corals unto itself. Are we post-heavy here? Maybe. Still heavy as the drums behind “High Walls” show, however, though Sherpa‘s take on what that means and how that manifests is no less individualized than anything else in these tracks. Not something everyone is going to get — I’m not convinced I get it myself at this point — but an act whose creativity has yet to get its due.
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17. Gozu, Remedy
Released by Blacklight Media / Metal Blade Records. Reviewed May 18.
The Boston riff factory known as Gozu have only gotten more vicious, more pointed with time, and yet, tucked at the end of their 2023 outing, Remedy, which has them as veterans at 14 years’ tenure, are “Ash” and “The Handler” and it just goes from sweet to sweeter. Yeah, it’s a ripper into its blood with “CLDZ,” “Tom Cruise Control,” and Gozu — Marc Gaffney (vocals/guitar), Doug Sherman (guitar), Joe Grotto (bass) and Seth Botos (drums), working with producer Dean Baltulonis for a threepeat — have a brand of melody in Gaffney‘s vocals that’s all their own, and fast or slow, loud or quiet, ’80s movie reference or ’70s movie reference, Gozu have been around long enough to know what they’re about. But, after 2018’s Equilibrium (review here) and 2016’s Revival (review here), Remedy feels one step heavier. Revivalwas a great sharpening of sound. Equilibrium brought refinement to that. Remedy comes across with a little of a sense of letting go, of the band digging in where it’s more about what they can do together than the response it’ll get afterward. It suits them.
Oh, The Machine. Seven records deep and still in your 30s. That’s the advantage of starting early, which the Netherlands-based trio most definitely did. Wave Cannon, accordingly, is both masterful in its conjurations of warm heavy psychedelic fuzz, and energetic in its delivery, with founding guitarist/vocalist David Eering bid welcome to bassist Chris Both and farewell to original drummer Davy Boogaard. And where 2018’s Faceshift (review here) tipped a balance in their style toward more of a punker push, Wave Cannon led off with “Reversion” and seemed all the more purposeful in its mature heavy psychedelic delve for that. It could be Wave Cannon will be the blueprint for a settled-in aesthetic the trio now more than ever driven by Eering, or it could be the beginning of a whole new evolution of sound from the revamped three-piece recommitted to trippy sounds and warm nod. Either way, it’s not that often you talk about a band’s forward potential after seven full-lengths, so The Machine are in a pretty special place circa 2023 and Wave Cannon, whatever it leads to, is a special moment of transition captured.
Similar to how trees live in an experience of time separate from ours and the way an earth year is laughably tiny set against the scale of the universe, Chicago heavy psych rockers REZN seem to operate on their own temporal wavelength throughout their fourth album, Solace. Able to crush at will, as at the end of “Possession,” or the early going of “Stasis,” in the trades of “Reversal,” et al, Solace found REZN more confident in their dives through melody and atmosphere than even they were on 2020’s Chaotic Divine (review here), they created a space and dimensionality of sound that belongs solely to them in the style. Quieter stretches in “Webbed Roots” enthralled with their depth, and the ethereal vocals brought human presence while furthering the smoke-swirls and incense mystique. On their own terms, and yes, very much at their own pace, REZN have made themselves one of America’s most essential heavy psych bands, and Solace — joined in 2023 by REZN‘s collaboration with Mexico’s Vinnum Sabbathi, Silent Future (discussed here) — crowns their to-date discography.
I’m not saying I think it’s cool to write songs about serial killers, but if you’re going to listen to a Church of Misery release almost 30 years after bassist Tatsu Mikami started the band, chances are you know their stated theme is nothing if not consistent. Born Under a Mad Sign delivered on its promise of memorable doom riffs, and as the songwriter and figurehead for arguably Japan’s most influential doom export, Mikami acted as ringmaster while returning vocalist Kazuhiro Asaeda brought mapcap intensity (and fun) to the grooves fostered through Yukito Okazaki‘s guitar, Tatsu‘s bass and Toshiaki Umemura‘s swinging drums. As ever, loyalty and reverence to Black Sabbath are at the core of Church of Misery‘s everything, and in that sphere, there are very, very few humans walking the planet who can do the thing as well as Tatsu. Like, maybe four going on five. As such, regardless of the subject matter (something I can say because I don’t know anyone who’s been murdered) and some eight years after their preceding long-player, Church of Misery are essential as the vehicle for that.
I’m not sure if in 2015 when Boston’s Kind released their first album, Rocket Science (review here), anyone would have guessed there would even be a third full-length from them, let alone one that so much typifies the personality the band has built for itself. Comprised of the otherwise-plenty-busy lineup of vocalist Craig Riggs (also Sasquatch‘s drummer and so constantly touring), guitarist Darryl Shepherd (ex-Milligram, Blackwolfgoat, Test Meat, scores of others), bassist Tom Corino (Rozamov) and drummer Matt Couto (Aural Hallucinations, ex-Elder), Kind have found a sound that is separate from what its component members have done on their own, and become a genuinely more-than-sum-of-parts grouping. Whether it’s the rush of “Power Grab” or the way the rhythm of “What it is to Be Free” seemed to gain so much extra punch, or “Massive” at the record’s center earning its name in tone and swing alike. The “whoa baby come on” at 1:56 into that song is of course the reason Close Encounters made this list, but rest assured that across the span Kind are at what is a thus-far peak of their powers.
Stay with me here, because as you scroll further down this post, you’re going to see that Iron Jinn‘s hour-long 2LP first offering, declaratively-titled Iron Jinn, is my pick for debut album of 2023. Born out of an initial onstage collaboration at Roadburn 2018 (review here), the Arnheim, Netherlands-based four-piece brings together guitarist/vocalists Oeds Beydals (Molassess, ex-Death Alley, ex-The Devil’s Blood) and Wout Kemkens (Shaking Godspeed) with the labyrinth-constructing rhythm section of bassist Gerben Bielderman (Pronk, etc.) and drummer Bob Hogenelst, and from the late pointed lead lines of “Truth is Your Dagger” acting in duly jabbing fashion to the heady ambient drama of “Bread and Games” and the dark-prog atmospheres fleshed out as a backdrop to the melodies of “Soft Healers” and “Blood Moon Horizon,” the all-corners turns of “Lick it or Kick It,” on and on and on, the album resounds with both scope and ambition. What the long-term story of this project will be, I have no idea, but Iron Jinn is a record that brings new ideas to a sphere that very much needs them, and if there’s any luck, it will prove influential in the coming years.
Let the record show that when tasked with the biggest moment of their career to this point, Green Lung absolutely stepped up to meet it. This Heathen Land, as their first full-length with Nuclear Blast‘s backing (and third overall), will be the point of introduction for what will gradually become the bulk of their audience, and in its occult lyrics, sweeping, unironic, all-in grandiosity, weight of tone and craft of hooks, it tells you everything you need to know about why and how Green Lung got to where they are (save perhaps touring). Their task from here will be to find and refine the balance between metal and rock in their sound, but for a band whose clear intention from the outset was to take on the world to bring themselves to a point where they’re arguably doing so at least as regards the heavy underground is an accomplishment in itself. Then you get to songs like “Maxine (Witch Queen)” and the over-the-top finale “Oceans of Time,” and if you can let yourself have a little fun every now and again with your doom and witches and whatnot, this one was just about irresistible.
