Posted in Whathaveyou on January 14th, 2020 by JJ Koczan
After three albums and a live record and demo and whatnot, German progressive noise rocking three-piece Deamon’s Child have announced they’re calling it a day. Their explanation of it via thee social medias — which you can read below — doesn’t get into to specific circumstances, but I think it emphasizes one way or another that the core of what Deamon’s Child were was in the emotional bond between the members, bassist/vocalist Ana Muhi, guitarist Sven Missullis and drummer Tim Mohr, and without that, there isn’t a band, so, in essence, there isn’t a band. It’s a more open and honest way of acknowledging the depths of relationships that form between band members — anyone who tells you it isn’t like being married probably isn’t married — than saying “this isn’t fun anymore,” which is what you sometimes get. Respect to Deamon’s Child either way for hanging it up rather than pressing on because they feel obligated.
Muhi and Missullis will reportedly start a new project together sometime in the near future. Like, maybe later this week. Hey, waste no time. I’m not saying I’ve heard anything or anything like that or know the name of the new band or there’s a teaser coming soon or who said “teaser?” or anything like that, but just keep your eyes peeled.
Here’s what they had to say:
Deamon’s Child quit
Dear friends,
It’s hard for us to find the right words for a sad message.
The three of us decided to finish this project and go new paths.
Deamon’s child dissolves.
It feels unreal and surprising on the one hand, because we’ve just been working on new songs with passion. On the other hand, it feels consistent and authentic, because we have also realized that we want to give each other the space and take each other that we need.
We have the urge to develop, but in some points different needs. In our opinion, a compromise is not the right way here, because it would destroy what we stood and stand for. The three of us distinguishes a certain uncompromising in musical terms, whose consequence we hereby bear. Life has enough necessities, but a band is not necessary. A band should be free.
Deamon’s child came and raged with a loud bang, was allowed to grow with us and become what it is. The time has come to let go.
We will keep this band and the time we were able to experience together with you as unique in memory.
Let’s stay authentic and wild in deamon’s world. Let’s make them a better place. Let’s stay loud and human. Let’s be louder than hatred and stupidity of human enemies. Let’s express together – everyone in their own way, but clearly. Let’s stop the destruction of our livelihoods and humane values.
Deamon’s child will live on in us and naively believe in the power of the adult man. It believes to be able to take over the direction for a good life.
You hear from us.
It’s brewing, it’s trapping.
Deamon’s child will be in a better world, but we still have a lot to do here. First we lick the wounds and then we licked blood what wants to let out.
It’s wild raw, it’s unleashed, it’s in progress.
We thank you for having accompanied us on our way.
In Respect. In Love. Goodbye.
Deamon’s child
Deamon’s Child were: Ana Muhi – Bass & Gesang Sven Missullis – Gitarre Tim Mohr – Schlagzeug
Here in the States, today is Independence Day. It’s a day marked by fireworks and barbecues and ignoring all the heinous shit in which the nation has engaged over its 200-plus years of existence, and really before that as well, as a colonial enterprise, and so on. War, genocide, all that stuff. We don’t talk about it on Independence Day. Perhaps unsurprisingly, one of my favorite things to do on this day is listen to music. Really, that works for any day, but if I’m hanging out, I want some tunes on, so it seems only fair to have The Obelisk Radio going in the background, since as it happens I think the playlist is pretty reliable. If I do say so myself.
So, if this is my way of celebrating the Fourth of July, then fine. You’ll note it’s all a bunch of international bands. Ha. To see the full list of everything that hit the server today, click here.
The Obelisk Radio adds for July 4, 2017:
Merchant, Beneath
With two massive, 14-minute-plus slabs of cosmic sludge viciousness, Melbourne four-piece Merchant offer the tonal siege and atmospheric cruelty of their Beneath EP, reaffirming the dual edges of space and claustrophobia that existed on 2016’s debut full-length, Suzerain (review here), and the YOB-circa-Catharsis influence that proved so central to that release. Here, “Guile as a Vice” dives into more extreme territory, with vocals buried beneath a rolling ball of molten lead, while “Succumbing” lives up to its name late in a marked devolution toward noise and feedback that feels like it’s peeling its own skin away to reveal the raw flesh underlying — pure abrasion and unwanting of anymore expression than its initial headbang-worthy slams or final howling minutes allow. A portrait of brutality brought forth in multiple shades, Beneath lives up to its name in how it seems to dig into its own execution, and even more than on Suzerain, one finds Merchant carving their identity from their pummeling, scathing take on familiar sonic aspects. “Guile as a Vice” and “Succumbing” are made all the more the band’s own by their unbridled nastiness and the skill with which the band wields it. They remain loaded with potential, but already across these initial outings, we’ve started to see that potential come to fruition. May it continue to do so.
Tracked at a June 3, 2017, show at the Lux club in Hannover, Germany, Live im Lux brings seven tracks of Deutsche heavy punkers Deamon’s Child in a warts-and-all onstage context. That is, there’s no attempt to hide or mask anything about the set, flubs, righteous moments, any of it. It’s the show, as it happened. Plain and simple. They open with the thrust of “Zucker” and one finds the vocals of bassist Ana Muhi a little high in the mix, but the crowd eats it up whole, and along with guitarist Sven Missullis and drummer Tim Mohr, Muhi goes on to deliver highlight moments in the slower roll of “Lutscher,” the noise-infused starts and stops of “Geld” and the 11-minute exploration of “Nichts.” The majority of the material on Live im Lux comes from Deamon’s Child‘s 2016 second long-player, Scherben Müssen Sein (review here), and they give those songs a suitable roughing up throughout, right up until the calls from the crowd for an encore inspire a spirited rendition of that album’s opener, “Das Vogellied,” which is marked out by Mohr‘s thrash-worthy double-kick and the quick turns it prompts, somewhere between noise rock and metal and punk and heavy-impulse riffing, Muhi‘s vocals again at the center of the tumult. Live im Lux will probably serve as something of a curio for the band’s followers or those who were there to see the show — they’re DIY’ing a limited CDR pressing — but for anyone else who happens upon the stream, it’s going to be a welcome find.
Not only does Guilty of Being Young have in common with Derelics‘ prior 2015 EP, Introducing (review here), that’s it’s three tracks, but in going from the six-minute “Guilty of Being Young” to the eight-minute “The Summer Song” to the five-minute “The (Wicked) Witch is Dead,” it follows the same timing pattern with just one minute trimmed off the closer. I don’t know whether the London trio had that kind of direct conversation between releases in mind when they put Guilty of Being Young together, but it comes accompanied by a marked shift in sound, pulling back on some of the aggressive edge that typified the debut in favor of a bright-toned bounce that recalls Zeppelin at their most pastoral jangle on the opener and swirls through garage-grunge moans on “The Summer Song” before “The (Wicked) Witch is Dead” mixes in some Soundgarden-ing vibes amid a tonal spread born of classic psychedelia and maybe just a touch of Blind Melon melodicism. Derelics swapped out bassists between the two short releases, bringing in Thom here alongside guitarist/vocalist Reno and drummer Rich, and while they still seem to be figuring out where they want to end up sound-wise, the progressive shift they’ve made on Guilty of Being Young has only made them more of a standout from the bulk of London’s crowded heavy underground, and the direction in which they seem to be headed fits remarkably well.
The lesson of the PsyKA Records-issued Starsplit release from newcomer German outfit Cosmic Fall and the somewhat longer-running Aphodyl would seem to be pretty simple: If it’s not an improv-sounding psych-funk jam of at least 11 minutes in length, it can pretty much screw off. Both groups traffic in such wares, and as Cosmic Fall follow-up their single “Haumea” (premiered here) and their two quickly-arrived full-lengths, First Fall (discussed here) and Kick out the Jams (review here), and Aphodyl add to a slew of DVD and other live outings issued since their apparent founding circa 2013, immersion is the key that unites them. Across two LP sides — one per band — of 23 minutes each, Cosmic Fall and Aphodyl tap heartily into classic space/krautrock impulses and transfigure that elder progressive sensibility into an argument for a new wave of German hypnotic rock. Aphodyl get into some percussive nuance in the aptly-titled “Jam 2,” which is preceded by — you guessed it — “Jam 1,” while Cosmic Fall enact a more effects-driven swirl across “Overhead Intelligence” and “Blues at CME,” but it’s the far-out-far-outness of Starsplit as a whole that serves as the prevailing impression of the release, and those who would dig into an ever-expanding universe of kosmiche jamming will no doubt welcome the opportunity to lose themselves among the stars on this still-digestible stellar sampler, which offers lightyears of vibe in a laid back and molten complement.
Milan tone-crusher solo-outfit Theta makes its full-length debut with the curiously possessive Obernuvshis’, a five-track/46-minute lumber-laden offering of post-industrial doom that comes accompanied by the advice to “Listen at extremely loud volume only.” I’ll admit I didn’t, but multi-instrumentalist Mattia Pavanello (ex-Furor Gallico) got his point across anyway in the tectonics of opener “Travel Far into the Black Hole Depths,” which represents just the first steps along the grueling instrumental path toward 11-minute finale “Concrete and Foundation,” which though faster, would seem to summarize the mindset from which the project is working in the first place — setting its foundation in something remarkably solid and extremely heavy. Samples spread throughout about consumerism, religion, spirituality, etc., give songs like centerpiece “Butterfly’s Cycle” a critical edge, but as intentionally plodding as Obernuvshis’ is on the whole, it doesn’t necessarily feel heavy-handed in its social aspects, instead letting its heft do the talking when it comes to conveying a sense of being weighted down by modernity. And if one has to be dragged down by such things — which, yes, one invariably does; it’s called culture and there’s no escape from it — then the layers of noise-soaked riffing in “Harshness of A” and the vague edge of hope buried in the later lead guitar aren’t a bad way to go. Loud volume ultimately doesn’t hurt, but Theta‘s intentions ring clear one way or the other.
Posted in Whathaveyou on June 23rd, 2017 by JJ Koczan
I take it as a sign mostly of my own middle-agedness that I’m so continually impressed by things like super-quick turnarounds on DIY releases. CDRs aren’t exactly new technology, but to me it seems worth admiring the work that Hannover, Germany’s Deamon’s Child have done in putting together Live im Lux as a limited-run of compact discs after only playing the show from which it’s made earlier this month in their hometown. That kind of thing is really cool. When I was a kid you’d have to wait forever for something like that. Now it’s online faster than even the CDs can be burned. Like I said, I’m old, so I find that impressive.
Deamon’s Child released their second album, Scherben Müssen Sein (review here), last year via Zygmatron Records, which was also kind enough to send over the following release info and live dates:
On June 3rd, 2017 the three piece DEAMON’S CHILD played a concert in its hometown, Hannover, Germany.
They opened for the Canadian band BLOOD CEREMONY at the LUX Club.
As the band arrived at the club they were happily surprised to meet an old friend behind the mixing console. It was Willi Dammeier of the Institut für Wohlklangforschung Studio. Willi is known for his productions with bands like COLOUR HAZE, KALAMATA, ROTOR, MOTHER SUPERIOR or CHERRY OVERDRIVE f.e..
After a hearty welcome the band and Willi decided spontaneously to record the concert without any extra expenditure and just for fun.
There was no time for an extra soundcheck or a special live microphone set up and above all it was not plant to record something for a release.
But well, there is a very nice livefeeling in it. It is raw, it is authentic and develops the fun the band and the audience have had very good. So we decided to release it. The setlist has songs from the first two albums.
The live album „Live im Lux“ is available as download and as limited to 50 CD-R Version.
Dates (germany): 27.06. Hannover, Café Glocksee 04./05.08. E-Lite Culture Festival 25.08 Walsrode, ObernAir 07.10. Berlin, Supamolly 11.10. Hildesheim, Löseke 12.10. tba 13.10. Hamburg, Astra Stube 14.10. tba 20.10. Hannover, Monster Records 21.10. Potsdam, Punk Party 02.12. Erfurt, Café Tikolor weitere Daten in Vorbereitung
Ana Muhi – Bass & Gesang Sven Missullis – Gitarre Tim Mohr – Schlagzeug
Posted in Reviews on December 30th, 2016 by JJ Koczan
We press on with the Quarterly Review and writeups #41-50 of the total 60 to be featured. Some considerable names in this batch, as I suppose there have been all along, but one of the functions this feature has come to serve is to allow me a space to offer some comment on bigger records that, let’s be frank, are being covered everywhere in the universe, while fleshing out coverage elsewhere of things like bands’ debuts and some other less-ubiquitous offerings. That’s become the idea anyway. Doesn’t always go like that, but it’s kind of a relief to have somewhere I can put the extra 200 reviews per year rather than miss out. We’ll wrap this one up on Monday, but just because it’s the end of the week and because it’s my general sentiment, thanks for reading.
