Day four. I’d be lying if I said I wasn’t feeling it, but you know, that’s what caffeine is there for. If I push past the day’s quota of mental energy, fine. Hasn’t stopped me yet, and there are only 20 reviews of the total 50 left. Not quite the home stretch, but it’s up there on the horizon. Some cool stuff today, and that always helps as well.
Quarterly Review #31-40:
Leather Nun America, Buddha Knievel
Though they’re mostly indebted to a Wino-style Maryland doom sound, San Diego three-piece Leather Nun America touch on more dramatic fare late into their fifth album, the awesomely-titled Buddha Knievel (on Nine Records). Pairing the acoustic-led instrumental “Gloom” and 7:51 “Winter Kill,” which swirls its way to an apex of lead guitar from John Sarnie with some subtle touches of extreme metal from drummer Sergio Carlos, they expand beyond a riff-and-groove ethic – though of course they do that well too. Sarnie and bassist Francis Charles Roberts (also of Old Man Wizard) offer familiar structures but satisfying tones, cuts like “Into Abyss” taking a darker turn on some of Spirit Caravan’s road-ready groove. An intro (“Prologue”) and subsequent interludes offer further depth, but the heart of “Burning Village” and Buddha Knievel as a whole is in the three-piece’s take on doom rock, and some of the record’s most satisfying moments come from precisely that, even unto the surprisingly boogieing closer “Irish Steel.”
Seems longer than three years since Virginia’s Corsair made their self-titled full-length debut (review here), but with the fervent support of Shadow Kingdom Records, they return with One Eyed Horse, an album much sweeter than its somewhat disturbing cover art might indicate, the four-piece of guitarist/vocalists Marie Landragin and Paul Sebring, bassist/vocalist Jordan Brunk and drummer Michael Taylor gracefully delving further into progressive heavy rock textures in cuts like “Shadows from Breath,” which though it winds up in blastbeats, never loses its sense of pose. That’s emblematic of the masterfully-handed twists and turns One Eyed Horse presents throughout its 45 minutes, highlights like “Sparrows Cragg” soaring and immersive while elsewhere “Brothers” reminds that sometimes it’s important to just get down to business and rock out. Corsair remain a well-kept secret, and one wonders while listening to the harmonies and post-rock bliss of “Royal Stride” just how long they can stay that way. Gorgeous, heavy and definitively their own, there’s nothing one could ask of One Eyed Horse that it doesn’t deliver. And yes, I mean that.
“Seer,” “Moros” and “Chronos” are the first three tracks to be released by Boston newcomer post-metallers Sea, but already their Demo showcases an impressive atmospheric breadth. Churning riffs from guitarists Liz Walshak (who also drew the cover; ex-Rozamov) and Mike Blasi (Rhino King) are given added depth from bassist/vocalist Stephen LoVerme (Olde Growth), and propelled ahead by drummer/engineer Andrew Muro, though there’s room left in each cut for ambience as well, “Seer” trading off, “Moros” beginning a linear build, and “Chronos” finding a middle-ground in switching between harsh and clean vocals before a slowdown brings about the chugging, memorable finale. Opening with its longest cut (immediate points), Demo proves an ambitious first release, but there’s nothing Sea set out to do on it that they don’t accomplish, and I take it as a particularly encouraging sign that in three cuts, there’s just about no structural repetition to be found. That bodes well in the classic demo sense, but more than what’s to come, these songs are already worth hearing.
Aggressive Sabbath-style doom with East Coast roots – The Munsens recorded at Moonlight Mile with Mike Moebius (Pilgrim, Kings Destroy) in NJ – Weight of Night finds the trio amidst the legal flora of Denver, Colorado, which is a fitting enough setting for the three riff-led cuts they offer on the tape. Of them, side one’s “Slave” is the most decidedly Iommic, a layered solo rounding out after “Under the Sun”-style descent — it also opens with a sample of Julie Newmar as the devil from The Twilight Zone — but both “Weight of Night” and side two’s 11-minute “The Hunt” boast the root influence as well, though the latter is invariably a standout for its crawling progression, almost Pallbearer-esque, that pushes up the tempo in its second half, arriving at a driving pace that’s even farther from where it started than the runtime would have you believe. The opening title-track works somewhat similarly, but ends with a piano interlude, and the shouting, metallic vocals hold back later on “The Hunt,” making its lumbering all the more hypnotic.