The album that boldly asked if it needed to be a wizard to earn your love, the fifth long-player from volume/tone/devil-worshiping (and perhaps in that order) Polish doomcrafters Dopelord was not at all the first heavy record to use Satan as a political statement — specifically in this case about social oppression in their home country and the political power of the catholic church there — but they wielded their rebel-angel argument with already-in-your-head songs like “Night of the Witch,” “The Chosen One,” “One Billion Skulls,” “Evil Spell” and the upped nastiness of “Worms,” in other words each and every of the non-intro/outro tracks, with emergent mastery and a plod that was as clear and infectious a call to praise as I heard in 2023, no less for its melodicism than its heft or the crispness of its delivery, the guttural rasps of “Worms” aside, which swapped in vitriol at just the right time. Songs for Satan was a new level for Dopelord‘s approach and as much an epistemological fuckoff to fundamentalism as it was consuming nod, and there was none more righteous in their cause. At the risk of saying the quiet part loud, dudes are going to be copping riffs from it for years.
Returning with their fourth long-player, Swedish trio Domkraft have found the style they’ve been working toward all along. As with some of the others on this list, it’s not that Sonic Moons was such a radical departure. It wasn’t. They worked with the same production team that helmed their 2022 Ascend/Descend (review here) split with Slomatics as well as 2021’s Seeds (discussed here). Björn Atldax‘s cover art was on point and in keeping with their visual aesthetic. But there’s a spaciousness on Sonic Moons in “Downpour” and amid the intensity of crash in “Stellar Winds,” and their sound has grown to become dynamic enough that as nine-minute leadoff “Whispers” pushed through its crescendo it seemed to get more and more physically forceful as part of the process. Couple that with assured writing and performances from bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren, and Domkraft honed in on an evolved cosmic noise rock and were unafraid to incorporate elements of psychedelia, space and classic stoner riffing into a definitive statement of their purpose.
Ukrainian progressive heavy rockers Stoned Jesus released a career album this year. Did you catch it? Restricted from touring as their home country continues to struggle against a Russian invasion that’s been ongoing for, well, a decade, but more intensely for the better part of the last two years, Stoned Jesus offered something different across each of Father Light‘s six tracks. From the catchy strums of “CON” to the only-timely-but-written-earlier “Thoughts and Prayers” and the you-want-riff-here’s-your-riff 11-minute neckroll of “Season of the Witch,” they proved once again to be a more diverse and thoughtful act than they’re almost ever given credit for being. Expanded stylistically from 2018’s Pilgrims (review here), Stoned Jesus — guitarist/vocalist Igor Sydorenko, bassist/backing vocalist Sergii Sliusar and drummer Dmytro Zinchenko — toyed with retroism on “Thoughts and Prayers” while the late solo in “Get What You Deserve” underscores the sentiment in that climate-change-themed finisher, all the while standing astride their own material, solid, confident, still looking forward. It’s the world that’s the problem, not the band.
First of all, I stand by the review. To expand on that (and the review itself was expanded on here), it was the songwriting that kept me coming back to the second album from Washington trio Kadabra, who progressed on all fronts from their already-impressive 2021 debut, Ultra (review here). They made hooks like “The Serpent” and “The Devil” feel like landmarks in a record-long horror feature that’s told as much in riffs as lyrics, but at the same time there’s nothing fancy happening in terms of sound. Some organ in “Mountain Tamer,” plenty of fuzz throughout, and the songs. It’s the songs. The songs. The fucking songs. That uplift in “Midnight Hour.” The feeling of oh-shit-we’ve-arrived in “The Serpent.” Playing toward some of Uncle Acid‘s lyrical creep with tight-knit grooves and sharp turns, Umbra not only showed the preceding LP wasn’t a fluke, it conveyed mood and atmosphere without giving up momentum or structure, and every move it made, from the shimmer opening “White Willows” to the last strains underscoring the chorus of “The Serpent” in the concluding acoustic reprise “The Serpent II,” Kadabra‘s sophomore outing communed with genre with a perspective becoming increasingly its own. And again, the songs.
There was a while there where I honestly didn’t think Dozer were ever going to do another record, so Drifting in the Endless Void is a life event as far as I’m concerned. The trailblazing Swedish heavy rockers have been playing live periodically for the last decade, and word has been kicking around of studio work, new songs following what was until this year their most recent album in 2008’s Beyond Colossal (featured here), but to actually have such a thing manifest and take the form it did made it a reinvigoration of Dozer‘s sound and what seemed to be a chance to try both new and old methods of working. In the raging “Ex-Human, Now Beast” and the breadth of “Missing 13,” Dozer reminded older heads. and showed a generation that’s come up since, why they’ve had the influence they have over the last quarter-century, including in their absence. Realize you’re lucky to be on the planet with it.
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5. Mars Red Sky, Dawn of the Dusk
Released by Vicious Circle Records and Mrs Red Sound. Reviewed Dec. 7.
A fifth full-length brought fresh ideas and new perspectives to the established progressive, melodic heavy psychedelic rock methodology of Bordeaux’s Mars Red Sky, who’ve greeted their maturity as a band with creative openness rather than stagnation. To be sure, guitarist/vocalist Julien Pras, bassist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — each crucial to the group as they are — have plenty of recognizable aspects for longtime fans. Indeed, their signature blend of warm but remarkably heavy tonality and floating melodic vocals remains unflinching, but what they do with it has changed. And that’s not just set up for mentioning the Queen of the Meadow collaboration either (more below), glorious as Helen Ferguson‘s contributions to “Maps of Inferno” are (she’s also on the closing reprise “Heavenly Bodies”), or that Jimmmy takes a lead vocal on “The Final Round.” You can hear the progression in “Break Even,” in the expanses of “Carnival Man,” that groove in “Slow Attack,” and even the spaciousness around the lurch of “A Choir of Ghosts.” Fast or slow, loud or quiet, even the interludes here shine with a sense of purpose, and if e’er forward is to be the course of Mars Red Sky for hopefully a long time to come, so much the better.
I will not mince words. This has been a difficult, taxing year for me personally and emotionally, and anytime I felt like I wanted to beat my head into the wall — which has been A LOT — Seattle bringers of chicanery-laced heavy punk-metal Sandrider were ready to go along for the ride. Working as ever with producer Matt Bayles (Mastodon, Isis, a small city’s worth of others), guitarist/vocalist Jon Weisnewski (who also released a killer record this year with his experimental grind/weirdo project Nuclear Dudes; don’t skip), bassist/vocalist Jesse Roberts and drummer Nat Damm wound at mostly high speed through energy summoned from a place I’ve clearly never been with songs that, while they were smashing all your favorite everything to tiny bits, left a memorable impression behind as bruises in the shape of themselves and ended up with enough bounce so that cuts like “Alia,” “Weasel” (the delivery of, “Here comes the mouth/Look at all its teeth”) the their-version-of-epic-and-that’s-pretty-epic “Ixion,” “Circles,” “Grouper,” the title-track, were fun in doing so. It’s their fourth record and I don’t know if there are a ton of surprises, but I sure was happy when it came along and kicked so much ass in such a specific and, for me, helpful way. A catharsis record, but don’t take that to mean it’s just angry. There’s a lot of humor here as well and the songs are a blast. Hard to imagine this isn’t what Sandrider had in mind when they set out over a decade ago.
