Apostle of Solitude Recording New Album for Release on Cruz Del Sur

Posted in Whathaveyou on May 20th, 2021 by JJ Koczan

Last we heard from Indianapolis’ Apostle of Solitude was in Nov. 2020, and at that point, their fifth long-player was announced for release this Spring. But even then, the actual trajectory was somewhat vague, so having confirmation now that they’re currently in the studio — Russian Recording in Bloomington, IN — with bass and drums done, guitars in progress and vocals to follow gives a better sense of the timeline for when the thing actually shows up. Let’s figure if they’re recording this week or on weekends, they have a master by the July 4 holiday. That’s an optimistic estimate on my part, and pure speculation, but without knowing how long/when they’re in the studio, it seems like a reasonable estimate allowing for the inevitable back and forth of mixing, finalizing the recording, artwork and so on.

Three months promo is standard, HOWEVER, this is 2021, and the entire universe wants to print vinyl and there isn’t nearly enough infrastructure to do so — anyone want to open a plant with me? — so there are delays there. Five months from May puts us in October at the earliest. Apostle of Solitude‘s 2018 LP, From Gold to Ash (review here), came out in February of that year. It might honestly be Feb. 2022 before this one shows up.

Whenever it happens — and hey, Apostle Dudes, anytime you want to send me a master early, that’s certainly cool on my end — the four-piece’s fifth record will only be welcome when it shows up. In the meantime, bassist Mike Naish just put out a record with the more deathly-doom outfit Shroud of Vulture through Wise Blood Records and Transylvanian Recordings. It’s called Upon a Throne of Jackals and is delightfully brutal.

Apostle of Solitude offered the below mini-update from the studio on social media:

apostle of solitude recording

We have been so focused on tracking album # 5 that we forgot to post about it. We are once again working with Russian Recording for Cruz Del Sur Music in beautiful Bloomington, Indiana. Mike and Corey are are done tracking bass and drums…Chuck and Steve are busy tracking guitars. Vocals are up next…

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

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Apostle of Solitude, From Gold to Ash (2018)

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Cruz Del Sur Announces Orodruin and Pale Divine Reissues

Posted in Whathaveyou on March 22nd, 2021 by JJ Koczan

Late May will see vinyl reissues of Pale Divine‘s 2007 album, Cemetery Earth and Orodruin‘s 2002 debut, Epicurean Mass (discussed here). The two offerings come as a benefit spearheaded by Tom Phillips of While Heaven Wept in support of Solstice guitarist Rich Walker. In other words, this is doomers helping doomers as part of a vibrant underground community that knows no borders and is there when support is needed. Even humans who don’t belong can belong to a thing, and in this instance, that thing is doom.

Both records are killer, which you probably already know if you’re reading this. I don’t know if they’re doing preorders or what, but you should probably be keeping a regular eye on Cruz Del Sur Music anyhow because they’re awesome. That’s the extent of the insight I have on the subject. This is a good cause.

From the social medias:

ORODRUIN EPICUREAN MASS

PALE DIVINE CEMETERY EARTH

CRUZ DEL SUR MUSIC To Re-Release Orodruin And Pale Divine Classics On Vinyl To Support Solstice’s RICH WALKER

Last summer, the metal community learned that legendary SOLSTICE guitarist Rich Walker needed crucial surgery. WHILE HEAVEN WEPT leader Tom Phillips and a few friends came up with an approach to assist Walker in offsetting his mounting medical expenses: A GoFundMe campaign, series of exclusive compilations and lastly, a collection of hand-picked limited-edition LPs re-releases. Phillips has teamed up with Cruz Del Sur Music to release for the very first time on vinyl, ORODRUIN’s 2003 “Epicurean Mass” debut and PALE DIVINE’s heralded third album, “Cemetery Earth”. The releases will be available late May.

“These titles are doom metal classics that are long overdue for the vinyl treatment,” said Phillips. “‘Epicurean Mass’ firmly established ORODRUIN as a powerful force out of the gate at the height of doom metal fever. And, ‘Cemetery Earth’ represents the culmination and consolidation of everything PALE DIVINE was building towards — a rock-solid package that was ‘all killer, no filler.