Philly trio Gondola waste just about no time showing off primo guitar antics on their Budro Records-released Get Bent LP, a penchant for jamming underscoring a lot of the wah-drenched movement on opener “Brain Ghost” and its side A compatriots “Psychic Knife,” “Poison Path” and “The Hornet.” There’s a decidedly stoner influence, vocals gaze-out Dead Meadow-style on “Psychic Knife,” but a Naam jam in “Brain Ghost” and the Fu Manchu drive of side B highlight “Electric Werewolf” offer plenty of variety within that sphere, guitarist/vocalist Rocky Rinaldi, bassist/vocalist Jordan Blumling and drummer Tim Plunkett finding space to make their own thanks in no small part to a palpable chemistry between them. Heavy rock and roll, and a damn good time, Get Bent comes across more as a suggestion than an imperative by the time the arm’s returned after “Life Cult” but either way, Gondola’s jam-laden push and brainmelter leads make this one a howler not to be missed, and just because it vibes hard doesn’t meant the songs don’t move.
Consistently unpredictable and reliably prolific, Boston outfit Space Mushroom Fuzz – spearheaded by Adam Abrams of Blue Aside – isn’t through opener “Let’s Give Them Something to Hate About” before a sampled bong and sickly-sweet solo interwine with a progressive psychedelic jam. One never really knows what’s coming from Space Mushroom Fuzz, and on Future Family, it seems to be a blend of traditional songwriting with the project’s long-established weirdo sensibilities. “A Day in the Strife” is particularly Floydian, but even that has a structure, and “Saving all My Love for U2” has just about the heaviest, most straightforward push I’ve heard from Abrams in this context, even though there’s plenty of freakout to be had as well. What holds the release together is the persistent anything-goes vibe, which is maintained even unto the acoustic-led swirl of closer “L’Americana,” not quite fully departing an underlying cynicism, but escaping sonically the irony in some of the album’s titles in a manner that’s sincere whether or not it wants to be.
The key to Deep Aeon’s Temple of Time (released on H42 Records) is in the momentum the German four-piece commence to build on opener “Element 24” and how utterly unwilling they are to relinquish it at any point over the release’s 29-minute span. Even six-minute closer “River” has a shuffle – and handclaps. Vocalist Marcel Röche keeps a gruff edge to his voice throughout, but that could just as easily be from keeping up with guitarist Alexander Weber, bassist Axel Meyer and drummer Nikolaj Marfels. Songs like “Floating” and side-B launch “With that Priest on the Back Seat” offer straightforward fuzzy heavy rock, but rhythmically, Temple of Time swings and swings and swings and there’s just no getting away from it. If the record was 50 minutes long, I’m not sure it would be sustainable – someone’s bound to need to catch their breath, band or listener – but for being in and out in under half an hour, Deep Aeon make a clean, efficient run with little use for letup. Bonus points for the Alexander von Wieding artwork.
“Come with me, let’s go get high,” urges Teepee Creeper guitarist/vocalist Jon Unruh on “Rainbow Sex Glow” from his band’s seven-track/33-minute Ashes of the Northwest full-length, recorded by Mos Generator’s Tony Reed, who also drums and whose band released a split 7” with Teepee Creeper last year (review here). I won’t say “let’s go get high” sums it all up, but a lot of it. Riffs rule the day, and deservedly so, on tracks like “Far Far Away,” the live-tracked “Crushing the Gods of Men” and “The Raven’s Eye,” which caps with a particularly righteous roll. Rounded out by bassist Jeremy Deede – no slight presence in the mix – and now featuring drummer Ian Hall, Teepee Creeper seem to get better the higher the volume goes, the impressive and open-sounding tones surrounding the listener on the aforementioned “Rainbow Sex Glow” like a meaner version of Texas’ Wo Fat, and yes, that is a compliment. The album may or may not reduce their native region to ashes, but it’s bound to turn some heads in their direction.
How right the umlaut-happy Hellräd are when the Philly sludge slammers posit that Things Never Change. Their destructive, blown-out grime makes its nihilism plain in songs like “Homegrown Terrorist,” “My Jihad Against My Own Mind,” “Dopefiend Jesus,” and of course “Smoke More Crack,” weighted, lumbering grooves switching off at a clip with full-speed punker fuckall. Guitarist Mike Hook, noisemaker/vocalist Dirty Dave (not the same Dirty Dave from The Glasspack), bassist Herb Jowett and drummer Robert Lepor get down to all-out bludgeonry from the start of “Street Zombies,” the opener and longest track (immediate points) at 6:55, but there’s just something about the rolling groove of “Fuck Up (All I’ll Ever Be)” that hits home. Probably not as primal in its making as the energy with which it’s conveyed might lead one to believe, the ultra-nasty 38-minute debut full-length is nonetheless likely to leave a dent in your skull. Or have your skull leave a dent in something else. A wall, maybe. Or another skull.