A breakthrough in craft and style, and immaculate in its turns, tight-but-not-choked arrangements, and willingness to go and be in unexpected spaces, Elektrik Ram was for South African heavy rockers Ruff Majik — comprised of guitarist/vocalist Johni Holiday, bassist Jimmy Glass, guitarist/backing vocalist Cowboy Bez and drummer Steven Bosman — a rare realization of potential. I said as much in the review. Not every band gets to make a record like this. From the charge of its title-track and “Hillbilly Fight Song” and the unspeakable catchiness that begins there and threads throughout the stylistic shifts of “She’s Still a Goth,” “Cement Brain,” “Delirium Tremors” — on the 15th anniversary reissue, maybe bring the triangle down in the mix? (kidding; it’s painful and should be) — and into the broader grooves of its ending section with “A Song About Drugs (With a Clever Title),” “Shangrilah Inc.” and the raw-emotive “Chemically Humanized,” which when set against the oh-look-I-just-beat-your-ass thematic of “Hillbilly Fight Song” feels duly brought low. This is a great — yes, great — album, and I don’t think I listened to anything as much this year as I listened to it. They’ve already started work on their next LP, reportedly, and I worry it’s soon, but with the kind of control over their approach that they demonstrate here, there’s really no choice but to trust they know what they’re doing, since that is so much the underlying message in the material, even if its lyrical themes were by and large much darker.
It wasn’t exactly a secret that Howling Giant had momentum and progression on their side. They’ve toured hard the last couple years, offered the instrumental Alteration EP (review here) in 2021 following their oh-shit-these-guys-are-for-real split with Sergeant Thunderhoof, Masamune/Muramasa (review here), and back to their debut LP, 2019’s The Space Between Worlds (review here), and have worked so diligently to engage their audience that a sense of reachout has become part of their sound. You knew that when they next set themselves to making a long-player, there was a real chance for them to sculpt something special, but Glass Future was still a surprise. Unflinching in its construction, mixed for brightness as well as weight, and cutting through that with clearly-schooled harmonies between guitarist Tom Polzine, drummer Zach Wheeler and bassist Sebastian “Seabass” Baltes to give a pop-ish sensibility to progressive sounds that in other hands would serve far more self-indulgent ends. Received as a whole work with its timely endtimes lyrical foundation, it exuded welcome in the hooks of “Siren Song,” “Hawk in a Hurricane,” “Glass Future,” “Sunken City,” “Juggernaut” and the periodic slowdowns through “Aluminum Crown,” “Tempest, and the Liar’s Gateway” and the closer “There’s Time Now,” which called back to the Twilight Zone reference (Simpsons did it) in intro “Hourglass” while fleshing out a brilliantly melodic comedown for the human species. As with the finest of any year’s releases, it will hold its relevance far past the coming January, and for Howling Giant, it sets them on a path of fresh ideas and expansive sound, filtered through a cohesive process to be the engaging good-time apocalypse they’ve become. Glass Future makes Howling Giant one of America’s most essential heavy rock bands and figureheads for a generation still on the rise.
There was never another choice, and not much choice to start with. The manner in which founding guitarist/vocalist Lori S. revamped her band, bringing in bassist/synthesist Bryce Shelton (Nik Turner’s Hawkwind) and drummer Jason Willer (Jello Biafra’s Guantanamo School of Medicine) as the rhythm section supporting the band’s trademark rolling fuzz, and collaborating with Black Cobra‘s Jason Landrian, who added guitar and synth to the tracks, was an expansion and redirection of sound that simply wasn’t anticipated from a band closing in on three decades of activity. But after 2015’s still-undervalued Middle of Nowhere, Center of Everywhere (discussed here, review here), saw Lori and her then-lineup explore more heavy psychedelic sounds, Beyond Vision expanded on that with atmospheres never before conjured by any incarnation of Acid King, and Billy Anderson‘s production, as ever, allowed for scope and claustrophobia to exist in the same aural space. Hypnotic in the riffs of year-highlight “Mind’s Eye” and its penultimate title-track, Beyond Vision freely incorporated an influence from Author and Punisher into the slow plods of “Electro Magnetic” and the huge-in-a-new-way-for-them “90 Seconds,” tripped out easy on the roundly immersive opener “One Light Second Away” and galloped to a (again, surprisingly) rousing finish in “Color Trails.” A band you thought was a known quantity, whose sound you thought was set, showing that creativity doesn’t have to stop just because you have an established sound or are known for doing one thing. Acid King are still Acid King on Beyond Vision, but the boldness with which the album is realized and the sheer bravery of taking the risks it takes in pushing beyond (oh!) what were the parameters of Acid King‘s trailblazing, mellow-psych-informed stoner riffing — always possible it would fall flat in ways it obviously very much doesn’t — came together on a level that was simply unmatched in 2023. Acid King have perhaps never been more royal, more regal as they unfurl these seven cosmic triumphs, but somehow underneath they’re still punk rock. One way or the other, that the on-paper concept of Beyond Vision — all the changes, growth, shifts — winds up secondary to the strength and listening experience of the songs themselves makes it undeniable as the album of the year. It was a no-doubter.
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The Top 60 Albums of 2023: Honorable Mention
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I could very easily do another top 60 with these, and then some. Alphabetically:
1782, Abanamat, Acid Magus, Ahab, Albinö Rhino, Ananda Mida, Astral Sleep, Bell Witch, Benthic Realm, Bismut, Black Helium, Black Rainbows, Blood Ceremony, Blood Lightning, Bong Corleone, Bongzilla, Bridge Farmers, Cavern Deep, Cleõphüzz, Cloud Catcher, Clouds Taste Satanic, Danava, Darsombra, Dead Feathers, Deadpeach, Delco Detention, Desert Storm, Dommengang, Doom Lab, Dr. Space, Earthbong, Ecstatic Vision, David Eugene Edwards, End of Hope, Avi C. Engel, Fin del Mundo, Fire Down Below, The Fizz Fuzz, Formula 400, Fuzz Evil, Gévaudan, Ghorot, Giöbia, Godflesh, Godsleep, Graveyard, The Gray Goo, Green Yeti, Hail the Void, Haurun, Healthyliving, Hexvessel, Hope Hole, Humulus, IAH, Iron Void, JAAW, Jack Harlon & the Dead Crows, Katatonia, La Chinga, Lamassu, Larman Clamor, L’Ira del Baccano, Love Gang, Lucid Void, Maggot Heart, The Magpie, Mammatus, Mammoth Caravan, Mansion, Margarita Witch Cult, Masheena, Melody Fields, Melt Motif, Merlock, Minnesota Pete Campbell, Mizmor, Moon Coven, Moonstone, Morag Tong, Morass of Molasses, Morne, The Moth, Mountain of Misery, Mouth, Mudness, Mud Spencer, Los Mundos, Mutoid Man, Natskygge, Nebula Drag, Nuclear Dudes, Obelyskkh, Conny Ochs, Øresund Space Collective, Orsak:Oslo, Patriarchs in Black, Plainride, Primordial, Restless Spirit, Ritual King, The River, Robots of the Ancient World, Rocky’s Pride & Joy, Royal Thunder, Runway, Sadus The Smoking Community, SÂVER, Seum, Siena Root, Slowenya, Smokey Mirror, Evert Snyman, Sonic Moon, Sorcia, Spidergawd, Spotlights, Surya Kris Peters, Swan Valley Heights, These Beasts, Thousand Vision Mist, Thunder Horse, Tidal Wave, Tortuga, Travo, Treedeon, Trevor’s Head, Unsafe Space Garden, Vlimmer, Warp, Westing, Wet Cactus, Witch Ripper, WyndRider, Yakuza, Zone Six, and apparently frickin’ everything that Dr. Space touches.