“The premise here was to do our best to make these companions to the original CD pressings rather than rewriting history. However, there were some subtle changes to both records after much dialogue — both to ensure the best LP listening experience possible and also to rectify some details that had always been intended but for one reason or another didn’t happen for the original releases.”

ORODRUIN frontman John Gallo says the band was first introduced to Walker when he reviewed SOLSTICE’s “New Dark Age” album for his “Born Too Late” website in 2000. From there, Walker was a regular advocate of ORODRUIN. The re-release of “Epicurean Mass” holds special significance for Gallo and his bandmates — the album effectively put ORODRUIN on the map and charted the course for the rest of their career.

“We’ll never forget how it opened many doors for us,” he says. “To host the debut Born Too Late Festival and premier our band alongside PENANCE, REVELATION, WHILE HEAVEN WEPT, PALE DIVINE, THE GATES OF SLUMBER, UNEARTHLY TRANCE and SOULPREACHER to having our first United States ‘Doomination’ tour with THE PROPHECY and MOURNING BELOVETH. In 2004, we went out to Europe to support PENANCE along with our label master at ‘psycheDOOMelic’, the man…Mark Hegedus! It was an amazing ride and we even played ‘Doom Shall Rise II’ in Germany! I pray and hope for new exciting adventures with my band of grim-doomed hobbit-foot brethren! May doom rise from the ashes of the eternal flames from the heart of Mount Doom!”

PALE DIVINE’s Darin McCloskey said Walker has been there for the band “since the beginning.” Upon recommendation from Black Tears distribution head Russell Smith, they sent Walker an advance of their debut “Crimson Tears” demo for inclusion on one of Walker’s Miskatonic Foundation “At The Mountains of Madness” compilations. Walker soon became one of the first overseas supporters of PALE DIVINE, something McCloskey will never forget.

“He brought us into what would grow to become a doom metal family,” says McCloskey. “Rich always held true to his convictions and had no time for nonsense. He was a soldier for truth and integrity in a constantly compromising music scene. He held a quality of standard that oftentimes polarized him from the ‘herd,’ something that he often wore as a badge of honor.”

Now is the time to get your hands albums that have never been available on vinyl — until now. A portion of the proceeds will be donated to Walker’s medical expenses right away.

“The first two stages of our fundraising efforts for Rich have been fairly successful, but the vinyl was always going to help get us over the top,” says Phillips. “These 2021 editions were a team effort across the board. Don’t miss your chance to grab these doom metal monoliths — they’re ‘one-offs’ and, quite frankly, they deserve a place in any respectable collection of the genre!”

https://www.facebook.com/orodruinofficialband
https://orodruin.bandcamp.com/

https://www.facebook.com/serpentspath/
http://www.paledivineband.com/

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Pale Divine, Cemetery Earth (2007)

Orodruin, Epicurean Mass (2002)

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Wheel Announce Preserved in Time Out April 9 on Cruz Del Sur

Posted in Whathaveyou on March 8th, 2021 by JJ Koczan

wheel

15 years on from their founding and eight years since their most recent long-player, Germany doomers Wheel are set to make a return next month with Preserved in Time. With the release, Cruz Del Sur continue their admirable allegiance to quality doomcraft and traditional metal, and the Dortmunders should find welcome among those who’ve opened their arms in recent years to the likes of Orodruin and Pale Divine, among other choice acquisitions the label has made inside and out of the genre.

Icarus, which was Wheel‘s 2013 album — you’ll note the new record closes with “Daedalus,” which is fair enough — came out through Eyes Like Snow, as did their 2010 self-titled debut, and though it’s been a while since anything’s come out under that particular banner, it remains a trove of well-curated acts for those who might seek to dig. If you find after listening to the new Wheel track “She Left in Silence” below that you’re game to dig further into their prior two LPs — the cover art here also calls back somewhat to the profile on the debut, so there’s definitely some self-directed conversation happening — they’re streaming on Bandcamp. It’s not going to make your day less doomed.