Quarterly Review #41-50:
40 Watt Sun, Wider than the Sky
With their second album, the awaited Wider than the Sky, London’s 40 Watt Sun continue to be defined by their depressive expressionism. The six-track/62-minute follow-up to 2011’s The Inside Room (review here) finds guitarist/vocalist Patrick Walker (ex-Warning), bassist William Spong and drummer Christian Leitch opening with the longest inclusion (immediate points) in the gorgeously mournful 16-minute unfolding of “Stages.” Sonically lush but still somehow raw and minimal in its emotionality, a slow drear sets the tone for what will follow in “Beyond You” and “Another Room,” “Pictures and “Craven Road,” which alternate on either side of the 10-minute mark until closer “Marazion” (3:57) seems to resonate a less-hopeless spirit. More than The Inside Room, Wider than the Sky realizes itself in emotional rather than tonal weight, and while one often identifies these feelings with things cold and grey, it would require a willful blindness not to recognize the humanity and warmth coming through in Walker’s delivery of this material. Wide it may be, but not at all distant.
The duality of Worm Ouroboros’ third album for Profound Lore, What Graceless Dawn, is almost as prevalent as the irony that its title should include the word “graceless” when the 63-minute six-tracker itself is so melodically poised. It’s dark, but hopeful, spacious and compact, challenging but simply and often minimally arranged, patient and emotionally intense, and heavy even as it seems to float from one extended piece to the next on a current of intertwining, nigh-operatic vocals from bassist Lorraine Rath (ex-Amber Asylum) and guitarist Jessica Way (World Eater) while Aesop Dekker (Agalloch, Vhöl) seems just as comfortable in the quiet midsection stretch of 13-minute centerpiece “Ribbon of Shadow” as in the rumbling payoff of “Suffering Tree” just before. Running from opener “Day” to closer “Night,” What Graceless Dawn is nothing if not coherent, and while the band’s core approach has been largely consistent across their 2010 self-titled debut (review here) and 2012’s Come the Thaw, the Bay Area trio maintain a clear commitment to forward-moving artistry that stirs the consciousness.
I was fortunate enough to be there when UK heavy psych legends The Heads played the Main Stage set at Roadburn 2015 captured on the Burning World Records release Burning up With…, and indeed the preservation of the band’s utter liquefaction of that large room is well worth preserving across the four sides of a double-LP. The only drawback to a vinyl version of their set is that while the individual songs are presented as side-consuming medleys – “Cardinal Fuzz/KRT,” “Gnu/Legevaan Sattelite/U33,” and so on – that still requires some measure of break to flip from one to the next, whereas in the all-at-once linearity of a CD or digital listen, one finds the overwhelming lysergic proceedings intact as they were from the stage, gloriously molten and entrancingly jammed out by the longtime masters of the form. I won’t even attempt to give its spaciousness a proper assessment since just about anything The Heads do is a gift defying impartiality, especially something like this, but yeah, get on it.
Back in 2010, Dead Meadow frontman Jason Simon released an eponymous solo debut on Tee Pee that found him working in a folkish sphere, and his six-years-later follow-up, Familiar Haunts (on Tekeli-Li, Cardinal Fuzz, Burger Records and Blind Blind Tiger), has some of those elements as well on the twanging, finger-plucking “Pretty Polly” and subdued strum of “Seven Sisters of Sleep,” but Simon has also assembled a four-piece band here, and from the pickup of opener “The People Dance, the People Sing,” through the fuzz experimentalism of “Now I’m Telling You” and the airy linear build of the penultimate 11-minute highlight “Wheels Will Spin,” there’s no lack of fullness in the sound. One finds a particularly engaging blend on “Hills of Mexico,” a six-minute rambler that fluidly brings together neofolk and desert ambience, though as Simon and company play sounds off each other in this material, “engaging blend” would seem to be the underlying theme of Familiar Haunts as a whole.
Over a decade removed from their 2006 self-titled debut and five years past their third album, 2011’s Hemisphere of Shadows, one might easily argue that Portland, Oregon’s Danava are due for a full-length release. Sure, the band led by guitarist/vocalist Gregory Meleny have toured plenty in that time in the US and abroad, put out splits and so on, and that has consistently and organically grown their fanbase. Sating that fanbase would seem to be the motivation behind the two-song 7” At Midnight You Die (on Tee Pee), on which the titular A-side finds the four-piece making the most of their dual guitars – Meleny and Pete Hughes (Sons of Huns) shredding in proto-NWOBHM fashion – while the B-side takes on the bizarre and foreboding folk ambience of “My Spirit Runs Free,” short at three minutes, acoustic and sourced from 1979’s The Capture of Bigfoot. So yeah, it’s like that. No new record, but a ripper and some delightful weirdness on hand, and I suspect at this point many of their followers will take what they can get.
Some bands are just on their own wavelength, and as much as one might be tempted to relate Sevilla’s Pylar to SunnO))) with their robes and their drones, the Spanish troupe’s four-track full-length, Pyedra (on Alone Records), sees them emitting a slew of horrors all their own. Working as a five-piece, Pylar open with “Menga” (10:57), their longest cut (immediate points) and establish a basis of amelodic, largely arrhythmic noise-jazz. There are more straightforward currents in the subsequent rumble and roll of “Megalitos” (10:33), and “Menhir” (9:37) would seem to draw both sides together before “Meteoros” (9:07) rounds out with an airy, horn-topped alternate-universe victory, but the whole of Pyedra remains informed by the way-off-kilter challenge it poses at the outset, and part of the thrill is making your way through with no idea of what’s coming next other than another extended song beginning with the letter ‘m.’ Will be too much for some, but Pylar’s bleak experimentalism assures cultish appeal worthy of those robes the band wears.
Proliferating a combination of speaker-punishing low-end riffs and post-rock-derived spaciousness, Swedish trio Domkraft debut on Magnetic Eye Records with the wholesale immersion of The End of Electricity and evoke heft no less substantial than their stated theme. They begin with their two longest tracks (which I guess is double points?) in “The Rift” and “Meltdown of the Orb,” and by the time they’re through them, bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren have already doled out a full LP’s worth of nod, which would seem to make what follows after the momentary breather of “Drones” in “Red Lead,” “All Come Hither” the shorter “Dustrider” and closer “We Will Follow” a bonus round – in which Domkraft also dominate. Because its heavy is so heavy and because Wegeland’s vocals arrive across the board as far-back, shouted echoes, it’s easy to lose sight of the ambience that goes with all that roll, but what ultimately gives The End of Electricity such character is that it creates as much of a world as it destroys.
Back in 2013, Buenos Aires outfit Picaporters made an encouraging debut with Elefantes (review here). They’ve teased the follow-up, El Horror Oculto (on South American Sludge), over the last year-plus with several digital singles, but the album’s arrival hits with a distinct fleshing out of atmosphere, as heard on the grueling second cut “Diferentes Formas de Ostras” or the manner in which the centerpiece title-track departs from its raucous opening into a heavy-psychedelic meander, never to return, feeding off of the structure of “Humo Ancestral” directly before. An interlude “Etude 6” leads into the opening drift of “Ra,” but it’s a ruse as Picaporters offer some of the album’s most driving heavy rock in that cut’s second half, and close out with Sabbath-darkness-via-Zeppelin-noodling on “War is Over,” the trio coming together in a molten psychedelic doom that seems to draw from the various sides they’ve shown throughout without losing sight of pushing further in its summary.
It would be a mistake to judge Deamon’s Child’s second full-length, Scherben Müssen Sein (on Zygmatron), by any single one of its tracks, as the German trio makes plain in the dramatic shift from the crushing sludge of “Zucker” into the raw punk thrust of the subsequent “Keine Zeit.” Elsewhere, they find funky footing before punking out once again in “Schweinehund, Kimm Tanz Mit Mir!” and rumble the outing to a finish consuming in its largesse on the 10-minute “Nichts,” so yes, as they follow-up their 2014 self-titled debut (review here), Deamon’s Child hold fast to the sense of the unhinged proffered therein while uniting their material through an intensity that comes across regardless of tempo or surrounding purpose. They are on the beat, not behind it, pushing forward always. That can make Scherben Müssen Sein difficult to keep track of as it moves swiftly through the blast of “Monster” and the manipulated samples of “In Kinderschuhen” toward that finale, but the mission here is far, far away from easy listening, so all the better.
Adansonia Records offers a bonus-track-laden revisit of the 2011 debut release, Bardo Abgrund Temple, from Seattle shroom-jammers Fungal Abyss, whose improvisational sensibility comes through the original four extended cuts with no diminishing of their otherworldly trip-out for the half-decade that’s passed since they first surfaced. Those looking for a US counterpart to European psych-improv outfits like Electric Moon or Øresund Space Collective – i.e., me – would do well to dig into opener “Arc of the Covenant” (20:12) or closer “Fungal DeBrist” (24:07) as a lead-in for the earlier-2016 follow-up, Karma Suture (review here), as well as their companion live outings, but whatever contextual approach a listener might want to take, the instrumental stretch of Bardo Abgrund Temple is a serenely heavy and meandering path to walk, given to bouts of space-rock thrust and long passages of low-end droner nod, as heard on the 10-minute “Timewave Zero,” turned on and duly ritualized in its swirl and far-off vocalizations. A reissue well-earned of a gracefully cosmic debut.
Posted in Features on January 25th, 2016 by JJ Koczan
If 135-plus releases sounds like a lot, you’re right, it is. I must be out of my god damn mind. To put it to scale though, last year, I did a feature every couple of months called the Quarterly Review that throughout the course of 2015 resulted in no fewer than 200 separate album writeups. 135 is a lot, but it’s not everything. It’s still January. It couldn’t possibly be everything.
The basic fact of the matter is there’s so much out there right now that anyone claiming to even hint at totality of coverage is either clueless or lying. I don’t come close to catching it all. I do the best I can to do as much as I can. I know you’ve heard this all before.
Over the last seven or eight months, I’ve been keeping track of albums, EPs, singles, etc., slated for 2016 release. Some of these are independent, some through labels, some names familiar, some names new. I’ve tried to mix it up as much as possible, and I reserve the right to add to the list over the next couple days anything anyone might suggest in the comments. Last year’s list turned out to be a resource I used throughout the entire time, so, fingers crossed, I’ll be doing the same this go around. Thanks in advance for your participation in making it more complete by leaving a comment.
Ordered Alphabetically by Artist
1. Alunah, TBA
The Birmingham doom-rollers seem to be on this list every year, but I have it on good authority — namely, Alunah posted about it on the social medias — that they’re writing and entering the studio with an eye toward a late-2016 release for the follow-up to their 2014’s excellent Awakening the Forest (review here), their third full-length and debut on Napalm Records. Alunah on Thee Facebooks, at Napalm Records.
2. Ancient Warlocks, II
I don’t even know how many pressings STB Records has been through of Ancient Warlocks‘ self-titled debut (review here), but the follow-up has been finished since September and is reportedly due sometime this Spring. Primo fuzz is expected from the dual-guitar Seattle outfit. Ancient Warlocks on Thee Facebooks, STB Records.
3. Asteroid, III
Since their late-2015 reunion (announced here), Swedish trio Asteroid have been added to the lineup for Desertfest in Berlin and just this past week re-signed to Fuzzorama Records — which also released their last full-length, 2010’s II (review here) — for an upcoming release they’ve appropriately-enough dubbed III. Much more to come. Asteroid on Thee Facebooks, Fuzzorama Records.
4. Atavismo, TBA
Not much more to go on here than the band alluding to a forthcoming LP being put together, but frankly, I was so enthralled with the Spanish group’s late-2014 debut, Desintegración (review here), that that’s enough to make me excited at the prospect of a next installment from them. Keeping my hopes up it gets here before December. Atavismo on Thee Facebooks, on Bandcamp.
5. Banquet, Jupiter Rose
Picked up last fall by Heavy Psych Sounds as part of a torrent of signings from the label, San Francisco’s Banquet make their debut next month with Jupiter Rose, following their 2015 single, Run to You / Mother Road, which was released by Who Can You Trust? Records and boasts soulful West Coast heavy ’10s thrust. Banquet on Thee Facebooks, Heavy Psych Sounds.