Working in longer form on the four original tracks included on Dead Sun Worship, their full-length debut, Dublin four-piece Venus Sleeps make an atmospheric centerpiece out of the Syd Barrett cover “Golden Hair,” which in the context of what surrounds it is almost an interlude. Shades of Electric Wizard show themselves on the howling “I am the Night,” but the opening duo of “Ether Sleeper” and “Dawn of Nova” is more progressive, the guitarist/vocalist Sie Carroll, guitarist/backing vocalist Steven Anderson, bassist Seán O’Connor and drummer Fergal Malone exploring a psychedelic blend of doom and heavy rock riffing that comes to the fore again on 11-minute closer “Age of Nothing,” despite that song’s healthy dose of wah. The range they show in the original material seems only bolstered by the cover, and especially as their debut, the ambition and scope Venus Sleeps showcase is admirable. There are moments when the production seems to contract when a given part wants it to expand, to sound bigger, but Dead Sun Worship lacks nothing for clarity in purpose or execution.
A real blend this time around. Some of this stuff is straight up riffs and crash, and some of it gets pretty far out, even in the first hour, let alone by the time we get to the last two tracks, with Papir’s live prog freakery and Earthling Society’s trippy experimentalism. There’s a lot to dig here and, perhaps unsurprisingly, I dig it a lot. These are all, I think with the exception just of Stonebride, 2015 releases. Some, like Monolord and Blackout and Stoned Jesus, aren’t out yet, and others, like Corsair, or Elbrus, or Sandrider, are newly released.
All told, the balance works between the more straight-ahead stuff and the weirdness, but my head’s been pulled pretty hard in the direction lately of things generally more on the outer edges of genre, so it seemed only right to be honest to that impulse. It’s not too long, and if there’s something here you haven’t heard before, then of course I hope you dig it. Actually, I hope you dig it anyway, new or not. Cheers.
First Hour:
Stoned Jesus, “Here Come the Robots” from The Harvest
Black Rainbows, “The Prophet” from Hawkdope
Sandrider, “Rain” from Sandrider + Kinski
Eggnogg, “Slugworth” from Sludgy Erna Bastard Vol. 1: Borracho & Eggnogg 7”
Blackout, “Cross” from Blackout
Chubby Thunderous Bad Kush Masters, “Devil’s Buttermilk” from Earth Hog
Shepherd, “Turdspeak” from Stereolithic Riffalocalypse
Corsair, “Coriolis” from One Eyed Horse
Kooba Tercu, “Pebble” from Kooba Tercu
Stonebride, “Sokushinbutsu” from Heavy Envelope
Monolord, “Cursing the One” from Vaenir
Second Hour:
Elbrus, “Far Away and into Space Pt. 2” from Far Away and into Space Pt. 2
King Buffalo, “Providence Eye” from split with Lé Betre
Papir, “Monday” from Live at Roadburn 2014
Earthling Society, “It’s Your Love that’s Sound” from It’s Your Love that’s Sound
Posted in Features on January 21st, 2015 by JJ Koczan
This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.
I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.
Thank you in advance for reading.
1. Acid King, Middle of Nowhere, Center of Everywhere
If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.
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2. All Them Witches, TBA
The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.
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3. Anthroprophh, U.F.O.
Guitarist/vocalist PaulAllen, formerlyof TheHeads,teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal Fuzz, Allen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.
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4. Arenna, TBA
Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.
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5. The Atomic Bitchwax, Gravitron
New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet — will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.
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6. Black Cobra, TBA
Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.
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7. Black Rainbows, Hawkdope
There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.
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8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth
Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave French, Brothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.
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9. Chiefs, Tomorrow’s Over
With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.
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10. Clutch, TBA
Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.
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11. Conan, TBA
I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich Lewis. Davis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.
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12. Colour Haze, To the Highest Gods We Know
Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.
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13. Corrections House, TBA
Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.
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14. Corsair, One Eyed Horse
Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.
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15. Crypt Sermon, Out of the Garden
Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.
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16. Ecstatic Vision, TBA
Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.
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17. Elder, Lore
What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder — the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of Lore. Elder on Thee Facebooks, Armageddon Shop, Stickman Records.
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18. Enslaved, In Times
I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.
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19. Eye, TBA
They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.
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20. Freedom Hawk, TBA
After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.
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21. Glowsun, Glowsun
In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.
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22. Goatsnake, TBA
Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.
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23. Gozu, TBA
Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small Stone, The Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike Hubbard. Grotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in Grotto, Hubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.
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24. High on Fire, TBA
I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.
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25. Hollow Leg, TBA
My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.
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26. Horsehunter, Caged in Flesh
Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.
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27. Kind, TBA
I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black Pyramid, Blackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.
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28. Kings Destroy, Kings Destroy
So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.
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29. Lamprey, TBA
The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.
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30. Lord Dying, Poisoned Altars
The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse Records, Poisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.
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31. Magic Circle, TBA
Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.
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32. The Midnight Ghost Train, Cold was the Ground
Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.
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33. Minsk, TBA
A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.
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34. Mondo Drag, Mondo Drag
This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.
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35. Monolord, Vaenir
Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.
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36. Neurosis, TBA
Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.
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37. Pentagram, TBA
I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean Saley, Pentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.