The ol’ PR wire puts it thusly:

wheel preserved in time

WHEEL – New Album “Preserved in Time” via Cruz Del Sur Music – Lyric Video available

Cruz Del Sur Music proudly announces “Preserved in Time”!

On their first studio album in eight years, Germany’s WHEEL deliver seven songs of brooding, emotional doom. It will be released on April 9th 2021.

A lyric video for the track “She Left In Silence” has just been revealed.

True, epic doom of the highest order in the vein of Candlemass, Solitude Aeturnus and Trouble!

Preorders: https://www.cruzdelsurmusic.com/store/index.php

WHEEL was formed in 2006 in Dortmund, Germany. In 2009 a 2 Track Demo led to a deal with EYES LIKE SNOW. The debut was released 2010. The successor “Icarus” came out 2013. 2014 the band released a live tape from their performance at Hammer of Doom. 2021 the third Album “Preserved in Time” will be out on Cruz del Sur.

Tracklist:
1. At Night They Came Upon Us
2. When The Shadow Takes You Over
3. After All
4. She Left In Silence
5. Aeon of Darkness
6. Hero of the Weak
7. Daedalus

https://www.facebook.com/Wheeldoom
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https://wheeldoom.bandcamp.com/
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Wheel, “She Left in Silence” official lyric video

Wheel, Preserved in Time (2021)

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The Obelisk Presents: THE BEST OF 2020

Posted in Features on December 31st, 2020 by JJ Koczan

london-news-etching-1854-newcastle-upon-tyne

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.

One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.

In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.

I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.

Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.

ukmedsnorx.com/zopiclone
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Okay:

The Top 50 Albums of 2020

#50-31

50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing

Notes: To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

Released by Ripple Music. Reviewed May 5.

There was no shortage of anticipation for what L.A. cultists High Priestess would do to follow their 2018 self-titled debut (review here), and the three-piece did not disappoint, instead gave a ritual mass that included the 17-minute concept piece “Invocation” alongside infectious and ethereal melodies like “The Hourglass.” And now that the circle’s been cast? Seems like they can do anything.

29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

Released by Svart Records. Reviewed Oct. 12.

High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Polymoon. If you haven’t yet heard Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by Totem Cat Records. Reviewed Sept. 30.

Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another Sons of Otis. Be thankful for everything you get from them.

27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

Released by Projection Records. Reviewed May 25.

Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Craig Williamson‘s voice itself — the ingredients for Lamp of the Universe‘s Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.

23. REZN, Chaotic Divine

rezn chaotic divine

Released by Off the Record Label. Reviewed Oct. 15.

I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.

17. Slift, Ummon

slift ummon

Released by Stolen Body and Vicious Circle Records. Reviewed March 26.

Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.

14. All Souls, Songs for the End of the World

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (RoadsawSasquatch, etc.) adding space and melody to the crunching, driving grooves.

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.

8. Elder, Omens

elder omens

Released by Armageddon Shop and Stickman Records. Reviewed April 27.

Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar Bjørnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver Sandøy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.

3a. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten and Ripple Music. Reviewed Dec. 3, 2019.

Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.

3. All Them Witches, Nothing as the Ideal

All-Them-Witches-Nothing-as-the-Ideal

Released by New West Records. Reviewed Sept. 3.

This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habits was not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.

The Top 50 Albums of 2020: Honorable Mention

Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.

Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, Ellengæst
Cruthu, Athrú Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of Silvåkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality

By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.

Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of the Vile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of Silvåkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog

Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?

In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.

And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal

Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.

Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.

So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn

Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.

You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.

There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.

Looking Ahead to 2021

A list of bands. Some confirmed releases, some not. Here goes:

Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, Lantlôs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.

Thank You

You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.

Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.

More to come.

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Quarterly Review: Celestial Season, Wren, Sumokem, Oginalii, Völur, Wedge, SpellBook, Old Blood, Jahbulong, Heavy Trip

Posted in Reviews on December 25th, 2020 by JJ Koczan

THE-OBELISK-FALL-2020-QUARTERLY-REVIEW

The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.

However you celebrate or don’t, be safe. Music will help.