6. Beelzefuzz, Beelzefuzz II: The Righteous Bloom
When I starting keeping notes for this list, this album was pegged as the debut from Beelzefuzz-offshoot Righteous Bloom, but word came down in December that band had reassumed its former moniker and that Beelzefuzz II: The Righteous Bloom would be issued in the early part of 2016 via The Church Within as the follow-up their 2013 self-titled debut (review here). Whatever name the progressive doomers release it under, I can’t wait to hear it. Beelzefuzz on Thee Facebooks, The Church Within Records.
7. Bellringer, TBA
There hasn’t been any sort of official announcement of a debut LP from the Mark Deutrom-led Bellringer, but over the course of the last year, the Austin-based former Melvins/Clown Alley bassist has unveiled a number of singles (posted here), and if he keeps it up long enough, he’ll get to an album one way or another. As a fan of creative weirdo heavy rock, I’m looking forward. Bellringer on Thee Facebooks, on Bandcamp.
8. Blaak Heat Shujaa, TBA
As of this past April, L.A. desert psych rockers Blaak Heat Shujaa (aka Blaak Heat) were in pre-production for their third full-length and second for Tee Pee Records behind 2013’s expansive The Edge of an Era (review here). The album may or may not be done, but whenever it arrives, it’ll do so with extra interest due to the inclusion of Tom Davis (ex-Nebula) on bass. Blaak Heat Shujaa on Thee Facebooks, Tee Pee Records.
9. Black Black Black, TBA
I feel like Brooklyn post-hardcore heavy rockers Black Black Black caught a bum rap because of their name, but the band’s blend of melody and intensity was not to be ignored on account of moniker or anything else. No solid release date yet, but last I heard, Aqualamb Records, which issued the artbook version of their 2012 self-titled debut (review here) would have a sophomore album released in similar style in the first half of this year. Black Black Black on Thee Facebooks, Aqualamb Records.
10. Black Cobra, Imperium Simulacra
You’ll note several records on this list have a release date of Feb. 26, and it would seem only fair to put Black Cobra‘s fifth outing and first for Season of Mist, Imperium Simulacra (review here), at the head of the bunch even if it didn’t wind up there by alphabetical happenstance. Not by any means the San Francisco duo’s rawest outing, but definitely their most stylistically expansive, and with plenty of their trademark destructive gallop to boot. One you probably don’t need me to tell you that you should hear. Black Cobra on Thee Facebooks, Season of Mist.
11. Black Cowgirl, TBA
Last time Pennsylvania heavy rockers Black Cowgirl were heard from, they said one simple thing: “2016.” That was October. Well, it’s 2016 now, and if we’re talking new releases, an LP from them would just about be their debut. Their 2012 self-titled (discussed here) on Kozmik Artifactz paired newer songs with material from their 2010 demo (discussed here), so a straight-up album feels due. Maybe this is the year. Black Cowgirl on Thee Facebooks, on Bandcamp.
12. Black Rainbows, Stellar Prophecy
If this one’s fresh in mind, that’s because it was just announced last week that Rome trio Black Rainbows would release their new album, Stellar Prophecy in April on Heavy Psych Sounds. It’s a quick turnaround for them from 2015’s Hawkdope (review here), but as that album was a marked step forward in their sound, I’m even more eager to hear where they go next. Black Rainbows on Thee Facebooks, Heavy Psych Sounds.
13. Black Shape of Nexus, Carrier
It’s an establish Spring release date for the new Black Shape of Nexus, whose brand of sludge crosses a threshold of thoughtfulness without falling into post-metal cliche. The German outfit’s last record, 2012’s Negative Black (streamed here), was plenty punishing, and I’d expect only creative progression on Carrier, though wouldn’t dare guess at the form in will take. Black Shape of Nexus on Thee Facebooks, Exile on Mainstream.
14. Blood Ceremony, Lord of Misrule
Toronto’s Blood Ceremony enter into their recently-announced fourth full-length, Lord of Misrule in something of a stately position. Since 2013’s The Eldritch Dark, their influence has only spread further across North America and beyond, so the question as the new LP makes its way out via Rise Above on March 25 is how they can stand out from the crowd formed at least partly in their wake. Blood Ceremony on Thee Facebooks, Rise Above Records.
15. Boris with Merzbow, Gensho
So you get your Boris record, then you get your Merzbow record, then you play both at the same time, and that’s your collaborative release. The intermittent pairings from Boris with Merzbow have always been unflinchingly creative and bold in their experimentalism, and going by the teaser posted last week, Gensho will be no different when it arrives March 18 on Relapse. Expect who the hell knows what. Boris on Thee Facebooks, Merzbow website, at Relapse Records.
16. Borracho, TBA
In mid-2015, Washington D.C.’s Borracho took part in a Ripple Music split with Geezer called The Second Coming of Heavy – Chapter One (review here). A bolt title, but it found them continuing to refine their sound as a power trio following 2013’s sophomore LP, Oculus (review here). No solid word of something due as yet, but a recent update from the band said they’d be hitting the studio next month. Borracho on Thee Facebooks, on Bandcamp.
17. Brimstone Coven, Black Magic
Out this week on Metal Blade, Brimstone Coven‘s debut album follows a well-received self-titled EP compilation (track stream here) that came out last year, and should prove interesting to see how the West Virginian doomers have grown since that material was recorded in 2013, just a year after they formed. I can’t claim to have heard it yet, but it seems like one that the doom converted should be all over. Brimstone Coven on Thee Facebooks, at Metal Blade Records.
18. Causa Sui, Return to Sky
Danish heavy psych instrumentalists Causa Sui posted an album teaser late last week for Return to Sky, and though it only showcased two tracks, it showed their tonal warmth intact and their will to explore as vibrant as ever. To be released through their own El Paraiso Records, my only hope is they don’t get saddled with pressing delays in the Spring, because really, the sooner it gets here, the better off we’ll all be. Causa Sui on Thee Facebooks, El Paraiso Records.
19. La Chinga, Freewheelin’
An awaited follow-up and Small Stone debut brings Freewheelin’ (review here) from Vancouver heavy rockers La Chinga on March 20. The new album reignites the hard-driving, classic-minded methods of their 2013 self-titled (discussed here), but refines the songwriting as well to affect a more memorable impression. The beginning of a big return year for Small Stone. La Chinga on Thee Faceboks, Small Stone on Bandcamp.
20. Church of Misery, …And Then There Were None
Unquestionably one of the most anticipated albums of the year. And Then There Were None brings Church of Misery founder Tatsu Mikami to the US from his native Japan and finds him teamed up with members of Blood Farmers, Earthride and Repulsion in a completely revamped lineup from that which appeared on 2013’s Thy Kingdom Scum (review here). Rise Aboverecently announced a March 4 release. Church of Misery on Thee Facebooks, Rise Above Records.
21. Cities of Mars, TBA
Swedish trio Cities of Mars caught attention with the big riffs and steady swing of their debut single (review here), and announced back in October that they’d have a new EP out in March via Suicide Records. Still somewhat in their formative stages, they’ve presented a sci-fi thematic and it will be interesting to see if they stick with it or move toward something else. Cities of Mars on Thee Facebooks, Suicide Records.
22. Cloud Catcher, TBA
The progressive Denver newcomers are set to hit the studio in Spring to record their sophomore LP and the follow-up to 2015’s Enlightened Beyond Existence (discussed here), so it might be summer or even fall by the time it gets issued, depending on timing of the recording, what label picks them up, etc., but it’s one to keep an eye out for anyway. They’ve shown a willingness to hit the road as well, and I wouldn’t be surprised if they did so again sometime after their Spring tour in Feb./March. Cloud Catcher on Thee Facebooks, on Bandcamp.
23. Comacozer, Astra Planeta
When Sydney trio Comacozer signed with HeadSpin Records last July, it was announced they’d be recording in October for a debut full-length to be titled Astra Planeta that would be due this Spring on the label. That process has been delayed somewhat, but there’s still no reason to think they can’t get the record out this year. Their 2015 EP, Deloun Sessions, found them pushing more into tense, moody atmospherics, and it was a shift that suited them well. Comacozer on Thee Facebooks, HeadSpin Records.
24. Conan, Revengeance
Out this week on Napalm Records, the third album from UK destroyers Conan, Revengeance (review here), finds the trio revamped around founding guitarist/vocalist Jon Davis, with longtime producer Chris Fielding adding a striking, effective counterpoint on bass and vocals and drummer Rich Lewis adding to the tectonic roll on drums. Happy to report, it still sounds like Conan, only perhaps even deadlier. Conan on Thee Facebooks, at Napalm Records.
25. Conclave, TBA
I don’t think Massachusetts four-piece Conclave — whose members trace their pedigree back to outfits like Warhorse and Grief — are ready to make the name of their full-length debut public yet, so I’m not going to say it, but I’ve heard the album and it’s full-on death-doom punishment that should bring a satisfied grin to even the most discerning of purists. Their debut EP, Breaking Ground (review here), was grim and brutal in kind, and the album only pushes further into the dark. Conclave on Thee Facebooks, on Bandcamp.
26. Corrosion of Conformity, TBA
Since the North Carolinian legends first announced they were reuniting with guitarist/vocalist Pepper Keenan, the question has been whether or not a new album would surface. Last October, they signed to Nuclear Blast while on tour with Clutch and The Shrine (review here), and followed that tour with a headlining run in December. I expect we’ll hear from them a lot in 2016 as they record the first outing with this full four-piece since 2000, and that’s just fine by me. Corrosion of Conformity on Thee Facebooks, Nuclear Blast.
27. Cough, TBA
Richmond doomers Cough entered the studio last August to begin tracking their first full-length since 2010’s Ritual Abuse (review here). I haven’t seen any announcement as to when it will be released, but it was finished in September, and we’ll see if it winds up coming out through Relapse, which would be expected, or if part of the delay has been in finding it a new home. That’s sub-speculation, mind you. I’m figuring on release news any minute now. Will let you know how that goes.Cough on Thee Facebooks, Relapse Records.
28. Curse the Son, Isolator
I was very glad I got to see Connecticut’s Curse the Son this past fall (review here), both because I dig what they do and because it gave me a sneak peak at the songs that will show up on their new album, Isolator, when it surfaces in March via Snake Charmer Coalition. Expect big, tone-led vibes a la 2012’s Psychache (review here), but with some new edge thanks to the addition of bassist/backing vocalist Brendan Keefe alongside guitarist/vocalist Ron Vanacore and drummer Michael Petrucci. Curse the Son on Thee Facebooks, Snake Charmer Coalition.
29. Dali’s Llama, Dying in the Sun
Perpetually underrated CA desert rockers Dali’s Llama will release their new album, Dying in the Sun, early this year. I’m not precisely sure when, but sooner or later it will come out, and when it does, I have full faith it will be a stirring reminder of just how overlooked the band continues to be as they’re now well past their 20th anniversary. The upcoming full-length was mastered as of December, so look out for an update hopefully sooner than later. Dali’s Llama on Thee Facebooks, Dali’s Llama Records.
30. Darsombra, TBA
Drone/noise/visual two-piece Darsombra toured across the US in 2015 across 109 different cities. That is no easy feat, and I can’t even imagine how an experience like that might play into the writing from Brian Daniloski and Ann Everton on the band’s next full-length, which, when they finished the last leg of that massive and ambitious run, they said was in the works. I’d like to find out, though, as Darsombra continue to aspire to inner peace through cosmic noisemaking. Darsombra on Thee Facebooks, on Bandcamp.
31. Dead Feathers, Dead Feathers 10″
Expected out Feb. 19 via HeviSike Records, the self-titled debut EP from Chicago heavy psych rockers Dead Feathers has been subject to some considerable pressing delays. The band was signed last Spring initially for an Aug. 2015 release that has continued to be pushed back, presumably as a result of so much interest in pressing vinyl at the moment. Still, the tracks have been streaming for a while now, so anyone looking to quench their thirst can do so readily on their Bandcamp. Dead Feathers on Thee Facebooks, HeviSike Records.
32. Deadsmoke, Deadsmoke
As announced a couple weeks ago, Duna Jam veterans Deadsmoke will issue their self-titled debut via Heavy Psych Sounds on March 25. The Italian sludgers have plans to tour Europe in May as well, and should they happen to pop on a late-spring or summer festival or two along the way, I wouldn’t necessarily be surprised. Heavy Psych Sounds‘ spree continues. Deadsmoke on Thee Facebooks, Heavy Psych Sounds.