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38. Ruby the Hatchet, Valley of the Snake
A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.
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39. Saturnalia Temple, To the Other
The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist Peter. Saturnalia Temple on Thee Facebooks, The Ajna Offensive.
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40. Six Organs of Admittance, Hexadic
I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City — seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.
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41. Snail, Feral
Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.
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42. Sourvein, Aquatic Fanatic
At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.
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43. Spidergawd, II
Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.
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44. Stoned Jesus, The Harvest
Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1. Stoned Jesus on Thee Facebooks, on Bandcamp.
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45. Torche, Restarter
I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.
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46. Ufomammut, Ecate
Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.
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47. Valkyrie, TBA
During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions — both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.
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48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix
Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (Elder, Earthless, Wo Fat, Gozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.
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49. Wino & Conny Ochs, Freedom Conspiracy
When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny Ochs, Freedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.
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50. Wizard Eye, TBA
Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.
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51. Wretch, TBA
Listed as the “bastard spawn” of The Gates of Slumber, Wretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before Simon, Clark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.
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52. Zun, TBA
Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.
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Going Into Overload…
So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.
Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:
53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.
54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.
55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.
56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.
57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.
58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.
59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.
60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.
61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.
62. Egypt, Endless Flight — North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”
63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.
64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.
65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.
66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.
67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.
68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.
69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.
70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.
71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.
72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.
73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.
74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.
75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.
76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.
77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.
78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.
79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.
80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.
81. Pombagira, Flesh Throne Press— Their sixth album and Svart debut is due on March 23 as per this week’s announcement.
82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.
83. Royal Thunder, Crooked Doors— The Atlanta outfit’s second album for Relapse is due out April 7.
84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.
85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.
86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.
87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…
88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.
89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”
90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.
91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.
92. Wo Fat, Live Juju at Freak Valley— Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.
Others to Keep an Eye On…
Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.
Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.
Murmurings abound also for new ones from Graveyard, Greenleaf, The Sword, Vhöl and others.
Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.
If you don’t have enough to go by yet, labels like Sulatron, Tee Pee, El Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.
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Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.
No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.
Posted in Whathaveyou on October 7th, 2014 by JJ Koczan
Virginian progressive heavy rockers Corsair will release their second full-length for Shadow Kingdom Records, One Eyed Horse, in January 2015. The double-guitar four-piece toured Europe earlier this year and recorded the follow-up to 2012’s Corsair (review here) last winter in their native VA, which is where we find them in the new video teaser they’ve posted ahead of the album.
Presumably, the farmscape we’re seeing is that surrounding White Star Sound in Louisa, Virginia, where basic tracks for One Eyed Horse were done live with engineers Adam Wolcott Smith and Andy Gems over the course of last December/January, with vocals, solos and other additional recording added at Mulberry Inn in Charlottesville by bassist/vocalist Jordan Brunk and guitarist/vocalist Marie Landragin. The band is completed by guitarist/vocalist Paul Sebring and drummer Wade Warfield. What we see in the clip seems to be the live tracks being laid down, though there could be some solo stuff mixed in there as well — Corsair use a lot of lead guitar — but it’s pretty obviously a laid back atmosphere in the studio, lots of laughs, funny faces, goofy voices, early drinking, the occasional pillow positioned as a phallus, and so on. All the usual shenanigans, in other words, which is as it should be.
There aren’t any vocals shown, but we still seem to get enough to get an idea of what Corsair are up to this time around, and it’s cool to get a glimpse of how it came together as it was happening:
Corsair, One Eyed Horse video teaser
Corsair have also released three tracks from the album for streaming on their Bandcamp page, “Ghostlands,” “One Eyed Horse” and “Brothers,” and I’d be remiss if I didn’t include them as well. Once again, One Eyed Horse is out in January 2015 through Shadow Kingdom Records. More to come, I’m sure:
With a stylistic blend almost unto itself of classic heavy rock, prog and metal’s dual-guitar theatrics, Corsair‘s Corsairis not a record up for trifling. The band, native to Charlottesville, Virginia, self-released their first full-length earlier this year (review here) in what has become their standard format of a screenprinted folded box called an arigato pak (nice to finally have a name for it) with original art by guitarist/vocalist Marie Landragin, also seen on their prior 2011 Ghosts of Proxima CentauriEP (review here) and 2010’s Alpha Centauridebut (review here).
Could have been any number of the sides of their sound that did the job — from the rife Thin Lizzy-style guitarmonies of Landragin and Paul Sebring to Jordan Brunk‘s smooth basslines and the bounce in Aaron Lipscombe‘s drumming — but the album caught the attention of Shadow Kingdom Records, who have overseen a reissue of Corsair‘s self-titled on CD, with reworked art (still Landragin‘s design) in a full jewel case. If we were betting on motives, however, I might place my coin on it being the underlying human-ness of the album’s eight tracks, such that as proggy as Corsair might get, they never sound cold or staid, so that as Brunk and Sebring and Landragin trade off vocals or come together for effective layering and veer musically into more metallic thrust on a track like “Gryphon Wing,” the feeling is natural and nothing seems out of place.