Notes:
Certainly a landmark year for Blues Funeral and Magnetic Eye, while Ripple Music, Heavy Psych Sounds, Small Stone, Kozmik Artifactz, Napalm, Sound Effect, Spinda, Mongrel Records and Exile on Mainstream fostered a deeply admirable swath of sounds. If you’re not following these however you do your following — email lists, social media, Bandcamp, etc. — I suggest in a spirit of friendship that you consider doing so.
A couple thoughts before we wrap the big list. First, I harbor no delusions that it’s complete. There always are and always will be records that slip by me. I’m one person running this site. I’ll never be able to hear everything, appreciate everything I do hear to the utmost as everyone else might, or even want to. This is my list, my listening habits for the year and what I thought were 2023’s best full-length releases. If you’d put more in it than that, go look at the headline again. It’s a list. I take it seriously, of course, but if you had Swan Valley Heights or Godflesh or La Chinga at number three on your list — all of which are totally valid picks, just like the rest — and I didn’t, that’s okay.
In fact, it’s beautiful, but it doesn’t always come out that way in the discussion. I’m asking as I do every year to please keep opinions and conversations civil in their presentation. I know arguing on the internet is fun but I’d rather not have the drama and rest assured, I take it all personally.
So, about the honorable mentions: where do you even start? While the balance of the main list, the top 60, is toward established and even veteran acts, it’s encouraging to see so many up and coming groups forcing their way into consideration. From the ambient evocations of Orsak:Oslo to Sorcia’s thick sludge and Melt Motif’s sultry industrializations, Mountain of Misery branching off from Spaceslug, outfits like IAH and Swan Valley Heights finding new maturity, Mammoth Caravan bring aggro edge to huge tones, Healthyliving, Merlock, Morag Tong, Godsleep, These Beasts, Margarita Witch Cult, Warp, Earthbong, Abanamat, Runway, WyndRider, Trevor’s Head, Fire Down Below, High Priest, Nebula Drag, The Magpie, Love Gang, Jack Harlon and others, a slew of impressive debuts and second albums, the generational evolution of sound is ongoing, vibrant, bands establishing themselves and claiming their aesthetic place and respective audiences as we speak. I would urgently encourage you to engage with these artists now, both for immediate satisfaction and as investment in the shape of heavy music to come, which they will make.
The bottom line is this: I believe deeply in the power of art to affect your life, to make it richer, fuller, better. There are mornings when The Obelisk is the reason I’m getting out of bed, and I thank you for reading, for being a part of this. I’ll say more later. We still have a ways to go.
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Debut Album of the Year 2023
Iron Jinn, Iron Jinn
Other notable debuts (alphabetical):
Altered States, Survival
Astral Hand, Lords of Data
Benthic Realm, Vessel
Blood Lightning, Blood Lightning
Bog Monkey, Hollow
Bong Corleoone, Bong Corleone
Cleõphüzz, Dune Altar
Codex Serafini, The Imprecation of Anima
Daevar, Delirious Rights
Dead Shrine, The Eightfold Path
Deer Lord, Dark Matter Pt. 1
Dread Witch, Tower of the Severed Serpent
Ego Planet, Ego Planet
Embargo, High Seas
From the Ages, II
Fuzzy Grapes, Volume 1
Haurun, Wilting Within
Hibernaut, Ingress
HIGH LEAF, Vision Quest
High Priest, Invocation
Inherus, Beholden
JAAW, Supercluster
The Keening, Little Bird
King Potenaz, Goat Rider
Lord Mountain, The Oath
Margarita Witch Cult, Margarita Witch Cult
Massive Hassle, Massive Hassle
Mammoth Caravan, Ice Cold Oblivion
Medicine Horse, Medicine Horse
Merlock, Onward Strides Colossus
Milana, Milvus
Mountain of Misery, In Roundness
Ockra, Gratitude
Oldest Sea, A Birdsong, a Ghost
Pyre Fyre, Pyre Fyre
Runway, Runway
Slow Wake, Falling Fathoms
Strider, Midnight Zen
WyndRider, WyndRider
Slumbering Sun, The Ever-Living Fire
Sonic Moon, Return Without Any Memory
Tō Yō, Stray Birds From the Far East
Tribunal, The Weight of Remembrance
Weite, Assemblage
Notes:
Tell your friends. I think what I like most about that glut of names just above is that there’s a full spectrum of sounds there. Yeah, it’s all under an umbrella of expanded-definition heavy, but that’s the point too. A creative boom is happening that’s seeing the post-Gen X and the earlier end of the Millennials making room for newer acts with new ideas and perspectives.
Why did I pick Iron Jinn as debut of the year, when there was obviously so much otherwise to choose from? Easy. It was the most its own thing out of any of these releases. I love Dead Shrine, Blood Lightning’s intensity speaks to my brain in a way not everything can, Margarita Witch Cult have been building buzz all year. Oldest Sea’s debut is a melancholic declaration of arrival. I was not short on choices, and I’ll probably keep adding to this list as the next week or so goes on.
Dark, heavy, progressive in its approach and complex enough that I still feel like I’m getting to know it, Iron Jinn‘s self-titled so much brimmed with purpose that it seemed to go beyond a first record. My hope, honestly, is that Oeds Beydals and Wout Kemkens spend the next 30 years or so refining that collaboration and exploring where it can go, because if this is the starting point, it’s got enough to it to be the beginning of a lifetime’s exploring. One never knows how things will work out when songwriters work together, but clearly Iron Jinn drew from the strengths of all its members. Records like this, on the unlikely occasion they happen at all, don’t happen by accident.
And yes, Iron Jinn are a new band not necessarily comprised of inexperienced players, but most bands start from members of other bands. Blood Lightning, Slumbering Sun, Weite, Mountain of Misery, JAAW, Ego Planet, Massive Hassle, all the way back up to Benthic Realm and Altered States. New bands, new sounds, new ideas all coming to the fore. Couple that with acts like WyndRider, Daevar, Lord Mountain, Hibernaut, Oldest Sea, Mammoth Caravan, Sonic Moon, Tō Yō, Medicine Horse, High Priest and others here whose members haven’t necessarily appeared in an Obelisk year-end post before, and you get a more complete picture of the churning magma that is the potential for the heavy underground over the rest of the 2020s and hopefully beyond.
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Short Release of the Year 2023
Mars Red Sky & Queen of the Meadow, Mars Red Sky & Queen of the Meadow
Other notable EPs, Splits, Demos, Singles, etc.