33. Deamon’s Child, Scherben Müssen Sein
The German title of Deamon’s Child‘s second album, Scherben Müssen Sein, translates to “shards must be.” I’m not sure what it means, but I am sure that the trio’s 2014 self-titled debut (review here) was an intriguing and offbeat brand of noise rock-plus, so I’ve no problem getting down with the idea of another outing from them, though given their breadth I wouldn’t necessarily expect the second LP to be a carbon copy of the first. Deamon’s Child on Thee Facebooks, on Bandcamp.
34. Deathkings, All that is Beautiful
Hailing from what I’ll assume is the darkest underbelly of Los Angeles, Deathkings issue their sophomore LP, All that is Beautiful, on March 18 as the follow-up to a 2015 split with Boston’s Rozamov (review here). I’ve got a track stream slated for this week from these guys, so I’ll save more for that, but suffice it to say that it’s surprising music so grueling can come from a place where it never rains. Deathkings on Thee Facebooks, on Bandcamp.
35. Devil to Pay, A Bend Through Space and Time
Indianapolis heavy rockers Devil to Pay and their label, Ripple Music, have set a tentative “Summer” release date for the band’s fifth album, A Bend Through Space and Time, but as the recently unveiled “Your Inner Lemmy” showcased, the songwriting that has long served as their chief appeal is ready to roll on the new collection. That song surfaced early as a timely tribute to Lemmy Kilmister of Motörhead, so it might be a while before more solid details come down the wire, but whenever it shows, it’ll be welcome. Devil to Pay on Thee Facebooks, Ripple Music.
36. Dream Death, Dissemination
A second post-reunion album is always a tricky prospect. A band wants to continue to acknowledge what they were when they started out, progress from their last outing, and get over that hump of songs that may or may not have been written years prior and onto something fresh. How will Pennsylvania’s Dream Death tackle this issue on their forthcoming Dissemination, due out March 4 via Rise Above? Probably by being heavy as hell and sounding completely fucking miserable. Just a guess. More info here. Dream Death on Thee Facebooks, Rise Above Records.
37. Droids Attack, Sci-Fi or Die
Another Feb. 26 release, Sci-Fi or Die, the fourth long-player from Madison, Wisconsin’s Droids Attack, has been in the works for at least the last three years. I’ll be hosting a full-stream of it sometime between now and the release (which I’m stoked for), so keep an eye out for that, but these guys have deserved more attention for a while now one way or another, and the follow-up to 2010’s Must Destroy! (review here) might be the record that gets it for them. Droids Attack on Thee Facebooks, Droids Attack website.
38. Drug Honkey, TBA
Various announcements have floated around over the last year and a half or more from Chicago death-churners Drug Honkey, and I’m not sure at this point whether their next release will be an EP of or a complete album or what. Their last full-length was 2012’s Ghost in the Fire (review here), which was inhumane in its onslaught, abrasive in loud or quiet parts, and swirled out an otherworldly sense of terror. So yeah, something to look forward to in a new one. Drug Honkey on Thee Facebooks, Transcending Obscurity on Bandcamp.
39. Duel, Fears of the Dead
In addition to boasting a cover that has immediately made my list of the year’s best, look for hard-driving heavy rock swing on Duel‘s debut LP, Fears of the Dead, due out Feb. 12 on Heavy Psych Sounds. The Austin, Texas, four-piece have newly announced European tour dates that will start March 9 and run through April 2, and I’ve little doubt their brash ways will find favor among the beer-soaked good-timers abroad. Over here, I’m just looking forward to hearing the album. Duel on Thee Facebooks, Heavy Psych Sounds.
40. Egypt, Endless Flight
We know it’s awesome. It was streamed here last month in its entirety. The real question with Egypt‘s sophomore outing is whether it’s a 2015 or a 2016 release. Vinyl’s still forthcoming last I heard, but the CD hit in December. What counts? For what it’s worth, I’m clearly thinking of it as a 2016 outing, but whatever format you might prefer, think of this as a note to remind you that you should check out. Because it’s awesome. We knew that. Egypt on Thee Facebooks, Egypt on Bandcamp.
41. Eight Bells, Landless
Out Feb. 12 on respected purveyor Battleground Records with tapes through Tartarus, Landless casts a severe and progressive glance at the scope of atmospheric heavy and offers an individualized take developed even from what the Portland, Oregon, trio brought to their 2013 debut, The Captain’s Daughter. Doom, black metal and a stately sort of psychedelia intertwine over the album’s span, and it seems all the more likely the band will turn heads with their approach on tour with Voivod (dates here) starting Feb. 6. Eight Bells on Thee Facebooks, Battleground Records.
42. Electric Citizen, Higher Time
Before Electric Citizen posted the new track “Evil” in a RidingEasy Records sampler last month, word on the street was the Ohio heavy ’10s rockers were looking to add a full-time keyboardist. That search doesn’t seem to have panned out, but their Higher Time is hotly anticipated anyway as the answer to their 2014 debut, Sateen (review here), which showed the Sabbath worshipers how Sabbath worship is done. Electric Citizen on Thee Facebooks, RidingEasy Records.
43. Elephant Tree, TBA
Full disclosure: I know way more about Elephant Tree‘s upcoming Magnetic Eye Records debut LP than I’m putting in this post. Like that it rules. And why! Stick around. Later this week, I’ll have a track premiere from the album up with a review, but the follow-up to their 2014 debut EP, Theia (review here), has already made it into my best-of-2016 consideration and my best-debuts-of-2016 consideration, and I know it’s only January, but right now it’s the one to beat in the latter category. More to come. Elephant Tree on Thee Facebooks, Magnetic Eye Records.
44. Elevators to the Grateful Sky, Cape Yawn
Sicilian four-piece Elevators to the Grateful Sky signed to HeviSike Recordslast month, and while a March 11 release date for the band’s second album, Cape Yawn seems like a quick turnaround, until I hear otherwise it’s what I’m going with. The band released their debut, Cloud Eye, on Transubstans in 2013, but should fit well with HeviSike‘s growing and diverse roster, being growing and sonically diverse themselves. Elevators to the Grateful Sky on Thee Facebooks, HeviSike Records.
45. Faith in Jane, TBA
I have it on zero authority that Maryland heavy rockers Faith in Jane are working on a new release — I know they jammed with Wino earlier this month, and that’s cool — but having had the chance to see the trio play last September at Vultures of Volume II (review here), I’m including them on this list anyway just because they’re one to watch out for. Deep blues vibes roughing up some of the West Coast’s ’70s fetishizing; way heavy and way swinging. Not technical, but intricate, and thoroughly grooved. Lots of potential there.Faith in Jane on Thee Facebooks, on Bandcamp.
46. Fatso Jetson, TBA
They’re due, right? Sure, the last couple years have brought splits with Farflung (review here), Herba Mate (review here) and Yawning Man, but we’re coming up on six years since Archaic Volumes (review here) was released in 2010, and I’m dying to hear what a new Fatso Jetson album would sound like with Mario Lalli and son Dino, who’s joined the band in the interim, going head-to-head on guitar. Whenever it’s ready, so am I. Fatso Jetson on Thee Facebooks, Fatso Jetson website.
47. Fever Dog, TBA
Could be later in the hear, could be in 2017 that it shows up, but the next offering from Californian desert psych rockers Fever Dog is reportedly now in the writing stage, and given the effectiveness with which 2014’s Second Wind (review here) demonstrated their willingness to mess around with structure and sound alike, their third outing should find them at an important stage in their development. Still young and significantly underrated. Fever Dog on Thee Facebooks, on Bandcamp.
48. The Flying Eyes, Poison the Well / 1969 7″
It’s another year for me and you. Another year with nothin’ to do. Baltimore’s The Flying Eyes are covering The Stooges‘ “1969” (baby) on their new single from H42 Records, mashing it up with “Poison the Well” from their 2011 second album, Done so Wrong (review here). Might be a stopgap on the way to whatever’s next, but should be an interesting listen anyway. The Flying Eyes on Thee Facebooks, H42 Records.
49. Foehammer, TBA
Virginia soul-bashers Foehammer released my favorite EP of 2015 in the form of their Grimoire/Australopithecus self-titled (review here), and I’m eager to know how they’ll expand on the outright brutality of that offering over the course of a full-length, or if they will at all. Entirely possible they’ll just kill, kill, kill the whole way through, and that’s also something I’d like to see them pull off. Either way they go, count me in. Foehammer on Thee Facebooks, Grimoire Records, Australopithecus Records.
50. Fog Cult, The Dying Sun
Initially self-released by the band last year, The Dying Sun is the second full-length by Bethlehem, Pennsylvania, weedian rockers Fog Cult, and it’s set for a vinyl issue via Black Farm Records sometime this year. Not much fixing what isn’t broken about large-scale nod riffs and sludge vibing, but a track like “Altars of the Night” manages to evoke early Alice in Chains-type harmonies without falling into post-Creed cliche, and that in itself is something remarkable. Streaming in full now on their Bandcamp. Fog Cult on Thee Facebooks, Black Farm Records.
51. Foghound, The World Unseen
Might be May before it shows up, but The World Unseen will serve as Maryland heavy rockers Foghound‘s debut on Ripple Music. It’s their second offering behind 2013’s Quick, Dirty and High (review here) and a meaner, leaner take on their sound. The turns are tighter and the groove is more aggressive, but they still sound like they’re having a complete blast. More to come this Spring. Foghound on Thee Facebooks, Ripple Music.
52. Fuzz Evil, TBA
They’ll be playing the Borderland Fuzz Fiesta next month, which I’m proud to say I’ll be attending, and I hope to have a better picture of the debut album by Fuzz Evil‘s arrival date by the end of that if not before. The Arizona band, which shares brothers Wayne and Joseph Rudell with Powered Wig Machine, offered up a split with Chiefs in late 2014 (streamed here) and has piecemealed a track or two since, but the full-length was sent off to mastering in November, so it seems like it’s just a matter of time before it shows up. Fuzz Evil on Thee Facebooks, Fuzz Evil on Bandcamp.
53. John Garcia, TBA
Among the several Garcia-related releases that 2016 might have on offer — he appears no fewer than in three separate entries on this list — the former Kyuss, Slo Born, Unida, Vista Chino, Hermano, etc., vocalist has announced intentions toward a follow-up for his 2014 Napalm Records self-titled solo debut (review here) and an acoustic record, the second of which he reportedly began recording this month. The more the merrier, quite frankly. John Garcia on Thee Facebooks, Napalm Records.
54. Geezer, TBA
According to The Obelisk’s deep-running investigative team — by which I mean I looked at their Thee Facebooks page — New York heavy blues trio Geezer are heading into the studio in a couple weeks to record their next full-length. In 2015, the band offered up the already-noted split with Borracho, The Second Coming of Heavy – Chapter One (review here), via Ripple Music, and they’ve set about refining their chemistry on-stage as they hone their fluid mix of languid vibes and smoked-out shuffle. Looking forward to this one. Geezer on Thee Facebooks, STB Records.
55. Goatess, Purgatory Under New Management
First announced here with a track stream in November, the second album from Chritus Linderson-fronted doomers Goatess, titled Purgatory Under New Management, is due out this March of Svart, which also released the Swedish outfit’s 2013 self-titled debut (review here). I haven’t heard much about it since that track stream, so it may or may not be pushed back, but whatever, I’m just glad they did a second record either way. It’ll be out when it’s out. Goatess on Thee Facebooks, Svart Records.
56. The Golden Grass, TBA
Bring on the good vibes. The sophomore LP from sweet ’70s-style rockers The Golden Grass will be the band’s first for Listenable Records after releasing their self-titled debut (review here) via Svart in 2014. They finished mixing earlier this month, so once it’s mastered it seems like it’s really up to the label’s schedule as to when it will be out. Spring or summer would be my guess, which suits the warmth of their harmonies just fine. The Golden Grass on Thee Facebooks, Listenable Records.
57. Gozu, Revival
After issuing two albums through Small Stone in 2010’s Locust Season (review here) and 2013’s The Fury of a Patient Man (review here), Boston four-piece Gozu have aligned themselves to Ripple Music for the release of Revival, their LP overall. Recorded this past fall, it is easily the band’s tightest and most aggressive outing to-date, but their soulful, melodic core remains, and it is all the more identifiable as their own for that. More to come. Gozu on Thee Facebooks, Ripple Music.
58. Graves at Sea, TBA
I know I’ve used the phrase “More to come” several times already in this post — like right now, in the last entry — but while the full-length debut from reactivated West Coast sludge-doomers Graves at Sea was announced as being completed and ready for release by Relapseback in October, legitimately, more info on that prospect is coming up, so keep an eye out. That’s all I’m at liberty to say at the moment. I may have already said too much. Graves at Sea on Thee Facebooks, Relapse Records.