Shadow Kingdom has gotten behind the band in a big way, and it’s understandable why. Over the four-plus years since they got together and with a minimum of lineup changes, Corsair have emerged as an act with marked potential, not necessarily for commercial interests (though the songs are accessible), but for creating something unique in their resonant progressive rock. With the label’s version of the record en route and having followed their evolution over the last couple years, it seemed the perfect opportunity to hit up the band for an interview. Brunk, writing from France, recently took some time out to reflect on Corsair‘s origins and where they’re headed in his answers to the Six Dumb Questions that follow below.
Please enjoy:
1. The self-titled is the first Corsair album to reach the public with a label backing it. How do you feel about the album being the first impression many people will have of the band? How did Shadow Kingdom get involved in the release?
Our self-titled album, as a whole, best represents to date the artistic vision of the band, so we are proud to have it be the first impression of a larger audience. Opening with “Agathyrsi,” an instrumental track, makes clear what we are all about; that the music, with guitar riffs as the focal point, comes first. Following suit, the rest of the album is indicative of the shared writing process with its rotating lead vocals, honed guitar harmonies, and trading solos. Listening to the album nearly a year after starting the process, there are details that could be improved, whether sonically in the mix or minor changes we’ve made in a live setting as afterthoughts. I feel most musicians will find minor flaws in their own material, being indicative of the desire to grow and improve.
Tim McGrogan (aka Shadow Kingdom) contacted us and told us that he’d been really digging our music and wanted to know if we were interested in signing to a record label. Initially, he bought five copies of each of our self-releases to sell on his website, but soon thereafter, his interest peaked and he scheduled a conference call with us to establish the grounds for a mechanical distribution contract.
2. For anyone who may have picked up the album previously, how does the Shadow Kingdom version differ? Is it a jewel case release? Was the mix or master changed at all for the new edition? Will you do a vinyl run?
The Shadow Kingdom release will be in a jewel case with an insert including lyrics and pictures of the band. The artwork and layout were reworked by Marie and tweaked by Tim from ShadowKingdom. The mix and master remain the same from the original release. It’s too soon to say for certain whether or not we will do a vinyl run, but if it makes sense later on, we would love to press to vinyl, not only for the sonic quality, but to give the artwork room to shine.
3. How would you chart the band’s growth along the releases so far? How has Corsair’s sound developed between Alpha Centauri, Ghosts of Proxima Centauri and the self-titled? How was your time recording for the self-titled, and were there experiences you drew on from the prior two that went into the making of this album?
Alpha Centauri was initially meant by the band to be a demo of songs we had ready to record in a weekend session with producer Lance Brenner. We were collectively inexperienced in the studio and were hesitant to believe that what we had was worthy of more. We loved playing together, but had no goals other than having something to give to people. Lance took the material to another level and gave us a finished product beyond what we expected, thus encouraging us to release it as an EP rather than a demo.
From the beginning, the guitar work was our ace-in-the-hole and showed promise to grow as our songwriting matured. There are some killer solos in there by Paul and Marie, and the rhythm section was tight and simple. In the studio Paul‘s ability to write guitar harmonies (listen to the riff post-chorus in “Last Night on Earth”) and Marie‘s affinity for delay and guitar effects (listen to the intro of “Space is a Lonely Place”), blossomed and gave the songs greater depth and layers of sound. Leigh Ann Leary played solid beats at Corsair‘s beginning and I (Jordan) either locked in with her, sometimes joined in with the guitars to beef up the riffs, or sometimes played somewhere in between the two.
I was keen to learn all I could on the engineering and production side and so paid attention to things like microphone placement and mixing techniques. We worked together with Lance on the production and ended up with a sound that was part ‘70s, dialing back the overall high frequencies (particularly the cymbals), and part ‘80s, evident on “Beware the Black Fleet” with its crowd vocals. Alpha Centauri plays like a collection of short stories, combining the subjects of space travel and mythology with an affinity for adventure.
We walked away with a nice little EP, which was then sent by mail to reviewers. Marie‘s craftiness may well be what initially gained the band any attention outside of Charlottesville because not only did she put much time, effort and care into the design and artwork, but she had the idea of screen printing onto arigato packs from Stumptown printers, then folding them up into little boxes to house the CDs. The icing on the cake was the colorful collaged kraft paper, wrapping the package like a present, that caught Ray Dorsey‘s eye at Ray’s Realm, and from his review, others in the online metal community (like The Obelisk, Metal Review and Hellride Music) took notice.