Quarterly Review #41-50:

Celestial Season, The Secret Teachings

celestial season the secret teachings

Like many of the original death-doom set, Dutch masters Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Stefan Ruiters and bassist Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Type O Negative cover that fits well after the crescendo of the song before it.

Celestial Season on Thee Facebooks

Burning World Records website

 

Wren, Groundswells

wren groundswells

The gift Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.

Wren on Thee Facebooks

Gizeh Records website

 

Sumokem, Prajnaparadha

sumokem prajnaparadha

With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ Sumokem would seem to come of age on their third long-player, Prajnaparadha, answering the flourish of 2017’s The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.

Sumokem on Thee Facebooks

Cursed Tongue Records webstore

 

Oginalii, Pendulum

Oginalii Pendulum

Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Oginalii‘s Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.

Oginalii on Thee Facebooks

Devil in the Woods on Bandcamp

 

Völur, Death Cult

Völur death cult

Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.

Volur on Thee Facebooks

Volur at Prophecy Productions

 

Wedge, Like No Tomorrow

wedge like no tomorrow

Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.

Wedge on Thee Facebooks

Heavy Psych Sounds website

 

SpellBook, Magick and Mischief

SpellBook Magick and Mischief

About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.

SpellBook on Thee Facebooks

Cruz Del Sur Music website

 

Old Blood, Acid Doom

old blood acid doom

Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.

Old Blood on Thee Facebooks

Metal Assault Records on Bandcamp

DHU Records webstore

 

Jahbulong, Eclectic Poison Tones

JAHBULONG ECLECTIC POISON TONES

Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.

Jahbulong on Thee Facebooks

Go Down Records website

 

Heavy Trip, Heavy Trip

heavy trip heavy trip

Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.

Heavy Trip on Thee Facebooks

Burning World Records on Bandcamp

 

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Apostle of Solitude Announce New Album for Spring 2021

Posted in Whathaveyou on November 19th, 2020 by JJ Koczan

More background than details in the below, but take it to heart one way or the other that there will be a new Apostle of Solitude record out next year. The Indianapolis doomers join an increasingly crowded field of those with post-2020 plans, but you’ll note there’s no real mention of concrete touring notions or anything like that. We don’t even have a name for a record or confirmation that it’s done/mixed/mastered, so there’s a ways to go one assumes before things like cover art and songs start showing up.

But if you needed something today to be stoked about, this should qualify, and if it doesn’t, the band’s 2018 LP, From Gold to Ash (review here), is streaming at the bottom of the post, and once you revisit that, you’ll be stoked anyway, so there you go.

That record, incidentally, has been on my phone since I first heard it. I change shit on my phone all the time depending on what I need to be hearing in a given week. Very few albums last there for anything close to a stretch. It’s one more sign among many that it was a special record that I remain basically unwilling to part with it even as I look forward to what they’ve got coming next.

From the PR wire:

apostle of solitude

Apostle of Solitude – Spring 2021!

Formed in 2004 by vocalist-guitarist Chuck Brown (The Gates of Slumber) with heavy hitter Corey Webb on drums, Apostle of Solitude released their debut ‘Sincerest Misery’(via Eyes Like Snow) in 2008 and the follow-up ‘Last Sunrise’ in 2010 (via Profound Lore as well as Eyes Like Snow) before adding vocalist-guitarist Steve Janiak (Devil to Pay) in 2011 and then Mike Naish (Shroud of Vulture, Astral Mass) in 2015. The band released their epic third album ‘Of Woe and Wounds’ for Cruz Del Sur Music in 2014, followed by multiple tours across the US and triumphant 2016 European tour.

Apostle of Solitude’s most recent album, 2018’s “From Gold To Ash”, was widely heralded by fans and critics alike as both the band’s best work to date, and a defining moment in American doom metal. Largely defined by the heartfelt and emotive dual vocals of Brown and Janiak, ‘From Gold To Ash’ covers a wide spectrum of heavy, from raging instrumentals to introspective guitar duos, monolithic doom riffs and reflective, melodic heartache. In support of that album, the band embarked on a southern US tour (with labelmates Pale Divine), their second European tour (including the Hammer of Doom festival at the revered Posthalle Wurzburg in Germany, and headlining the Doom Over Vienna festival in Austria), a special performance at the Maryland Doom festival, and a handful of Midwest US dates.