59. Greenleaf, Rise Above the Meadow
Oh fuck yes. How good is the new Greenleaf? So good. You know how 2014’s Trails and Passes (review here) kind of reset the band and gave a more stripped-down, stage-ready take? Rise Above the Meadow takes that, pushes it forward exponentially, adds some Dozer-style edge to the mix and presents it all with ferocious energy more common to bands on their second album rather than their sixth. Out Feb. 26. Will be a top 10 record in December, no question. Greenleaf on Thee Facebooks, Napalm Records.
60. Heavy Temple, TBA
There have been many changes in Philadelphia trio Heavy Temple since they offered up their self-titled debut EP (review here), or at least a couple involving the lineup of the band. Either way, it’s a revamped trio that last summer discussed a second extended-player for 2016. So far as I know, record label is still to be determined so far as I know — the first EP came out on Ván, which is an immediate endorsement — but they’ve been gaining traction in Philly and they seem to have ambitions beyond that city’s limits, so I can’t imagine someone won’t get on board with it, if they haven’t yet. Heavy Temple on Thee Facebooks, on Bandcamp.
61. Hermano, TBA
In addition to taking part in Hellfest 2016 in Clisson, France, this June, Hermano have put out word of an impending full-length to be released at some point this year. The John Garcia-fronted outfit also featuring bassist Dandy Brown (who will also play the Borderland Fuzz Fiesta solo) last released an album in 2007, which was Into the Exam Room, a striking, mature, engaging heavy rocker that not only showcased Garcia‘s vocals in creative arrangements, but them memorable songs to top and a variety of moods in which to work. Even nine years later, that record was enough to make me look forward to a follow-up. John Garcia on Thee Facebooks, Borderland Fuzz Fiesta.
62. Hexvessel, When We are Death
Out this week as their first release for Century Media, Hexvessel‘s When We are Death pushes beyond the confines of psychedelic folk rock (not that there were so many, particularly as regards their prior output) and into more solidified rock territory, an edge of gothic theatricality making itself felt alongside a stylistically amorphous late-’60s cultistry that doesn’t want to be defined nearly so much as to enthrall. I’ll have a review up one of these days soon, but I feel like I’m still getting to know the record, and that may be a permanent condition. Hexvessel on Thee Facebooks, Century Media.
63. High Priest of Saturn, Son of Earth and Sky
Here is yet another of Feb. 26’s many releases. I haven’t heard it yet, but given the traditionalism of the Norwegian outfit’s first LP and the fact that there are only five tracks on Son of Earth and Sky, it seems fair to expect High Priest of Saturn are letting their material flesh out a bit on their sophomore offering through Svart. Announced just a couple weeks ago, it’s been in the can since 2014, so it may not be all that long before a follow-up makes an appearance as well. High Priest of Saturn on Thee Facebooks, Svart Records.
64. Hijo de la Tormenta, El Manto de la Especie
I dug Argentinian heavy psych trio Hijo de la Tormenta‘s 2014 self-titled debut (review here), and last year, they followed it up with a quick live two-songer called En Vivo en Buenos Aires that found their sound no less engaging on stage than on record. The upcoming El Manto de la Especie was recently announced here, and should hopefully be together and out sometime in the first half of this year. Hijo de la Tormenta on Thee Facebooks, on Bandcamp.
65. Hollow Leg, Crown
Floridian sludgers Hollow Leg also appeared on this list last January, but the difference is not only has their third album been recorded, but it’s been given a solid March 4 release date by Argonauta Records. So I feel a good deal more comfortable saying it’s definitely going to be out, since it exists, has artwork, tracks, a teaser and all that kind of thing. Hollow Leg on Thee Facebooks, Argonauta Records.
66. Holy Grove, Holy Grove
There’s been a buzz around the Pacific Northwest’s fertile ground over the last couple years for Portland, Oregon’s Holy Grove, and on March 18, the soul-rock four-piece will make their full-length debut via Heavy Psych Sounds. The only other release from them I know about to-date is 2014’s Live at Joonior’s (review here), a two-track sampler, so for a lot of listeners outside the band’s regional homebase, this will really be their first experience hearing them. Holy Grove on Thee Facebooks, Heavy Psych Sounds.
67. Holy Serpent, TBA
The hot tip is look for it in August on RidingEasy. Melbourne, Australia’s Holy Serpent shroom-doomed their self-titled debut (review here) last year, and they’ll be going for a fast turnaround on the follow-up in 2016. No audio, info or art or anything like that yet, but I’m told it’ll be late summer, so that’s what I’m going on. Holy Serpent on Thee Facebooks, RidingEasy Records.
68. Inter Arma, TBA
So far, both Inter Arma and Relapse Records have been pretty tight-lipped on specifics when it comes to the Virginian genre-melders’ second LP for the label (third overall), but we know it was recorded by Mikey Allred, that it’s done and due out this summer, and that they’re starting their touring cycle for it even before it comes out. That’s not nothing. Given the laudatory response to 2014’s single-song EP The Cavern, I’d expect this one to get considerable attention both in the pre-release hype and the post-release exclamatory stages. Inter Arma on Thee Facebooks, Relapse Records.
69. Joy, Ride Along!
Announced just last week, Ride Along! will be West Coast jammers Joy‘s second album out through Tee Pee, following the psych spellcasting of 2014’s Under the Spell of… (review here). A few notable guests show up, but I’m looking for the band to distinguish themselves further this time around, find their niche within the post-Earthless sphere of instrumental Cali heavy. They showed some genuine personality on the last one, hope they keep it up. Out April 29. Joy on Thee Facebooks, Tee Pee Records.
70. King Dead, Woe and Judgment
Brooding atmospheres, a kind of post-metallic anxiety and moments of outright physical exertion are spread across Woe and Judgment (review here), the first LP from Pennsylvanian trio King Dead. The band released the album digitally last year on the sly in order to self-finance a vinyl pressing, and after succeeding in that endeavor, they’ll have the record out officially in April or thereabouts. King Dead on Thee Facebooks, on Bandcamp.
71. Lightsabres, TBA
Swedish one-man outfit Lightsabres began its association with HeviSike Records with a tape release for 2014’s sophomore album Spitting Blood (review here). The genre-spanning garage psych project linked up with STB for 2015’s Beheaded, but returns to HeviSike for the follow-up fourth long-player, which is due out March 4 with preorders starting this week. Lightsabres on Thee Facebooks, HeviSike Records.
72. The Linus Pauling Quartet, Ampalanche
Unlike most offerings on this list, Ampalanche by Texas noise rock weirdos the Linus Pauling Quartet is actually out now. Vincebus Eruptum released the vinyl on Jan. 15. It’ll be out digitally in April as well though, and there’s a big ol’ zip file on my desktop waiting to be reviewed — several, actually but bear with me — so sometime between now and then expect to hear more about the album, which is the band’s first full-length since 2012’s Bag of Hammers (review here), despite a slew of singles between. Linus Pauling Quartet on Thee Facebooks, Vincebus Eruptum Recordings.
73. Lo-Pan, TBA
I don’t know what Lo-Pan‘s secret plan is, but I know they were in the studio last week, so whether it’s a new album, a single, an EP, split or whatever, they’ve got something going. It would be a relatively quick turnaround from 2014’s Colossus (review here), but they’ve since added guitarist Adrian Zambrano (also Brujas del Sol) to the lineup, so a burst of creativity isn’t necessarily out of the question. Whatever they’re up to, they’ll be on the road as ever this year, touring with Black Cobra and Bongzilla this spring. Lo-Pan on Thee Facebooks, Small Stone Records.
74. Lord, Awake
As of last September, chaotic Virginian five-piece Lord were mastering their Awake album with an eye on a 2016 release. I’ve been keeping a relatively close eye, and I haven’t heard anything about a meteor crashing into the final tapes (or hard drive) or anything, so I’m just going to assume and hope that it gets out this year. Lord‘s last full-length, Chief (review here), came out in 2011 and they also issued the Alive in Golgotha EP (review here) in 2014. Lord on Thee Faceboks, Heavy Hound Records.
75. Lord Fowl, TBA
More wishful thinking than nailed-down guarantee, perhaps, but Connecticut’s Lord Fowl are due to give an answer to their 2012 Small Stone debut and second album overall, Moon Queen (review here). Last I spoke to the band was the middle of last year and they were writing, but in October, they entered the studio to begin the recording process, so hopefully that means it’ll be out sooner than later. Lord Fowl on Thee Facebooks, Small Stone Records.
76. Low Flying Hawks, Kofuku
Not exactly out of nowhere — apparently out of Los Angeles, or somewhere thereabouts — but Low Flying Hawks‘ forthcoming Magnetic Eye debut, Kofuku, did seem to show up as a sudden blip on the radar. Notable for working with such Melvins-related characters as producer Toshi Kasai, drummer Dale Crover, and bassist Trevor Dunn, the band effectively blends moody post-rock atmospheres with weighted, hypnotic grunge, keeping things dark as seen in their recent video for “Ruins.” Low Flying Hawks on Thee Facebooks, Magnetic Eye Records.
77. Mantar, Ode to the Flame
I’ll admit to being somewhat surprised when Germany’s Mantar signed to Nuclear Blast late last year. Their sound is so raw, so unabashedly extreme in its intent on their 2014 debut, Death by Burning (review here) — which was released by Brutal Panda and Svart both — and something tells me that with a title like Ode to the Flame, their second LP won’t offer much letup in intensity, but having seen the band live (review here), they are unmistakably a force. Mantar on Thee Facebooks, Nuclear Blast Records.
78. Mars Red Sky, Apex III (Praise for the Burning Soul)
The third album from Bordeaux-based heavy psych rockers Mars Red Sky feels like a logical step forward from 2014’s Stranded in Arcadia (review here), but it is very definitely a step forward, in its atmospheric complexity, in the depths of its arrangements and the breadth of its tones. Songs like “Mindreader” and “Under the Hood” exemplify how much the band has progressed since their 2011 self-titled debut (review here), and though it comes preceded by the newly-released Providence EP (review here), that’s really just the beginning of the story about to be told. Mars Red Sky on Thee Facebooks, Listenable Records.
79. Merchant, Suzerain
Finished recording as of Jan. 11, Suzerain will serve as the debut full-length from aggro tone-bearers Merchant, who announced their coming with a 10-minute single called Seismic (review here). Their principal task will be to distinguish themselves from the pack of Melbourne’s crowded heavy underground, but I’m looking forward to finding out how they go about it and where their apparent potential will take them. Merchant on Thee Facebooks, on Bandcamp.
80. Merlin, Electric Children
Kansas City doom rockers Merlin gave a taste of Electric Children back in November with a track premiere for “Bad Trip” and the album itself will see release on March 11 through 4One8 Records on CD. Vinyl will be through Poisoned Mind, who also issued the band’s Christkiller LP (review here) in 2014. To say they have a flair for the dramatic might be understating it, but Merlin do well to keep a reliable core of songwriting underneath. Merlin on Thee Facebooks, 4One8 Records, Poisoned Mind Records.
81. Mondo Drag, The Occultation of Light
Ready for release on — you guessed it — Feb. 26, The Occultation of Light is the third full-length from psych-prog traditionalists Mondo Drag, second via RidingEasy, and it gives a more updated take on their sound than did last year’s self-titled (review here), which was recorded in 2012 with a different lineup. They seem poised to really establish themselves with this record, which was announced in November, and from where I sit, the record is strong enough to do it. Mondo Drag on Thee Facebooks, RidingEasy Records.
82. Mondo Generator, TBA
Nick Oliveri oversaw some lineup changes last fall for Mondo Generator, but to go with that and their European tour, it was announced that the band was working — as a trio now — on their fifth full-length for an eventual 2016 release. That’s not to say it’s showing up tomorrow, but if they were writing in the fall, it doesn’t seem outside the realm of possibility that they could have something out before the year is done. Oliveri‘s last release was the 2014 solo album, Leave Me Alone (streamed here). Mondo Generator on Thee Facebooks, Mondo Generator webstore.
83. Monkey3, TBA
For Swiss instrumentalists Monkey3‘s Nov. 2015 European tour, the band specifically noted they would be playing out new material as a “preview.” I don’t know if that means their next album is recorded or if they were trying stuff out on stage before they went into the studio, but, now signed to Napalm, the band will hopefully in 2016 have a follow-up out for 2013’s The 5th Sun, which was their fourth long-player. Monkey3 on Thee Facebooks, Napalm Records.