As we approached the process of recording Ghosts of Proxima Centauri,Corsair saw a shift with Aaron Lipscombe on drums. He brought greater versatility to our songwriting, adapting to ideas quickly and owning them from that point forward. This made possible more ambitious transitions and dynamic changes as the new material took form. I think the transitions and rhythmic changes in “Centurion” were especially challenging and reflected our eagerness to push the boundaries.
On Ghosts, we began sharing the vocal duties, and I say “duties” because they are always the last thing we write, often in the studio while working on the album. The guitar work comes relatively easy when compared to getting a vocal track that is up to par. Of the six songs, Paul sang lead on two (“Warrior Women” and “Eyes of the Gods”), Marie sang lead on one (“Orca”) and backup on two (“Centurion” and “Eyes…”), and I sang lead on two (“Burnish the Blades” and “Centurion”) and backup on two (“Warrior Woman” and “Eyes of the Gods”). A hodge-podge, yes, but it assembled something that reflects the shared nature of our songwriting.
We also chose to invest in studio gear rather than studio time to gain the luxury of recording at our leisure. When you want to make a record well, you can either take the fast and expensive route by paying an experienced producer, or the slow cheaper route in which the producer is relatively new to the game. However, we knew that getting a good drum sound was important and sought help at the beginning. We teamed up with Lance again, got the drums and rhythm guitars finished in a weekend, and left to record the solos, additional guitars, and vocals at our house.
We had time on this record to do multiple takes of solos and wait for the right one to sink in, and if we didn’t get it the first time, then we tried again without having to go to a studio. We could just meet up at the practice house and record. Some of the orchestrated parts with multiple harmonies may not have happened given our low budget if we were paying by the hour. There is more of ourselves on this album, all the way through the production. We had freedom to work, while performing best under our own pressure and artists control. It felt more like our own record in the end despite whatever shortcomings there might have been sonically. I know what I think is that it could be improved, but it’s an insider’s perspective that is highly critical. Parts of the session were messy because we were learning along the way, but we did our best to tidy up and make it feel cohesive.
A high point in the process was bringing in Gabe Cooper to play violin on “Eyes of the Gods.” We plugged his preamp into a Marshall stack and it gave the effect of music coming from a gramophone, like in an old recording. One of my favorite sounds on the record comes during the quiet build in the middle of “Eyes…” I added a Big Muff and an Akai Head Rush into the signal chain and when he gave the bow a stroke, it sounded like a UFO was landing. So we took the next logical step and doubled it! You can hear it dancing around when the song hangs just before the rollercoaster arpeggios kick in.
Ghosts was an incredible learning experience for the band and we gained much more confidence going forward with a new batch of songs that had people taking notice when we played them live. We learned by being hands-on throughout the process and were ready to do it all over again.
In the beginning of 2012, we decided to record once more but this time, really push ourselves to produce enough material to do an album instead of an EP. Start to finish, it was a whirlwind effort beginning in February and finishing with the product in hand for a release show on April 21. The deadline was self-imposed and we worked hard to be efficient within a strict budget. I am very proud of the quality we achieved in the tightness of our playing, the careful engineering, and the clarity of the mix. This time, we recorded drums with our friend and peer, Nate Bolling, in three separate sessions spread out over a couple of weeks. Again, the guitars, bass, solos, vocals, and overdubs came afterwards in our home recording studio, and with a better working knowledge from the onset, we finished with a fine record. In other words, we didn’t mess around.
This time, we found the beefy guitar tone we were searching for on the last album by correcting a slight phasing issue caused by using two microphones on the cabinet. The songwriting was a bit more concise and hard-hitting. Overall, it felt less complicated, like the mystery of the studio was gone and in its place was a cozy little home. To get deep into the studio knowledge and tweaks that made this effort better would be to open a whole other bag of worms, delving into gear-nerd-land.
As a side note (to escape the aforementioned g-n-l), for Halloween in 2011, we played a show as Thin Lizzy for a 45-minute set, mainly from their Live and Dangerous album. For a month and a half before showtime, we learned their material, which we all love, and it helped us once again to learn and grow. “Chaemera” is definitely a nod to Thin Lizzy as a strong influence. It could be a reason why the major scale started to emerge in our songwriting, so if the metal heads out there find some of our songs to be too happy, I suggest going back and giving Thin Lizzy a listen.
All three of our releases begin with an instrumental track, so I find the best way to chart our progress is to Listen to (in order), “Skykrakken,” “Wolfrider” and “Agathyrsi.” By just looking at the titles, you can infer that Corsair emerged from darkness with its tentacles full of guitars (“Skykrakken”), we seized the reins and tried to control the beast (“Wolfrider”), and after studying its ways, we gained access to ancient knowledge (“Agathyrsi”). (You might have to Google “agathyrsi” to get the last one… It’s a stretch, I know.)
4. How do you see yourselves developing going forward? The span between the three outings so far was pretty short. Have you started writing for another album or EP yet? Any plans for when you might next record?