While 2020 saw a worldwide pandemic that dramatically altered many aspects of life around the globe, the band waited, and then implemented appropriate safety measures in order to continue writing their next album. This, the band’s fifth full length (and yet to be titled) album, is set to be released spring of 2021, again on Italy’s Cruz Del Sur Music, and available on CD, vinyl LP, and digital formats. As a nod to the tradition set by the band’s prior works, the album is set to be recorded at Russian Recording in Bloomington, IN with studio mastermind Mike Bridavsky behind the board. Following the release of the album, and once the world is safe to do so, Apostle of Solitude plans to tour again domestically and abroad in support of the new album.

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

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Apostle of Solitude, From Gold to Ash (2018)

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Sonja Sign to Cruz Del Sur; Loud Arriver Out Next Year

Posted in Whathaveyou on November 6th, 2020 by JJ Koczan

Philly trad metal-style heavy rockers — or is it heavy rock-style trad metallers? — Sonja have signed to Cruz Del Sur Music to issue their debut long-player in the New Year. Titled Loud Arriver, the album will have been preceded only by the 2018 two-songer demo, Nylon Nights/Wanting Me Dead, issued by Creep Records. And I don’t know of those songs will make the record, but I’m certainly not hearing anything in them that wouldn’t make sense.

Interesting to read that the band have roots in more extreme fare. As Philadelphia has kind of become a hotbed of newer-school underground heavy metal, rock and psych, there have been a number of acts emerging whose pasts found them digging into more aggro influences — Ecstatic Vision come to mind first — but whatever works, frankly. Sonja obviously have their house order, otherwise I don’t think a label like Cruz Del Sur comes knocking in the first place.

Info from the PR wire:

sonja loud arriver

Philadelphia Rockers SONJA Sign With Cruz Del Sur Music

Cruz Del Sur Music is proud to announce the signing of Philadelphia rockers SONJA. The label will release the band’s first full-length studio album, Loud Arriver, in early 2021.

SONJA formed in 2014 when vocalist/guitarist Melissa Moore and drummer Grzesiek Czapla started to look for new musical avenues beyond their extreme black, death, grind and thrash backgrounds. Instead of entrusting an outsider with the vocalist position, Moore took it upon herself to learn how to sing. Along the way, the band added bassist Ben Brand, completing a lineup that is rife with musical diversity with influences stretching from classic and doom metal, all the way to Goth and post-punk.

In 2018, SONJA released the Nylon Nights / Wanting Me Dead demo, a hook-laden display of metal that was immediately lauded for its catchiness and heaviness. The demo caught the interest of Cruz Del Sur Music.

“We immediately got a good feeling and it was obvious that we were dealing with a label that was about the music above all,” says Moore. “Despite our past bands, we had never toured with SONJA and didn’t have an official release, so Cruz Del Sur to be able to ‘discover’ us meant something. A very sick label found Sonja based on our songs only, and that’s the kind of omen we respect.”

“From day one this band has had a strong vision, and we consider it our duty to serve that vision,” she continues. “As a result, we take a long time to make sure that what we are crafting is totally on point. It’s a cohesive sound and we prioritize hooks above all. Real heavy metal fire has to be there in every song along with sensual dark rhythms. No one shows up to the dojo with a full song and says ‘play this.’ We write the music together in the same room. This is a band about songwriting and the songs are bigger than anything else about us.”

Speaking of songwriting, Loud Arriver will feature eight songs of “beautiful, dark, mighty and wicked” heavy metal and is the product of a tandem recording process with the music being recorded by Daniel Kishbaugh and the vocals being recorded by Arthur Rizk in Philadelphia at Creep Recording Studio. As 2020 starts to draw to a close, Moore and her bandmates leave with some words of encouragement for 2021:

“Whatever is going on in the world, whether it be death and misery, or MORE death and misery, SONJA will accompany you to the end.”

Artwork by Karmazid!