84. Monobrow, TBA
Last time Ottawa’s Monobrow mentioned their new LP was Nov. 24. They said, “new album slowly coming together.” So there you go. They reportedly took more time after a Dec. 5 show with Public Animal to work on it, but there’s been no solid word of a release date or even recording date as yet. It’s in progress. Their 2015 single, A Handwritten Letter from the Moon (review here), presented a less bombastic feel than, say, 2014’s Big Sky, Black Horse (review here). We’ll see which impulse ultimately wins out in their sound. Monobrow on Thee Facebooks, on Bandcamp.
85. Mos Generator, TBA
Among the safest bets one might place this year is that Washington’s Mos Generator will release something, but the band, led of course by workaholic guitarist/vocalist Tony Reed, premiered an acoustic take on Easy Evil” back in September that was to be included on an unplugged release through H42 Records, and their last album, Electric Mountain Majesty (review here), came out in 2014, so I wouldn’t be surprised if in addition to continuing to road-dog across the US and likely beyond, they didn’t also find time to punch out a new studio LP. Mos Generator on Thee Facebooks, Listenable Records.
86. Mothership, Live over Freak Valley
True, Mothership released Live over Freak Valley on Jan. 15. You got me. The reason I’ve still got them on this list, however, is because I’m wondering if the Texas heavy rockers might keep the momentum they’ve got on their side after their recent tour with C.O.C., Saviours and Brant Bjork going by jumping back in the studio and belting out a follow-up to 2014’s Mothership II (review here). Even if it’s later in the year, crazier things have happened. Mothership on Thee Facebooks, Ripple Music.
87. Mountain God, TBA
Early last year, bleak Brooklyn atmosludge extremists Mountain God offered their single-song EP, Forest of the Lost (review here), which followed their prior 2013 demo tape, Experimentation on the Unwilling (review here). They’ve been writing all the while, and it seems likely they’ll manage a release of some sort this year as well. Whether that’s their debut full-length, which I’m hoping creeps as much as it shrieks — or at least a little — or something else, I don’t know. Mountain God on Thee Facebooks, on Bandcamp.
88. Mountain Tamer, Mountain Tamer
These West Coast stoner rockers were picked up by Argonauta Recordslast month after their Mtn Tmr Demo (review here) offered psychedelia-via-neo-grunge thrills and classic-minded swing. More to come on this self-titled debut from the Santa Cruz trio, which will be out on Feb. 12. Mountain Tamer on Thee Facebooks, Argonauta Records.
89. Naxatras, II
Sold out in numerous CD and cassette editions following its release in April, the live-recorded self-titled debut from Greek heavy psych rockers Naxatras continued to earn praise throughout the rest of last year. The Thessaloniki-based trio will reportedly release a single as a 10″ before their second long-player surfaces, but both have been recorded and seem like they’re ready to roll out as soon as they’re pressed. I wouldn’t mind if they did a CD re-press of the first album either, but no word on that as of yet. Naxatras on Thee Facebooks, on Bandcamp.
90. Neurosis, TBA
It’s done, it’s in the can, it’s mastered, and it pains me that a new Neurosis album exists somewhere on this planet and I haven’t heard it yet. It’s a downright tragedy. The post-metal progenitors also recently announced a deluxe anniversary boxed set of all their albums to-date (not including the new one) called Strength and Vision, but as ever, their eyes are forward even as they’re celebrating their 30 years as a band. But seriously, if I don’t hear that record soon, I’m gonna cry. Actual tears. Neurosis on Thee Facebooks, Neurot Recordings.
91. Om, TBA
The Al Cisneros-led trio Om were recently in the studio, and while I can’t say for certain it was for a new album to follow-up 2012’s brilliant Advaitic Songs (review here), I sure as hell hope so. Om are another band who were on last year’s list too, so take this for what it is, but I think it’s safe to say Advaitic Songs is one of the strongest albums of the decade so far, and a subsequent outing feels due. Om on Thee Facebooks, Drag City.
92. Oranssi Pazuzu, Värähtelijä
Effective, trance-inducing psychedelic black metal isn’t easily done, and when someone does it as well as Oranssi Pazuzu on Värähtelijä or as Deathspell Omega on Fas – Ite Maledicti, in Ignem Aeternum, it tends to get noticed by a very specific subset of the heavy metal literati. No doubt the same has been and will continue to be the case for the Finnish blackened hypnotists leading up to the Feb. 26 Svart/20 Buck Spin release of Värähtelijä, their fourth album, but the hype is legitimate, and the record crosses vast expanses over the course of an encompassing 69 minutes. Sometimes it’s hard to argue with consensus. Oranssi Pazuzu on Thee Facebooks, 20 Buck Spin, Svart Records.
93. Pale Divine, TBA
Pennsylvanian doomers Pale Divine take their time. Nothing wrong with that, and anyway, it’s only been four years since their last album, Painted Windows Black (review here), came out a full five after 2007’s Cemetery Earth, so, you know, no rush. In 2016, however, they’re coming closer to marking 20 years since the release of their first demo, 1997’s Crimson Tears, which in many ways established the course of their sound, so if a new full-length were to happen this or next year, it would seem only appropriate. Would also be their first since adding Ron McGinnis (Admiral Browning, Bailjack, etc.) on bass several years ago now. Pale Divine on Thee Facebooks, Shadow Kingdom Records.
94. Picaporters, TBA
Buenos Aires-based trio Picaporters posted a new track called “War is Over” on their Bandcamp a while back that will feature on their upcoming album, which is listed on that page as being released on Aug. 1, 2016. Last I heard it was due to be ready in January, so I’m not actually sure when the follow-up to their 2013 debut, Elefantes (review here), will actually be out, but the doomers have leaked a couple songs from it at this point and it sounds right on. Best I can say is keep an eye out. Picaporters on Thee Facebooks, on Bandcamp.
95. Iggy Pop, Post Pop Depression
The immortal badassery of Iggy Pop notwithstanding, his Post Pop Depression probably wouldn’t be in this site’s field of vision were it not for the involvement of Queens of the Stone Age frontman Joshua Homme as guitarist and songwriting collaborator. Announced to much fanfare on The Late Show with Stephen Colbert as being released March 18, the record is intended as a sequel to the Pop/David Bowie collaboration Lust for Life, and since Homme does a pretty mean Bowie I’m sure it’ll be just fine. I thought it was hilarious that the first song released from the album was called “Gardenia.” Iggy Pop website, Queens of the Stone Age on Thee Facebooks.
96. Psychedelic Witchcraft, The Vision
Though they’re still in the process as well of overseeing reissues of their 2015 Black Magic Man EP (review here) — the latest is vinyl through Taxi Driver Records with a bonus Sam Gopal cover that follows a CD through Twin Earth Records — Italian cult rockers Psychedelic Witchcraft have signed to Soulseller Records for the release of their debut long-player, The Vision. It’s due in Spring and can be reasonably expected to generate much fanfare, at least if the response to the prior EP is anything to go by. Psychedelic Witchcraft on Thee Facebooks, Soulseller Records.
97. Radio Moscow, TBA Live Album
Freshly returned from a South American tour, Radio Moscow will head to Australia for a run next month with Kings Destroy and Holy Serpent before they get around to issuing the double-live album they recorded last month in Los Angeles. And then after that, they’ll probably go tour somewhere else, because that’s how they do. The live record arrives at a particularly choice moment, though, since the material from their fourth LP, 2014’s Magical Dirt (review here) translates particularly well to the stage. Also they’re one of the best live bands in the world. That helps too. Radio Moscow on Thee Facebooks, Alive Naturalsound.
98. Red Fang, TBA
I’m twofold intrigued at the recently-announced prospect of Red Fang‘s fourth full-length. Maybe even threefold. First, automatic interest on the basis of their prior work. They’ve certainly earned that. Second, though it would be a mistake to call 2013’s Whales and Leeches (review here) anything other than a marked success, it was put together in a hurry and it sounded like it, so I’m wondering if they’ll be able to stretch out this process more. Third, it’s Ross Robinson producing, and given the commercial breadth of his work across genres, I’m eager to hear what he brings to a genuine heavy rock band. Could be a whole new take on the sound, one way or another. Red Fang on Thee Facebooks, Relapse Records.
99. Rozamov, TBA
Now veterans of Psycho California and tours across the US, having opened for Slayer in their hometown and spread their darkened gospel along the Eastern Seaboard, don’t you think it’s time Boston’s Rozamov put out an album? I know I do. I was in the studio with them for a check-in last August, and what I heard in progress sounded utterly punishing as a follow-up to their split with Deathkings (review here), and that holds true on the five tracks of the finished product as well, but it’s high time it came out. Side note, they recently announced the arrival of new drummer Tranxidis. Pretty sure that’s more recent than the recording though. Rozamov on Thee Facebooks, Rozamov on Bandcamp.
100. Salem’s Pot, TBA
Bizarro riff worshipers Salem’s Pot will have a new full-length out, reportedly, in June 2016. It will be their sophomore LP behind 2014’s …Lurar ut dig på prärien (discussed here), which garnered praise for its atmosphere and riff-rolling methods alike, stoner for stoners and all that. I was fortunate enough to catch the band’s set last year at Roadburn (review here), and they offered thrills in bulk, unabashedly basking in pill-popper groove but keeping a spirit of underlying violence in the material as well, as much drug as droog. A new 7″ titled The Vampire Strikes Back is also due Feb. 15. Salem’s Pot on Thee Facebooks, RidingEasy Records.
101. Samavayo, TBA
Not certain of the timing on the new full-length from Samavayo, who will also play Desertfest Berlin this April, but their 2015 Setalight Records split 10″ with The Grand Astoria (review here) was much-dug around these parts and efficiently presented a diverse take from the Berlin natives, between instrumental stretch-out and more traditional hooks and structure. Their last full-length, Soul Invictus, came out in 2012 as the third in a series of three albums each year (it was their fourth overall), so maybe they needed to catch their breath. Samavayo on Thee Facebooks, Setalight Records.
102. Serpents of Secrecy, TBA
This West Virginia/Virginia/Maryland collaboration between former members of Sixty Watt Shaman — drummer Chuck Dukehart and bassist Rev. Jim Forrester (both also of Foghound) — and King Giant guitarist Todd Ingram did right last summer in picking Ontario-based vocalist Al “Yeti” Bones as the singer for their debut record. Maybe not so much geographically, but no question Bones (formerly of Mister Bones and The Mighty Nimbus) has all the burl their riffs could ask for, and I haven’t heard the album yet, but I’m sure they’re asking for plenty. Serpents of Secrecy on Thee Facebooks, their website.
103. Sinister Haze, Laid Low in the Dust of Death
After issuing their Betrayed by Time EP (review here) via Heavy Slab Records last year, Virginian doombringers Sinister Haze have signed on with STB to issue their debut full-length, Laid Low in the Dust of Death. The trio played Psycho California this May, touring out and back, and also had a two-song self-titled cassette out in 2015 that they took with them on the road, but no word as to whether any of that material will make it onto the album. In fact, no word on if the album is an album. I’m just kind of going by what STB says they have coming up in the next few months. Presumably more info will surface before the release arrives. Sinister Haze on Thee Facebooks, STB Records.
104. -(16)-, TBA
Blunt as ever, Los Angeles/San Diego sludge metallers -(16)- pulled no punches on Dec. 31 when they rang in the New Year by saying, “We will be releasing a new album in 2016.” They finished recording in December, and I’m relatively sure that whatever the new album is called, it’ll be released by Relapse — using the logic of, if you were the label, why wouldn’t you want to put out a new -(16)- album? — but other than that, there’s no info. They said it’s coming this year. Seems like they’d be the ones to know. -(16)- on Thee Facebooks, Relapse Records.
105. Skuggsjá, A Piece for Mind and Mirror
If you know, then you know. I was pleasantly surprised that the Skuggsjá collaboration between Enslaved‘s Ivar Bjørnson and Wardruna‘s Einar Selvik was doing anything at all, let alone putting out a studio release of their commissioned work for the 200th anniversary of Norway’s constitution. A Piece for Mind and Mirror was recently given a March 11 release date through Season of Mist, and while it may be a few who latch on to the combined vision of Bjørnson and Selvik, that’s going to be a lucky few indeed. Skuggsjá on Thee Facebooks, Season of Mist.