Aawks, Luna EP
Aawks & Aiwass, The Eastern Scrolls Split LP
Apollo80 & Dimartis, Reverberations Vol. 1: Tales of Dust and Winds Split LP
Beastwars, Tyranny of Distance EP
Black Glow, Black Glow EP
Bloodsports, Bloodsports EP
Book of Wyrms, Storm Warning Single
Borracho, Kozmic Safari Single
The Bridesmaid, Come on People Now Smile on Your Brother
Burning Sister, Get Your Head Right EP
Cervus, Shifting Sands
Familiars, Keep the Good Times Rolling EP
The Freqs, Poacher
Grin, Black Nothingness EP
Guided Meditation Doomjazz, Expect EP
High Desert Queen & Blue Heron, Turned to Stone Ch. 8: The Wake Split LP
The Holy Nothing, Volume I: A Profound and Nameless Fear EP
Iress, Solace EP
Josiah, rehctaW EP
Kal-El, Moon People EP
Kombynat Robotron & DUNDDW, Split LP
Lammping, Better Know Better EP
Monolord, It’s All the Same EP
Mordor Truckers, Nowhere
Nerver & Chat Pile, Brothers in Christ Split
Night Fishing, Live Bait EP
Oxblood Forge, Cult of Oblivion
Zack Oakley, Demon Run / Funkier Than a Mosquito’s Tweeter EP
Severed Satellites, Aphelion EP
Space Queen, Nebula EP
Speck & Interkosmos, Split LP
Stöner, Boogie to Baja EP
Suspiriorium, Suspiriorum EP
Trillion Ton Beryllium Ships, Destination Ceres Station: Reefersleep EP
Ufomammut, Crookhead EP
Vokonis, Exist Within Light EP
Weedevil & Electric Cult, Cult of Devil Sounds Split LP
The Whims of the Great Magnet, Same New Single
Notes:
In keeping with their history of releasing EPs ahead of their LPs, Mars Red Sky this Spring offered the Mars Red Sky & Queen of the Meadow short outing as a preface to Dawn of the Dusk (number five on the big list), but with just three songs it became one of the releases I listened to most this year. I had “Maps of Inferno” on repeat to a degree that was kind of embarrassing to me even in front of family, and since the EP was basically that, the companion “Out at Large,” which isn’t on the full-length, and an edit that cuts out most of the trippy midsection of “Maps of Inferno” so that it all the more hammers groove into your head in what drummer Matgaz very kindly explained to me was 4/4 timing with three extra beats. Good luck following along to his kick on what seems like such a straightforward nod. What a band. I’m not doing a separate section for it, but “Maps of Inferno” was also hands-down my song of the year.
You can see above, it’s a pretty broad mix, both of release types, of new and older acts, and of styles. I’ve been hailing Vokonis’ better-future queer prog-doom on the regular, and Josiah, Monolord and Ufomammut’s EPs were nothing if not listenable. I dug the first outing from Suspiriorum (mems. Destroyer of Light and more) and hope they continue to flesh out their cult-horror ambience, and Severed Satellites’ (mems. Sixty Watt Shaman, etc.) jams set just right in their Marylander groove. Lammping will likely be on some list of mine until they break up — I’m hooked — and Zack Oakley’s funk also resonated. From the warm heavy psych of Cervus to The Bridesmaid’s all-in-on-far-out experimentalism, a victory lap from Stöner after two quality LPs and the High Desert Queen and Blue Heron split that’s another landmark in Ripple’s ongoing ‘Turned to Stone’ series, it’s been a good year if you’re willing to be distracted bouncing from one thing immediately to the next, which apparently I am.
It’s no coincidence Aawks are on the list twice, and I haven’t reviewed that Black Glow EP yet (it’s in the next Quarterly Review), but it’s a gem as well. Also very interested to see where The Freqs go as a new voice in heavy rock from Boston, and Night Fishing (mems. Abrams) feel like they’re just starting to find what they’re looking for, but this year was also their first and second releases, so they’re on their way. Grin’s assault was furious, and Beastwars always tick that box as well. I continue to dig the vibe of Trillion Ton Beryllium Ships and look forward to more from them, and same goes for both DUNDDW and Bloodsports here, as well as both Apollo80 and Dimartis on that split. Burning Sister took advantage of an opportunity to expand on their sound, and their take on Mudhoney’s “When Tomorrow Comes” was overflowing with love for the source material. If you can’t get behind a band being fans, I’m not sure what we’re doing here.
Because a ‘short release’ can be so much, I won’t call this list complete. If you have a single you loved, or an EP or split or anything else of the sort, and you don’t see it above, please just leave a comment. Maybe I left off something crucial. Maybe you can put me onto something awesome I didn’t hear. I’ll take it either way, and only ask again please be kind.
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Live Album of the Year
Ecstatic Vision, Live at Duna Jam
Other notable live albums:
The Atomic Bitchwax, Live at Freak Valley
Causa Sui, Loppen 2021
Dool, Visions of Summerland
Duel, Live at Hellfest
Edena Gardens, Live Momentum
King Buffalo, Live at Burning Man
Messa, Live at Roadburn
Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Live in NY
Rainbows Are Free, Heavy Petal Music
Sacri Monti, Live at Sonic Whip
Temple Fang, Live at Freak Valley
Uncle Acid and the Deadbeats, Slaughter on First Avenue
Villagers of Ioannina City, Through Space and Time
Notes:
This isn’t a huge list, but it’s burners front to back, and in that regard there’s little in the heavy underground, certainly toward the maddened-space-psych end of it, that can touch Ecstatic Vision’s intense performance ethic. If they’re not yet, I firmly believe the Philadelphia outfit led by guitarist/vocalist Doug Sabolick (also guitar for Author & Punisher) are on their way to having their reputation as a live band precede them, and Live at Duna Jam is further evidence that it should. Issued through Heavy Psych Sounds, it both captured the four-piece’s ultra-dead-on cosmic blast, but it paired that with the theatre-of-the-mind romance of Duna Jam itself; the best-kept-secret-in-heavy week-long unofficial festival held each year in Sardinia is the ultimate escapist daydream. That combination was just too powerful to ignore.
King Buffalo’s surprise Live at Burning Man release will do well to hold over till their next full-length, and I’ll just tell you flat out that no home should be without Causa Sui’s Loppen 2021. Uncle Acid’s first live outing was somewhat obligatory but welcome, and Messa’s Live at Roadburn celebrated the emergence of that genre-blending Italian unit as one of the most essential up and coming bands in Europe. They also made their first appearance on North American shores this year. One suspects it won’t be their last.
I’ll be very much anticipating what’s next from Sacri Monti, Duel, Causa Sui (of course), Temple Fang and actually the rest on this list, which leads us to…
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Looking Ahead to 2024
You’re almost there. Just keep going. Special thanks to the folks in The Obelisk Collective on Facebook for the help on rounding up this hopefully-alphabetized list of names:
10,000 Years, Acid Mammoth, Apostle of Solitude, Big Scenic Nowhere, Bismarck, Blue Heron, Castle Rat, Coogans Bluff, Crystal Spiders, Curse the Son, Deer Creek, DVNE, Foot, Full Earth, Fu Manchu, Greenleaf, Hashtronaut, Heavy Temple, High on Fire, Horseburner, Iota, Ironrat, King Buffalo, Kungens Män, Lamassu, Mammoth Caravan, Mammoth Volume, Maragda, Mario Lalli & The Rubber Snake Charmers, Monarch, Monkey3, Moura, My Diligence, The Obsessed, Orange Goblin, Psychlona, Red Mesa, Rhino, Ruff Majik, Sacri Monti, Sasquatch, Sleepytime Gorilla Museum, Slift, Slomosa, Spirit Mother, Stonebride, Troy the Band, Ufomammut, Unida, Vitskär Süden, Vokonis, Weedpecker, and just because they should probably be on this list every year until a new record comes out if one ever actually does: Om.
If you’ve got names here too, the more the merrier, comment button is below.