Currently, Marie and I are living in Marseille, France, and are using the time to write new material until we return to Charlottesville in January. We brought recording equipment and all the while, we’ll send ideas back to the States for Paul and Aaron to contribute. Likewise, Paul will send any new ideas and we’ll be working together through the internet and our friend Nate Bolling‘s home studio. Once we return to Charlottesville, VA, in January, the next step is then to do our best to lay down the tracks and make another record.
5. Do you have any interest in hitting the road as a touring act? How does the Corsair experience live compare to listening on the album?
Corsair live is much sweatier. It took time to rehearse the material and get it tight, but then it took a little while longer until we got comfortable enough with the material to open up and actually perform. When we started, we were guilty of shoegazing because it took great concentration to play the parts well. Except for Paul… He’s always been an animated and skillful guitar player with his flying V and killer stage moves. Now, we’ve all opened up and try to put on a show to amp up the experience of hearing the songs live.
I think a turning point for the band was about two years ago when we did another Halloween show as Spinal Tap. To pull it off, not only did we have to play the songs well, but get into character and put on a performance. Having a good laugh at ourselves was a great lesson to learn and made us a better band on stage; more comfortable. I mean, once you’ve put on a wig and some shiny tights in front of a 300-plus crowd and owned it, you can pretty much pull off your own material in your own clothes anytime.
Now, I don’t mean to say that we ham it up, but we try to bring a high level of energy to get the crowd going, so that when the pockets of space open up in our songs, the effect is strong. Aaron does a great job controlling the dynamics of the band, and we all can feed off each other easily after playing together for a while.
Vocals have always been the most challenging part of our performance and until recently, it was consistently hard to hear ourselves singing atop the guitar stacks. In the last year, we upgraded our PA, which can finally compete with guitars, and have been working on the three part harmonies that are on some of the studio recordings to surprising success. Many musicians spend a lot of their time and money searching for the right guitar and amp, but to pull off a consistently good live performance, you need to invest into a decent PA as well.
As for touring, we never have been much of a touring band, playing about six shows a year in Charlottesville with a handful of jaunts up the Northeast to NYC, Philadelphia, and D.C., Richmond, and Harrisonburg, VA. I think our interest in touring is dependent on the potential for growing interest outside of our hometown. If we have good reason to travel, besides taking a mini-vacation and having fun, then we’re happy to do so. We’ve put in the time in our hometown amongst high-caliber musicians to hone our skills and stand out amongst the rest, so despite not having toured much, we’re ready for whatever is to come.
6. Any other plans or closing words you want to mention?
I think the underlying tide that keeps this band moving is the sense of adventure that we feel in our music. Somewhere along the line, we called our material “adventure rock” and it stuck because whenever we play the songs, despite whatever else is going on in our lives, there’s always a moment when we look up at each other and smile. There’s an escape from reality into our own world, which we shape with all the courage we can muster.
Posted in Reviews on August 9th, 2012 by JJ Koczan
After two intriguing self-released EPs, varied Virginian double-guitar four-piece Corsair return with their first full-length. Self-titled and self-released, like its predecessors, in a folded digi-box with a hand-screened cover, Corsair’s Corsair is the Charlottesville unit’s most progressive outing yet, comprised of eight wide-ranging tracks totaling 37:43. As on 2011’s Ghosts of Proxima Centauri (review here) and 2010’s Alpha Centauri (review here) guitarists Paul Sebring and Marie Landragin and bassist Jordan Brunk share vocal duties between them, leaving only drummer Aaron Lipscombe without a mic, but if the fact that Corsair isn’t named after a star is to signify anything, let it stand for the shift away from space rock that the band has undertaken. These songs, in addition to being their most complex to date, are also their most grounded. They take their richness from the interplay between Sebring and Landragin, who often line up for harmonic flourishes in lead sections and accordingly complement the melodic vocals. Musically, that leaves Brunk and Lipscombe occasionally in a sonic place where they need to keep or catch up, but the rhythm section has no problem doing it and Corsair keep their tightness for the duration, veering only for the more open post-rock ambience of the closer, “The Desert,” on which Landragin’s vocals top echoing guitar squibblies and the mood shifts toward the pastoral side that some of the soloing has hinted at all along, at least earlier on. The album is something of a shift still from Ghosts of Proxima Centauri, though as that EP was a grounding from the first, the progression in Corsair’s sound feels natural. If I hadn’t been introduced to the first EP when it came out, the phrase “space rock” would probably never enter into it, even for “The Desert,” and I’d be more like to compare the harmonic noodling to the likes of Iron Maiden or the post-Mastodon/post-Baroness new school of metallic prog.