106. Slabdragger, Rise of the Dawncrusher
If I’m not mistaken — and to be sure, I probably am — this is the last release on this list coming out on Feb. 26. Slabdragger‘s sophomore LP, Rise of the Dawncrusher is being delivered via Holy Roar, and it comes some six years after their debut, Regress. I remember being at Desertfest in London circa 2012-2013 and hearing people talk up Slabdragger as having significant boot-to-ass potential. Listening to Rise of the Dawncrusher, it’s pretty easy to hear what might’ve given them that impression. Slabdragger on Thee Facebooks, Holy Roar Records.
107. Slomatics, TBA
Yes. Bring on new Slomatics. The sooner the better, the louder the better. The riff-bashing Belfast trio signed to Jon Davis of Conan‘s Black Bow Recordslast November, and quickly set about reissuing their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, and that’s super, but as someone who caught on relatively late to the glories of the band’s 2014 album, Estron (review here), there’s no way I’m letting the next one get by me. Slomatics on Thee Facebooks, Black Bow Records.
108. Snowy Dunes, Atlantis
Stockholm heavy rockers Snowy Dunes left a resonant impression with their 2015 self-titled debut, and on Jan. 13, they unveiled a completely improvised 19-minute track called “Atlantis, Part I” digitally as a precursor to their second LP, Atlantis, which is reportedly set to release next month as they head out on tour with countrymen riffers Skraeckoedlan. The extended piece is impressive in building on the boogie rock of the debut, but how much its atmosphere will ultimately play into the record itself remains to be seen. In any case, a good band who don’t seem like they’ll be under the radar of Europe’s heavy rock scene for much longer. Snowy Dunes on Thee Facebooks, on Bandcamp.
109. Soon, Vol. I
I’ll readily admit my ignorance when it comes to indie rock, so I haven’t heard of The Love Language, Bitter Resolve or Grohg, which are the bands from whose lineups the ungooglable Soon draw, but after checking out a couple demos when the March 4 release of Vol. Iwas announced, I dug the sound anyway. Someone else might have a completely different context for hearing it, but to me it just sounds like interesting, wide-ranging excursions into sonic heft. It’s pretty rare something like that isn’t going to find welcome, as far as I’m concerned. Soon on Thee Facebooks, Temple of Torturous.
110. Spidergawd, III
For the last two years, Norwegian four-piece Spidergawd have been churning out high-grade heavy rock and roll with a vitality that few could come close to matching. 2015’s Spidergawd II (review here) fleshed out elements of psychedelia from their 2014 self-titled debut (review here), and with Spidergawd III, the approach continues to be refined and honed to an even finer point on hooks like “El Corason del Sol” and “The Funeral.” Reportedly out now, so go get it. Spidergawd on Thee Facebooks, Stickman Records, Crispin Glover Records.
111. Spirit Caravan, TBA
By now I’m sure they’ve played “Be the Night” (live video here) at more than just the Vultures of Volume II fest, which was where I saw it, but either way, the first new material from a reunited Spirit Caravan — also kind of a The Obsessed hybrid with Ed Gulli on drums — reignites the collaboration between bassist/vocalist Dave Sherman and guitarist/vocalist Scott “Wino” Weinrich, who since they got back together in 2014 have been reminding audiences of just how vital that one-two punch of tone is to what heavy rock has become over the last decade and a half, in Maryland and beyond. Hope they get a record together, hope it gets out in 2016. Spirit Caravan on Thee Facebooks, Tone Deaf Touring.
112. Spiritual Beggars, Sunrise to Sundown
Back to business for Swedish heavy rockers Spiritual Beggars. The Michael Amott-led troupe recently revealed that they will offer their ninth long-player, Sunrise to Sundown on March 18 (March 25 North America) through InsideOut Music. Turns out they’ll also have a 7″ out concurrently via H42 Records, and they’re set to tour in Europe beginning the week after the album comes out, hitting Desertfest Berlin and more. This will be their third album with vocalist Apollo Papathanasio, but for me, the band is even more about the blend of Amott‘s guitar and the keys of Per Wiberg (ex-Opeth, Candlemass). Doesn’t get much more classic than that. Spiritual Beggars on Thee Facebooks, InsideOut Music.
113. Stone Machine Electric, TBA
The recently-released jammer EP, The Amazing Terror (review here), was intended as a precursor to the next full-length from Stone Machine Electric, which is reportedly now in the process of being recorded. On Jan. 11, they also asked their audience if they’d get behind a crowdfunding campaign to support a vinyl release, so it might be a while before the album actually shows up, but given the response they received, it seems fair to expect a pressing on wax. Stone Machine Electric on Thee Facebooks, on Bandcamp.
114. Suma, The Order of Things
2016 makes it 15 years since Swedish aural devastators Suma got their start, and it’s been six years since their last album, Ashes, was released, but that album continues to gain a following, having been snagged for a re-release on Argonauta Records just a couple weeks ago. The Malmö four-piece were on the US West Coast this month to record The Order of Things with the venerable Billy Anderson — who also helmed Ashes and 2006’s Let the Churches Burn — and they managed to sneak in a couple shows playing with, among others, Brothers of the Sonic Cloth. Now that is a fucking bill. Suma on Thee Facebooks, Suma on Bandcamp.
115. Summoner, TBA
Been a quick three years since Boston neo-prog heavy riffers Summoner released their second album, Atlantian (discussed here), and pushed ahead of the already sprawling, richly arranged approach of their 2012 debut, Phoenix. Well, I saw the band last month, and I’m happy to report they haven’t fallen apart or anything in the interim. I have it on good authority — by which I mean they told me — that they’ll be recording later this year, and while that may or may not mean a 2017 release, I thought it better to serve early notice of their impending third LP. So heads up on that. Summoner on Thee Facebooks, Magnetic Eye Records.
116. Sunnata, Zorya
Announced just after the New Year for an April arrival, Zorya will serve as the second album from Warsaw-based Sunnata, who delivered their debut in 2014 with Climbing the Colossus. I haven’t heard it yet, but the band effectively blended heavy rock groove with progressive ideals on the first outing, and I see no reason to expect anything but a step forward along the same lines this time around. I’ll take it. Sunnata on Thee Facebooks, on Bandcamp.
117. Sun Voyager, TBA
Time for Sun Voyager to do this thing. The New York heavy psych rockers put out one of 2015’s best short releases in their Lazy Daze tape (review here), but after putting themselves on the hook last month in announcing their first album release, it’s time to make that a reality. Like a reality I can listen to. And groove out on. Because that would be awesome. They were also working on a split single with The Mad Doctors for King Pizza, and that’s all well and good so long as it doesn’t delay the full-length. Sun Voyager on Thee Facebooks, King Pizza Records.
118. Swans, TBA
Sometimes it’s too easy to be greedy. Since getting back together at the start of the decade, Swans have released three albums — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’s To be Kind (review here) — as well as older LP reissues, limited-edition live recording, and so on. They’ve toured the world over and have a fourth post-reunion album due out this year, but even so, when Michael Gira said last summer that the next Swans would be the last Swans for the time being — he didn’t even say forever — it was hard not to feel sad. Enjoy yourself, it’s later than you think. Swans on Thee Facebooks, Young God Records.
119. Teacher, TBA
It took Seattle duo Teacher about 49 seconds to get me interested in hearing their forthcoming debut LP. Really less than that, because by the time the vocals kicked in on the recently-posted teaser clip, I was already on board. Whenever it comes out, the album will be released by Devil’s Child Records, which is quickly making a name for itself in the Pacific Northwest with offerings by Mos Generator/Sower and Year of the Cobra. No release date yet, but it sounds like the band are sneaking into a niche of natural, unpretentious swing, and I hope that’s exactly how the record goes. Teacher on Thee Facebooks, Devil’s Child Records.
120. Ulver, ATGCLVLSSCAP
Ulver‘s good-luck-making-a-word-of-this-acronym new album ATGCLVLSSCAP came out last week. Doesn’t mean it wasn’t one of 2016’s most anticipated. Really, anytime this Norwegian post-genre leviathan breathes, it’s an event, and as ATGCLVLSSCAP draws on live-recorded improvisations and explorations, but I’m not sure it’s proper to call it a live record in the is-everybody-having-a-good-time-tonight sense of the phrase. Info is plentiful and descriptive, but vague on the actual nuts and bolts of the makings, and that’s likely not an accident. Mystery is part of the fun. Is everybody having a good time tonight? Ulver on Thee Facebooks, House of Mythology Records.
121. Uzala, TBA
I know, I know. Uzala just put out Live at Roadburn MMXV (review here). Hell, I know that. And that vinyl is reportedly coming soon, but I’ve got the Boise trio on this list because I’m holding out for a studio follow-up to 2013’s Tales of Blood and Fire. I’m not saying it has to happen immediately, or really at all. I’m just saying I’d greatly prefer it if it did. That last album still gets fairly regular plays around here, so it only seems reasonable to call it haunting, and the live record had two new songs on it, so maybe there’s more in progress. Uzala on Thee Facebooks, on Bandcamp.
122. VA, Brown Acid: The Second Trip
How could RidingEasy Records not do a second Brown Acid compilation of lost heavy ’70s freakout and heavy singles, how could they not call it Brown Acid: The Second Trip, and how could they not release it on April 20? The whole thing seems so inevitable it’s astounding. Look for forgotten cuts by Sonny Hugg, Buck, Glass Sun, Ash, the awesomely-monikered Iron Knowledge and a whole host of others you can pretend you knew about beforehand. RidingEasy Records website, on Thee Facebooks.
123. Venomous Maximus, TBA
Like several others on this list, Texas’ Venomous Maximus will take part in the Obelisk-presented Heavy Metal Parking Lot 3 at SXSW (info here). They’re no strangers to awesome bills, having toured this past fall alongside High on Fire to support the release of their second album, Firewalker (review here), which was released on Shadow Kingdom. Looking back on my notes, I’m not sure where I heard they had a new release in the offing, but it would be awesome to see them recapture the momentum they had coming out of their first album, 2012’s raging Beg upon the Light (review here), and a quick turnaround certainly wouldn’t hurt that. Venomous Maximus on Thee Facebooks, Shadow Kingdom Records.
124. Vista Chino, TBA
Maybe most of all the entries posted today, this one is wishful thinking. I saw a couple months back that Vista Chino — the John Garcia and Brant Bjork post-Kyuss Lives! incarnation that wound up with Mike Dean of C.O.C. on bass in a lineup rounded out by guitarist Bruno Fevery — were confirmed for Hellfest in France this summer, and couldn’t help but think about the possibility of a follow-up to their 2013 debut, Peace (review here). Doesn’t seem likely with everyone working on their respective projects, but I’m still hoping those guys get back in the studio someday. Cool they’re playing out at all, if nothing else. Vista Chino on Thee Facebooks, Napalm Records.
125. Vodun, Possession
Preorders are up now for the debut album from London ritual-psych purveyors Vodun, and the Possession vinyl will also mark the first physical offering from Riff Rock Records, the new label spearheaded by Groan bassist Leigh Jones. Clearly someone who knows how to make an entry, Jones brought Vodun on board and issued a digital single last year for “Minos Army” (video here), the band tearing through influences in the metallic, heavy, Afrobeat, psychedelic and beyond. I haven’t heard the full-length yet, but it’s out March 25 and I feel safe guaranteeing that nothing else in 2016 will sound quite like it. Vodun on Thee Facebooks, Riff Rock Records.
126. Vokonis, TBA
After releasing an impressive demo last year called Temple (review here) under the moniker Creedsmen Arise, Swedish riffers Vokonis swapped out bassist, swapped out monikers, signed to respected purveyorOzium Records and set a February entry to hit the studio and record their debut album. They’ve gotten a good response so far, but I think we’re only seeing the beginning of what they can do. Look for more throughout the year. Vokonis on Thee Facebooks, Ozium Records.
127. Wight, Love is Not Only What You Know
German trio-turned-foursome Wight make a bold shift with their upcoming third full-length, Love is Not Only What You Know, digging deep into full-on psychedelic funk on tracks like “Kelele,” “The Love for Life Leads to Reincarnation,” and the opener “Helicopter Mama,” which came out last year as a 7″ single (review here) to herald the change in direction from their jammy 2012 LP, Through the Woods into Deep Water (review here). It’s a fine line to walk, but Wight do right by dancing all over it instead. They’ve also got a limited tape, Live in Athens, due March 7, on which a good portion of the new album is played. Wight on Thee Facebooks, Wight on Bandcamp.