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THANK YOU
This has not been a minor undertaking, whether or not you count the fact that I started keeping notes for 2023 in 2022, just like right now I’ve already got notes going for 2024. It never stops. But every year, I feel like this is among the most important things this site puts out and I use these lists all the time for reference, looking back on what was happening where and when, what came out when, etc. I hope you also find something useful here. I don’t have an exact count, but just by estimate there are at least somewhere between 200-300 bands talked above above. It’s a lot. It’s overwhelming. But I hope you can find something that sounds like it’s speaking directly to you, because I know that I have several times over. Any one of my top five picks I consider an ‘album of the year,’ if that’s a decent place to start.
Thank you to The Patient Mrs. for her support, love and inexplicable willingness to put up with my crap. Right this second, she is keeping our daughter hooked into a going-late morning loaf in bed I think specifically until I get up from the couch, go in the other room, and declare I’m about to start The Pecan’s breakfast, which I probably should’ve done like an hour ago. I am luckier than I am able most days to realize, and I’m working on that, and it is the beauty and flat-out amazing nature of the two people with whom I share our home that is the reason why it’s worth that effort.
I’m sure I said as much above, but I believe in art. I believe in creativity. I believe these things are a path to fulfillment that lives without them do not experience. There are ups and downs to everything, and any glorious creative individual is just as likely to be their own worst critic, but isn’t that still worth it too? Don’t we move forward anyway, because what’s the other choice?
I thank you for reading a lot. I’ll do it again now: Thanks for reading. Your support is the reason this site is still here. It’s why it’s worth it to me to take hours from days stretched across the better part of a week (I actually finished early, thanks again to The Patient Mrs.) to do this in the first place, let alone entertain the notion of doing so again next December and on into some unknown measure of perpetuity.
Thank you. Thank you. Thank you. If you’re seeing these words, I wish you and yours the best of everything for fucking ever, and cannot begin to tell you how much I value your time and willingness to spend it here.
Taking tomorrow off, but after that, we go as ever: onward.
Posted in Whathaveyou on March 30th, 2023 by JJ Koczan
Heavy blues rockers Child have booked a run of mostly-east-coast tour dates in their home country of Australia to support the recent release of their third album, Soul Murder (review here). That record has a bit of a temporal slip going on, since it was recorded at least largely in 2018 and only greets public ears now, but that’s still long enough for it to show progression from 2016’s Blueside (review here) — 2018’s I EP (review here) makes that seven-year stretch between LPs somewhat less mammoth — and if you haven’t heard it, god damn, the songs.
Headlined by a virtuoso performance from guitarist/vocalist Mathias Northway, and with the classic heavy rock rhythm section of bassist Danny Smith (since replaced by Rhys Kelly) and drummer Michael Lowe at its foundation, Soul Murder collects seven individual pieces with an unmitigated flow between them and while coming across as oh-you-know-nothin’-too-fancy casual on its face — not literally, the Nick Keller cover art is likewise gorgeous and epic — it harnesses a ’70s spirit through a presentation all its own.
It is quite an album, in other words, and if you didn’t hear it, I’d advise you hit play on the Bandcamp embed below and kiss a decent portion of your afternoon goodbye as you lose yourself in its dynamic sprawl. The tour dates, which are set for April and May, follow here, as posted on social media with some additional comment from Northway. And by the way, if you’re not from Oz or have never seen Bluey, a dunny is a toilet.
Here you go:
CHILD – Soul Murder Tour 2023
Says Mathias Northway (guitar/vocals): “After being lost at sea on a sinking ship there is no better feeling than seeing land. Especially when everyone is there waiting on the beach for you.”
“I’m comin’ around to use your dunny and drink your beers.”
April 8 Tanswells Hotel Beechworth VIC April 14 The Barwon Club Geelong VIC April 15 The Brunswick Ballroom Melbourne VIC April 20 Mo’s Desert Clubhouse Gold Coast QLD April 21 Bad Luck Brisbane QLD April 22 Factory Floor Sydney NSW April 24 UniBar Adelaide SA April 28 SoundBar Capel Sound VIC April 29 TBC May 5 Transit Bar Canberra ACT May 6 The Eastern Ballarat VIC
Child are: Mathias Northway – guitar/vocals Rhys Kelly – bass Michael Lowe – drums
All of the music included in today’s episode of The Obelisk Show is new unless otherwise noted. There was some fresh-out stuff I knew I wanted to put in — REZN, Black Helium, Child, Edena Gardens, Santo Rostro, etc. — and then I kind of started digging back a little, and with the space of a year between went back to dig a few tracks out of 2021, the Thermic Boogie song from 2020, and so on, all with the semi-conscious aim of exploring the idea of what it means when one thinks of a band being ‘dug in.’
In the voice tracks, clever soul that I am, I call it “digging in to being dug in.” It’s not a special episode, really — apart from the odd deep-dive or memorial, getting to play new music someone might not’ve heard on a platform like Gimme Metal is pretty special already, as far as I’m concerned — but kind of an underlying semi-theme. At very least, something that was in my head when I put the playlist together.
So with the back and forth of new and old(er) material and longer songs generally, it’s a different episode for sure than the last one, but I wanted to see how this went and how it felt really picking tracks that unfold in their own way, letting them do that. I don’t know if it’ll work or not — if the chat is dead and nobody’s listening, I’ll have my answer — but it’s a little bit of an experiment on my end and I’m grateful for the opportunity to conduct it.
Thanks if you listen. Thanks for reading. Thanks in general. Your support is appreciated. I’m a real human being and it means something to me, genuinely.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 03.17.23 (VT = voice track)
E-L-R
Forêt
Vexier (2022)
Santo Rostro
Matriz
Después no habrá nada
REZN
Reversal
Solace
VT
Thermic Boogie
A Herdhead
Sheer Madness (2020)
Child
Coming Up Trumps
Soul Murder
The Buzzards of Fuzz
Mostly Harmless
The Buzzards of Fuzz (2021)
Edena Gardens
Veil
Agar
Genghis Tron
Dream Weapon
Dream Weapon (2021)
Sermon
Golden
Of Golden Verse
Black Helium
Another Heaven
Um
VT
Witch Ripper
Everlasting in Retrograde Pts. 1 & 2
The Flight After the Fall
King Buffalo
Firmament
Regenerator (2022)
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is March 31 (subject to change). Thanks for listening if you do.
Child are all-in on heavy blues. It’s been seven years since the release of their second album, 2016’s Blueside (review here), nine since they issued their 2014 self-titled debut (discussed here) and five even since their 2018 I EP (review here), but somehow when the Melbourne trio led by guitarist/vocalist Mathias Northway lock into the sweet flowing fuzz boogie of “Free and Humble” — also released as a single in 2020 — as the first of seven songs dug into classic heavy vibes, organic performance-capture and soul, time seems to matter much, much less. Soul Murder is a severe title — it was originally Soul Merda, which they were correct in changing — and to coincide with the once-again-stunning Nick Keller oil-on-canvas cover art playing off ‘The Creation of Adam,’ the returning lineup of Northway, bassist Danny Smith and drummer Michael Lowe push everything further in their sound.
The blues is bluer. The rock is heavier. The done-me-wrong woes wrought through the lyrics and the tales there of lessons hard-learned feel sincere in the telling, and the entire feel of Soul Murder is one of accomplishment front to back, having built on the first two albums (less the EP, but that too if you want) and continued their progression to a critical stage in the life cycle of the band; a third album realization of who they are, marked by songs that carry across emotion and heft regardless of volume, feeling purposeful even as they ‘keep it loose’ in terms of flow and use open space to emphasize a live feel in songs like “Standing on My Tail” — dig that bass after the three-minute mark — and “Soul Murder” itself, where the guitar takes a break for most of the verses early on and sets up a move into a going-way-out heavy jam stretched across the bulk of its five minutes, Northway vibrato’ing out sorrows as the band taps Sabbath-rooted nod not for the first or last time with before shifting into a feedback-layer-inclusive solo-section.