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Sonja, Nylon Nights/Wanting Me Dead (2018)

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Grendel’s Sÿster Sign to Cruz Del Sur Music

Posted in Whathaveyou on July 17th, 2020 by JJ Koczan

Stuttgart, Germany, three-piece Grendel’s Sÿster make a good fit on on Cruz Del Sur Music, bringing together folk and classic metal on their 2019 Myrtle Wreath / Myrtenkranz — which, yes, has 16 tracks — in a way that recalls the more power-driven moments of their newfound labelmates in Slough Feg, but is perhaps even more in the post-Skyclad pantheon of folk metal, though, as the label points out in the announcement of signing the band, they neither play to the trope of using folk instruments nor sing about beer. I’m all for varied arrangements depending on the context, but listening to Myrtle Wreath / Myrtenkranz, it’s pretty clear what Cruz Del Sur are talking about when it comes to metal. They’re talking about Korpiklaani, Fintroll and the like. This is a different kind of folk metal.

The vinyl is out Sept. 25 and the preorders are up. That’s probably what you need to know.

So here you go:

GRENDEL’S SŸSTER

German Epic Folk Metallers GRENDEL’S SŸSTER Join Cruz Del Sur Music

Cruz Del Sur Music is proud to welcome Stuttgart, Germany epic folk metallers GRENDEL’S SŸSTER. The label will re-release the band’s 2019 “Myrtle Wreath / Myrtenkranz” EP in September.

GRENDEL’S SŸSTER – “Myrtle Wreath / Myrtenkranz” LP
RELEASE DATE: SEPT 25, 2020
FORMAT: GATEFOLD LP, INSERT & DOWNLOAD CODE
PRE-ORDER: https://tinyurl.com/yd4ps37x

Re-release of German trio Grendel’s Sÿster’s Myrtle Wreath / Myrtenkranz EP — a collection of German and English-sung folk metal that’s eclectic and epic!

A seamless blend of classic metal and pure folk from this emerging German power trio!

“Follow the atmosphere.” It is a simple guideline for Grendel’s Sÿster guitarist and primary songwriter Tobi when composing. He often finds himself pulling all-nighters, aided and abetted by black tea and a daylight lamp to ensure the mood is just right. All he needs is a tiny fragment of a melody with a numinous quality and eventually, a new Grendel’s Sÿster song is born.

Music as unique as Grendel’s Sÿster requires a special touch — they marry metal, folk and acid rock in such a manner that it would appear the band has been together for decades, when, in reality, they came together in 2015 after a series of impromptu jam sessions tucked away in the Vosges Mountains region in France. The 2016 Night Sea Journey/Sayings of the High One single was their first release, followed by 2018’s Orphic Gold Leaves/Orphische Goldblättchen EP. Their 2019 Myrtle Wreath / Myrtenkranz EP is what caught the attention of Cruz Del Sur Music, leading to its proper reissue this September.

Grendel’s Sÿster’s inimitable style owes as much to their wide range of influences (from early Blind Guardian, Warlord and Lordian Guard, to artists such as Svanevit, Triakel and Planxty, all the way to classical and renaissance music) as it does the chemistry within the band.

What separates Grendel’s Syster from other folk metal bands is that they don’t rely on traditional folk instrumentation. In fact, there’s not a trace of it on the LP. Instead, the band’s reliance on atmosphere, melody and compositional breadth is what helps them get their point across.

To go one step further, the topics on Myrtle Wreath / Myrtenkranz are mostly about history, mythology and folklore, avoiding many of the pitfalls of the current folk metal style. (No drinking songs to be found!)

The EP’s cover art is from Dutch painter Lawrence Alma-Tadema, depicting an anecdote from the Historia Augusta, which is a collection of Roman biographies written in Latin. And, as if to further display Grendel’s Sÿster’s special quality, Myrtle Wreath / Myrtenkranz features both a German and English version of the EP in one package.

Myrtle Wreath / Myrtenkranz is more than just the organic marriage of metal and folk. It’s an EP without boundaries, both bold and captivating at once.

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Grendel’s Sÿster, Myrtle Wreath / Myrtenkranz EP (2019)

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