Maybe all that’s a fancy way of saying Corsair dig Thin Lizzy, and if so, fair enough. They put the influence to decent use especially on the bouncing “Chaemera,” which follows crunchier instrumental opener “Agathyrsi” and features Brunk’s vocals, and finds the guitars holding out individual chords for the bass to run fills under during the verse, leading to a more winding chorus. Both Landragin and Sebring give more than solid showings as lead players almost immediately on “Agathyrsi,” with distinct but ultimately cohesive tones between them, and as with the tiered build of the opener, for much of Corsair, it’s the guitars responsible for driving the songs. Just as well, as Corsair has already proven their ability to write intricate and individualized material without losing sight of their technical appeal, and cuts like the classic pop-rocking “Falconer” seem to affirm this same penchant. Lipscombe particularly seems to revel in the straightforward groove that ensues during the opening section and again later, spending the verse alternating between his ride and crash cymbals while peppering in choice fills along the way, which sets up the more classic metal-derived “Gryphon Wing,” on which Sebring takes the fore vocally for a tale of riding the sky and victories earned. The disparity of influence between “Gryphon Wing” and “Falconer” preceding is enough to suggest multiple songwriters, and the latter track shows a patience in its later instrumental progression that eventually pays itself off in several measures of intertwined guitar leads, culminating in a well-plotted section on which Sebring and Landragin seem to foreshadow the sunshining to come at the album’s end.
With their second self-released EP, Ghosts of Proxima Centauri, Virginian heavy rockers Corsair seem to tone down the spaced-out elements in favor of harder-driving classic rock crunch. The Charlottesville four-piece, who made their debut with 2010’s Alpha Centauri (review here), have solidified a sound more their own across these six tracks, the double guitars and vocals of Paul Sebring and Marie Landragin still very much leading the way, but in a more specific direction. The structure is progressive and although engineering for the rhythm guitar and Aaron Lipscombe’s drum tracks is credited to Lance Brenner, I wouldn’t be surprised if there was some relation to Against Nature’s John Brenner as well, given the warmth Corsair affect in their tonality and in the mix by bassist/vocalist Jordan Brunk. Through the half-hour of material on Ghosts of Proxima Centauri, Corsair sound like a fast-maturing and technically proficient band of songwriters, working on a brew of riffy heaviness that’s never too self-indulgent for its own good and never loses sight of the “rock” end of prog rock.
Although opener “Wolfrider” starts out with sampled howls and molasses-thick rumble, the song has much more in common with the likes of Valkyrie and Bible of the Devil than it does with Earthride or any of the sludge to be found bubbling up from the fertile Virginia underground. The song is an instrumental showcase for the guitar work of Sebring and Landragin, and at five minutes, it might go on a little too long – not the piece itself, but opening even an EP with an instrumental signals listeners that “Hey, this is an introduction,” and at five minutes, even with the charming underlying runs from Brunk on bass, “Wolfrider” might be a bit much to start with off the bat. That’s a sequencing issue more than any misstep stylistically or in terms of approach. “Wolfrider” has an effective build and a couple genuinely scorching solos, but it might have better served the flow of Ghosts of Proxima Centauri as the third track behind the catchy “Warrior Woman” and the Thin Lizzy-esque “Burnish the Blades” – also the most Against Nature-style moment on the EP – than it does in being the launch point. No matter, as by the time the chorus of “Warrior Woman” comes around, all is forgotten in favor of hoist-worthy riffing, accomplished vocals from Sebring and Brunk, and a complexity of arrangement that Alpha Centauri didn’t dare show off. Corsair are becoming more confident in their approach, and both “Warrior Woman” and “Burnish the Blades” show that. The highlight of the EP is still to come, but they get off to a strong start nonetheless following “Wolfrider.”
Alpha Centauri is the self-released debut EP from Charlottesville, Virginia, space rockers Corsair, and my, they certainly do have their riffs in order. The instrumental opener “Skykrakken” is an efficient introduction into Corsair’s blend of classic ‘70s prog and modern heavy riffery (so yeah, a little like Mk II Deep Purple), but it’s with the next track, “Beware, the Black Fleet” that the release really takes to the sky, the song opening by making a dirty deed out of a certain AC/DC riff while soon unfolding into NWOBHM-style guitar harmonies from six-stringers Paul Sebring and Marie Landragin.
There’s a hint of Clutch in the groove of “Beware, the Black Fleet,” but Corsair’s vocals, performed on this track with a classic rock recklessness that reminds me of Oscar Cedarmalm’s work in Greenleaf, put them in a different arena entirely. Both Sebring and Landragin handle vocals, as does bassist Jordan Brunk, resulting in a varied approach that’s best set to work in a catchy chorus, but just as effective changing it up with Bowie-isms on “Last Night on Earth.” The guitar solo after three and a half minutes helps bring that song into the context of the rest of Alpha Centauri, but it’s a pretty striking difference between the two tracks preceding and this third. Neither song sucks, though, so it works out.