In comparison to Blueside, some of Soul Murder is more stark in its trades, not so much with “Free and Humble,” which shimmies a middle line of blues rock comfortably and with a rhythmic sleekness that’s a credit to Smith and Lowe even if so much of the record from that point on is highlighted by Northway‘s mastery on guitar and vocals, be it the soft noodling after the crash-in intro to “Trouble with a Capital ‘T'” and the improvised-sounding final moments of centerpiece “Feels Like Hell” or the especially Hendrixian blues lines he brings to “Standing on My Tail,” his can-sing delivery shifting slightly to follow-suit.
Dropping hints along the way of fine detailing like the distant echoes of “by now” at two minutes into “Free and Humble” or some handclaps worked in with Lowe‘s mellow-swinging snare in that same chorus and again later, even just the tones of the guitar, bass and drums as recorded — in 2018, at least in part — by Nao Anzai at Head Gap Studios, who also mixed and mastered, Soul Murder presents a multi-tiered experience, with dynamic and reach enough to warrant and reward close listens and an overarching groove on its face.
There’s progression in the patience of their delivery as well, holding together “Trouble with a Capital ‘T'” no less than Smith‘s bassline, as Child make it clear early on they’re going to take their time and that’s alright. Second behind “Free and Humble,” “Trouble with a Capital ‘T'” is expansive and purposefully placed as the first of three included longer songs, with the other two being the closing salvo of “Moment in Time” and “Coming up Trumps,” all over six minutes. Unlike their first two LPs, Child don’t touch the 10-minute mark on Soul Murder, and on average the individual cuts are shorter, but the band are deceptively efficient, seeming to bring each song to life from the silence at its start, leaving a trail of memorable riffs and leads behind them in “Standing on My Tail,” the funk-as-stoner midsection of “Soul Murder,” etc. en route to “Moment in Time,” which makes a point of its minimalism initially as if to leave room for the vibrant fuzz and weeping feedback that soon enough fills it, and “Coming up Trumps,” which at 8:13 is by no means the longest song the three-piece have ever done but is an epic just the same recalling “Dazed and Confused” in its affect and, in its heaviest stretches, lumber that feels born of the intro to “War Pigs.”
Structurally, most of Soul Murder works on builds, and by the time “Standing on My Tail” starts with its unrepentant lean into R&B crossover, Child make it clear where they’re headed, but the paths they take are varied and satisfying. And more over, fluid. That is to say, while there are definite points at which a pedal is clicked on and the distortion swells — “Moment in Time” at 3:22 and “Soul Murder” at 1:39 come to mind — the material isn’t necessarily relying on its impending ‘heavy part’ as a payoff, or limited either in speaking to one side or the other in their sound. This ultimately makes Soul Murder a more immersive listen and more complete-feeling album in fostering that aforementioned overarching groove as something that persists regardless of how loud a given stretch might be.
Perhaps stripping down some of the more psychedelic and jammier aspects of their style has let Child flourish in craft while not leaving a spontaneous/on-stage spirit behind, which would seem at least in listening to be the best of both worlds, hints of ethereality in some of the instrumental passages doing nothing to pull away from the emotive impact of Northway‘s vocals. Those are every bit worthy of the showcase they’re given in “Trouble with a Capital ‘T'” and “Standing on My Tail” on side A and provide a grounding effect as “Moment in Time” and “Coming up Trumps” shift more into jams, the former capping with amp hum and residual feedback and cymbal taps as if in direct precursor to the outright doom in the apex of the subsequent finale, which ends Soul Murder with an actually-satisfying big-rock finish, pulled out and held, twisted around and hinting that they’re going to drop back into the heavier roll just before the last wash enters its fade; damn near perfect. They make you believe it.
And that’s true of the record as a whole as well. I don’t know and won’t speculate on anyone’s life situation, but the blues on Soul Murder feels real in terms of channeling personal turmoil into accessible songwriting, and Northway‘s emergence as a frontman — which has been a plot thread for Child‘s work to this point — is a settled issue. There are parts where the songs seem to recede specifically so he can carry them — 30 seconds into the title-track, for example — and he does without fail each time, backed in the spirit of ’70s heavy by Smith and Lowe as the essential foundation of the power trio.
As much as one wonders what might cause Soul Murder to have been so long in arriving after being recorded half a decade ago, the results of the album are enough to just make one glad it arrived at all. I won’t try to predict their future either or delve into hyperbole of Child among the forefront of Australia’s ultra-packed and diverse heavy underground, but whatever comes of it after the fact, Soul Murder is a significant achievement on their part in living up to and surpassing the high standard set by their first two full-lengths. It is multifaceted in its growth, expressive, and genuine. Again, they are a band to make you believe, and one expects their testimony to win converts accordingly.
Posted in Whathaveyou on February 26th, 2020 by JJ Koczan
Lest one be accused of burying the lede, heavy blues rockers Child are doing dates in their native Australia this week with UK garage-doom forerunners Uncle Acid and the Deadbeats. That’s a damn good show, but it’s not a show I’ll be fortunate enough to see, so you’ll pardon me if my self-involved self is more taken with the release of the new single “Free and Humble” from the Melbourne-based trio and the accompanying word of a third long-player, Soul Merda, of which it’s serving as a first four-minute taste. Sign me right up, and if you don’t know why immediately, just listen to the track.
Child haven’t brought out anything but classic-groove right-on-ness since their 2013 self-titled (discussed here), and if you caught wind of that LP, its 2016 follow-up, Blueside (review here), or their 2018’s I EP (review here), you already know that fact well. I’ll assume you have, and therefore turn you over as quickly as possible to the info and the new song, with the thought that, if you saw the headline that said “new Child track,” you’re probably not reading this shit anyway. And fair enough.
So here you go:
CHILD – Free & Humble
The wait is over! Australia’s premier heavy blues act CHILD have surprised us with the first single titled “Free and Humble” from their much anticipated third LP “Soul Merda”. The band have been on a short break since September 2019 and have announced that this album “will be the last from the CHILD you know”. It is not known whether this means the band is expanding, changing direction creatively or returning to the mothership. We do know that this is the beginning of an exciting new path for the band and listeners alike. Remember to stay “Free and Humble.”
Recorded to 2 inch tape by Nao Anzai at Head Gap Studios, Preston Victoria Mixed and Mastered by Nao Anzai at Rolling Stock Studios, Collingwood Victoria.
“Ball and Chain” artwork by Les Elefant
CHILD Live with UNCLE ACID AND THE DEADBEATS: Feb. 28 The Brightside Brisbane Mar. 01 Factory Theatre Sydney Mar. 03 Max Watts Melbourne Mar. 04 The Gov Adelaide
CHILD is: Mathias Northway – Vocals/Guitar Michael Lowe – Drums/Percussion Danny Smith – Bass Guitar
Melbourne-based heavy blues rockers Child released their self-titled debut on Feb. 19, 2014, just over five years ago. It was the right vibe at the right time, though quite frankly, in terms of time, now works pretty damn well too. Comprised at the time of guitarist/vocalist Mathias Northway, drummer Michael Lowe and bassist Jayden Ensor, the three-piece made their purposes plain right in the opening lines of “Trees” that set the record on its way: “Every day/Every day I have the blues.” Even in the repetition of “every day” at the start, Northway conveyed the band’s aesthetic adherence to what he was singing about. They used to call it “blue-eyed soul,” which was a nice way of saying “made by white dudes stealing from black dudes,” but whether it was Cream and Led Zeppelin, Ten Years After, John Mayall, ZZ Top or Stevie Ray Vaughan — or any of the multitudes of others who heard Robert Johnson and subsequently picked up a guitar — Child would hardly be the first to bear that tag. For what it’s worth, they wore it well on the five-track/37-minute LP. Australia’s complicated and ongoing racial history is its own thing, and I’m no expert on it, but whatever else one might say about cultural appropriation, white people in Australia didn’t hold African slaves in America, and that makes a big difference in how one should think about their relationship to African-American culture.
And while they might have the blues every day, Child weren’t shy either about expressing them in a massive wall of fuzz as “Trees” made its way through its second half. The languid opener gave way to “Stone by Stone,” a fluid jammer that underscored the whole-album sensibility of the work overall. Though “Trees” cut to silence at the end and “Stone by Stone” picked up from there, the live feel came through as an essential component of what the band were doing. Coupled with Northway‘s melodic flow in kind with the lead noodling and the bass that seemed to anchor the groove even as the drums built toward one chorus after the next, “Stone by Stone” and the tracklist-centerpiece and side A closer “All Dried Up” that followed, it became clear that the listener was experiencing a live set transposed to tape. It’s a two-sided LP in its construction, no doubt, but even as the guest organ from the mysterious Horce entered into “All Dried Up,” it was easy to imagine Child tucked into some barroom corner, maybe on a stage, maybe not, building up the track — also the shortest on the record at just over five minutes — and turning heads among those seated around them drowning their own woes. The overarching naturalism of the recording — its tonal warmth, the relatively barebones presentation of instruments and vocals clear but not overly produced — set just a balance for the trio to make their statement in tying together heavy rock and blues traditionalism while making both sound refreshed for their handling.
I don’t want to say side B was where they really got down to business — since “Trees,” “Stone by Stone” and “All Dried Up” were nothing if not down to business — but in “Mean Square” and “Blue Overtone Storm/Yellow Planetary Sun,” Child hit another level of molten blues, and drew together the dual facets of their personality once more with an organic feel that wasn’t just indebted to the ’70s in a vintage-sense, but seemed to delve deeper, playing toward what inspired the heavy rock movement in the first place. That was, in large part, the blues, but also psychedelia, garage rock and even the pop of the day. “Mean Square” resolved itself in a hypnotic lumber, finding a place between past and present that’s as ready for repeat listens as any heavy blues I’ve ever heard, and at just over 10 minutes, “Blue Overtone Storm/Yellow Planetary Sun” reminded of the understated hooks that were present all along as the reward for those repeat listens, playing out complemented by a gloriously fuzzy lead in the first part of the song with languid drumming keeping the nod rolling beneath as the bass filled out the room with heavy bottom low end. The change happened at about four minutes in, but if you weren’t paying the strictest attention, it was easy to miss and wake up a minute later wondering what the hell happened as ChildSabbath‘ed their way into “Yellow Planetary Sun” like the intro to “War Pigs,” but slower, and the basis for the part itself rather than just an intro to depart from. The tension in the drums as Lowe never misses the beat was astonishing all the same, and one more Northway held down the kind of solo on guitar you could imagine leading the way into a 20-minute jam on stage. You would not hear me complain.
By the time they got around to following-up the self-titled with Blueside (review here), released in 2016 through Kozmik Artifactz with likewise glorious cover art by Nick Keller, Jayden Ensor was out of the band and they’d brought in Danny Smith. The live feel of the debut was brought even more to the center as an essential part of their presentation, up to including studio chatter between/before the songs, and the hooks grew as well with the employ of guest backing vocalists to enhance the soulful delivery. After Blueside, they continued the progression in 2018 with the likewise live-recorded EP I (review here), that brought together the sleek rhythm of “Age Has Left Me Behind” and the 10-minute jam “Going Down Swinging” with the Spirit cover “The Other Song,” which was only fitting for the treatment Child gave it.
They toured Europe last year and in addition to shows around Australia it looks like they’ll be back in Europe this coming summer, as they’ve already been confirmed for Black Deer Fest and Australia to the UK is a long way to go for one show. Not to say that’s impossible, but yes to say I have my eye out for a tour announcement sometime in the coming weeks.
As always, I hope you enjoy.
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Man, I fucking hate the music industry. The little corner that heavy rock occupies is cool. By and large the bands are decent human beings — no rule is absolute — and the labels and PR, even when you’re not cool enough to do something, at least they kind of let you down easy. Like, man, I can’t do shit with Relapse to save my life. They don’t need me. What, I’m gonna premiere fucking Windhand when they’ve got NPR on their side? Hardly seems likely. But I get it and it’s good for the bands to get that kind of exposure, so I roll with it. What choice do I have other than banging my head into the wall? Okay then.
But I got a reminder this week of how fucking lame and terrible and faux-professional and low-stakes-pretending-to-be-high-stakes the music industry at large is, and straight up, fuck that shit. It was a reminder to me of how burnt out I was 10 years ago when I started this site in the first place. I’m just not cut out for that game. Every now and then, it’s probably good for me to remember that. I’ve always sucked at it. I don’t want to sell you shit. I just want to write.
Probably fortunate, then, that I have so much god damn writing to do. Today was a mess trying to get that All Them Witches review done in time — I finished it right before I put it up, which is rare these days; I usually let things stew at least for a while — and yesterday I was finishing today’s Quarterly Review post and starting that even as I was about to call Dave Chandler from Saint Vitus for an interview that — gawd willing — will be posted here at some point. All this while I’ve still got Weirdo Canyon Dispatch stuff hanging over my head, TWO releases of PostWax liner notes to write, and because absolutely I said yes to this when the email came in in the afternoon, a bio to write for the new Nebula record.
I. Am. So. Fucking. Stupid.
You ever want proof of my sense of self-value: I’m getting paid for none of this. That’s what I think of me. That’s how much I’m worth in real numbers (actually, it’s considerably less when you factor in debt). I got a PayPal for $18 from Dropout Merch last week for t-shirts and got excited.
My brains… are going… into my feet.
But while I sit here and tempt end-of-naptime fate, let me not waste your or my precious time bitching. Next week is also busy as we get into holy-crap-I-gotta-get-this-done-before-Roadburn mode as though anyone other than me lives and dies by that coverage and what “needs” to be finished in terms of “work” for me to leave the country with a clear conscience.
Here’s notes. Expect them to change:
MON 03/25 Quarterly Review Day 6; Pyramidal track premiere. TUE 03/26 Stone Machine Electric vid premiere/review; Duel vid premiere/review. WED 03/27 Chalice of Suffering track premiere; Slush track premiere.
THU 03/28 Cities of Mars track premiere. FRI 03/29 Witchfinder premiere.
That Tuesday will determine the whole week.
It’ll work out. And I’ll get my shit done. This isn’t the busiest I’ve ever been by a longshot. A few hours here and there over the next week and a half and I’m set. And what additional factors made a part of my life say, about 17 months ago, could possibly complicate that in any way?
I’m so exhausted.
Happy Spring!
Have a great and safe weekend. Thanks for reading. Forum, Radio, and merch at Dropout.