128. Witchskull, The Vast Electric Dark
Word came out last month that Canberra three-piece Witchskull had inked a deal with STB Records. The Aussie band check in with a particularly classically metallic take on heavy rock and doom, as evidenced by their 2015 debut full-length, The Vast Electric Dark, which will serve as their debut vinyl on the NJ-based imprint. Haven’t heard a solid release date for it yet, but “early 2016” was the ballpark figure given, so I guess anytime between now and summer would be a possibility. Witchskull on Thee Facebooks, STB Records.
129. Wo Fat, Midnight Cometh
If Wo Fat‘s Midnight Cometh is not near the top of your most wanted list, you are fucking up. Unless you’re going alphabetically with your list, as I am with mine, in which case their position at #129 makes sense. In whatever organizational method, the coming sixth long-player from these Texan fuzz forerunners deserves the utmost consideration. Their first for Ripple Music after two on Small Stone (info here), Midnight Cometh boasts all the riffy jamming and heavy grooves we’ve come to love from the three-piece, but refines the vocal approach markedly, giving the band even more of a sense of command of the material. Sure to be a highlight of the year. Expect it this summer. Wo Fat on Thee Facebooks, Ripple Music.
130. Worm Ouroboros, TBA
Sorry to say I missed out completely on Worm Ouroboros‘ second album, Come the Thaw, when it was released by Profound Lore in 2012. I’d dug their 2010 self-titled debut (review here), but the next one, yeah, just kind of got by me. Never too late, you might say, and I’d have to agree. Maybe I can sneak in a purchase before the band are finished in the studio for their third record, which they were set to begin recording this month. In any case, will do my best to see that the same doesn’t happen with the new LP as happened with the last one. Hence putting them on this list. What, you thought it was for you? Worm Ouroboros on Thee Facebooks, Profound Lore Records.
131. The Wounded Kings, Visions in Bone
Always fascinating, always changing, UK progressive doomers The Wounded Kings have managed to deliver high-quality material seemingly no matter who is in the lineup. For the forthcoming Visions in Bone, founding guitarist Steve Mills reunites with former/founding vocalist George Birch, who hasn’t been in the band since their 2010 second album, The Shadow over Atlantis (review here). Haven’t seen an official release date yet, but they’re touring in March to support the record, so one might reason a Spring arrival. Not saying I’ve heard it, but the record kills. The Wounded Kings on Thee Facebooks, Candlelight Records.
132. Wretch, TBA
By the last update, The Gates of Slumber offshoot Wretch were starting to record their debut album in December. I don’t know whether that was a long-term process or a couple days in and out of the studio, but I’m betting that at some point in 2016 we’ll find out. Having had the opportunity to see the Indianapolis trio last fall at Vultures of Volume II (review here), I’m glad to report that the ultra-downer vibes that pervaded The Gates of Slumber’s final album, 2011’s The Wretch (review here), have found a new home and that frontman Karl Simon seemed as soulfully, Sabbathly miserable as ever. Wretch on Thee Facebooks.
133. Yawning Man, Live at Maximum Fest
The last couple years of these lists have featured Yawning Man, more specifically the perpetually-in-the-making next studio offering, Gravity is Good for You, but as that may or may not get out this year, it seemed fair to include them for the Go Down Records live outing, Live at Maximum Fest anyway. Put up for preorder in Nov., it was recorded back in 2013 and features the founding lineup of guitarist Gary Arce, bassist Mario Lalli and drummer Alfredo Hernandez; an allstar roster of desert rockers if ever there was one. Yawning Man on Thee Facebooks, Go Down Records.
134. Year of the Cobra, TBA
Somehow, I think it probably won’t be out until later in the year, but if you caught onto Seattle duo Year of the Cobra‘s 2015 EP, The Black Sun (review here) when it was released by Devil’s Child or DHU Records, then you’re probably already hip to the fact that the follow-up LP will be released by STB Records and is set to be recorded by a certain legendary West Coast producer of heavy who used to be based in the Bay Area but has since set up shop in Portland, Oregon. Not naming names or anything, but as you already know, it should rule. Year of the Cobra on Thee Facebooks, STB Records.
135. Young Hunter, TBA
I have been dying to hear the next full-length from Portland-by-way-of-Arizona mood rockers Young Hunter since long before I hosted the premiere of the track “Nothing Shakes the Void” (posted here) back in Oct., and I’m going to continue to be dying to hear it until I actually do, so there. Very, very much looking forward to it, hoping the stars align and whatever else needs to happen happens so it can get out in the early part of the year. We’ll see how it pans out, but last I heard they beat their crowdfunding goal to press it, so something should show up from that. Not soon enough, in any case. Young Hunter on Thee Facebooks, on Bandcamp.
136. Zaum, TBA
The mystical, Eastern-influenced doom trafficked longform by Canadian outfit Zaum has offered immersive vibes across the band’s debut LP, 2014’s Oracles (review here), and their 2015 split with Shooting Guns (review here) and that’s enough to make me look forward to their second album without reservations. The New Brunswick duo started out with a firm idea of what they wanted their sound to do, and I’m hoping they continue to follow that vision where it takes them on the next offering. Summer release expected. Zaum on Thee Facebooks, I Hate Records.
137. Zun, Burial Sunrise
First made public three years ago via the track “Come Through the Water” (posted here), which will also appear on the album, Zun began as a collaboration between guitarist Gary Arce of Yawning Man and vocalist Sera Timms of Ides of Gemini, the album Burial Sunrise also brings in John Garcia as a lead vocal contributor, Mario Lalli, Harper Hug and a host of others (detailed here) for an atmosphere of subdued desert rock that’s unmatched in recent memory, in the desert or out of it. I mean that. This one is essential. Out March 25. Zun on Thee Facebooks, Small Stone Records.
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What’s that you say, 137 releases isn’t enough? You want more? Okay.
Well, I’m pretty sure I just put up news about a new album from Iron Man vocalist Dee Calhoun due in Spring. That’s one. And fucking King Buffalo. Their record will be out not at all soon enough.
And while you’re hawkishly keeping an eye out for the stuff listed above, why not also watch for word from Bongzilla, whose reunion is now well underway, as well as The Body, who have a new collaborative release with Full of Hell coming out, Ice Dragon, who spent the better part of last year curiously silent, and All Them Witches, who probably won’t have a new LP out but are always putting together singles, jams and so on for those aching for a digital fix?
There is a “slim but real” chance of a new Clamfight record in the fall. I’ve heard murmurings indicating Elder are working on a follow-up to 2015’s glorious Lore, and since Baby Woodrose are playing Freak Valley, is it possible they could blow our minds with a new album as well? Conny Ochs has a new one on Exile on Mainstream, Mount Desert could easily follow-up their 2015 two-songer that made such a splash, and EYE — oh EYE! — I’ve been waiting for their new one since last year, so hopes are high it’s out soon. And I didn’t include them because the album already came out in Europe, but The Shrine make their Century Media debut with Rare Breed this week in North America.
Other names to watch for in no particular order or likelihood: Argus, Serpent Throne, Them Bulls, War Drum, Black Lung, Worshipper, The Exploding Eyes Orchestra, 3rd Eye Experience, Switchblade Jesus, Seedy Jeezus, Horsehunter, Bright Curse, It’s Not Night: It’s Space, Black Moon Circle, Bison Machine, Fogg, Electric Moon, Arc of Ascent, Beastwars, Thera Roya, Svartanatt (late Spring), Red Wizard (on STB), and Ripple Music‘s second chapter of The Second Coming of Heavy split series with Supervoid and Red Desert.
Still not enough? Check back soon. Just in the time I was putting this list together, I got emails about new releases from Nicklas Sørensen of Papir, Mr. Bison, Instant Boner, Duckhunters, Lord Summerisle and Sonic Mass — and others. Point is there’s always more to come.
I guess this is the part where I complain about lack of time, blah blah blah. Last week was a mess, it’s true, as were the last couple days, but what it comes down to is I do what I can when I can. That’s been my policy all along. A couple of these discs — Cruthu, Deamon’s Child — are my own rips as well from discs that were sent in, and as ever, there’s more that went up than just what is listed here. So one way or another, activity abounds. I need to find out how close I am to filling the three terabytes of the hard drive used for the server, but until then, the additions will continue unabated. It’s good to keep busy.
The Obelisk Radio adds for July 31, 2014:
Sleep, “The Clarity”
To call the first new Sleep track since Dopesmokeran “event” would be underselling it. “The Clarity” arrives via the Adult Swim Singles Series not only as the Iommian legends’ first outing since that landmark release, but also their debut recording with drummer Jason Roeder and their first studio work since guitarist Matt Pike and bassist/vocalist Al Cisneros went on to destroy/expand minds in High on Fire and Om, respectively, for the last decade-plus. A near-10-minute stonerly sprawl finds Sleep‘s central methodology intact. Grown up some from what it was 20 years ago, expectedly, but loyal to what they were without trying to recapture a magic that’s gone with that time. Cisneros has taken some flack for not roughing up his vocals à la Sleep’s Holy Mountain, but from where I sit, his cadence and cleaner style only makes “The Clarity” more honest, and if lyrics like “Iommic life complete” and “The dealer is my refuge” are easier to understand, you won’t find me complaining. They jam out most of the song’s second half, and ultimately “The Clarity” collapses in a sudden cut, leaving you to wonder if it ever happened at all — until of course you go back to the start for another glorious hit. If this portends more to come, I’m even more excited about the prospect of new Sleep than I was before the single arrived. Sleep on Thee Facebooks, Adult Swim Singles.
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Deamon’s Child, Deamon’s Child
Even before you get to the dolphin sample in “Delfine,” and the garage thrashiness of the subsequent “Alles Bio, Immer Bio,” German trio Deamon’s Child give some hints that there’s more to what they do than the standard heavy noise rock. Comprised of guitarist Sven “Missu” Missulis (aka John Reebo of Reebosound, also ex-Psychedelic Avengers), bassist/vocalist Ana Maija Muhi (who also contributed to Reebosound‘s 2010 outing, This is Reebosound) and drummer Tim Mohr (also WhiteBuzz), Deamon’s Child debuted last year with an engaging demo and follow it with a self-titled debut of increased complexity and a sound that’s varied without the pretense, culling together punk, grunge, heavy rock and noise to create songs that feel like they could turn in any direction at once. The production plays up the frayed edges, and Muhi‘s layered vocals on a chugger like “Lutscher!” sound all the more Melvins-esque. Deamon’s Childis loaded with surprises, but doesn’t feel any more haphazard than it’s meant to, and while it may take a couple listens to catch up to it, the songs are consistent in their invitation for repeat visits. Deamon’s Child on Thee Facebooks, on Bandcamp.
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Red Fang, TeamRock.com Presents an Absolute Music Bunker Session with Red Fang
A free Red Fang acoustic EP — who’s going to argue with that? Not me, though the cumbersome and corporate-style title leaves something to be desired. Nonetheless, once you get through all the namebrandery, what you come out with are acoustic renditions from Red Fang of “Failure” from late 2013’s Whales and Leechesand “Malverde” and “Human Herd” from the preceding 2011 outing, Murder the Mountains(review here). Hearing guitarist Bryan Giles soften up his usually-rough vocal approach on “Malverde” is interesting, given how much of the album version of that track is about the impact of the thing, but “Failure” becomes a brooding plea rather than the threat it is at full thrust, and “Human Herd” a kind of meditation that makes for the highlight of the whole release. One tries not to read too much into what was clearly a one-off thing, but it would be cool to hear what an acoustic album track from Red Fang might sound like. Their songwriting clearly translates, and between Giles and bassist/vocalist Aaron Beam — let’s not forget guitarist David Sullivan or drummer John Sherman — they prove here they can pull it off sounding confident and comfortable. Kind of an unexpected turn from the chicanery-fueled rock we’re used to from Red Fang, but they’re as easy to dig as ever on (deep breath) TeamRock.com Presents an Absolute Music Bunker Session with Red Fang. Red Fang on Thee Facebooks, on Bandcamp.
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The Jackpine Snag, The Fire Tower EP
Tonally, Michigan’s The Jackpine Snag seem rooted in punk, but a strong undercurrent of the weirdo runs throughout the songs on their new EP, The Fire Tower, and whether it’s the shouting on “With Wings” or “The Missaukee Strut” or the motoring noise of closer “Gonna Wreck My Life,” the trio present an individualized approach to bruiser expression. The Fire Toweris their longest outing yet at seven songs following a four-track 2013 debut 7″, but they have no trouble changing up their take enough to hold interest, while also keeping the tracks themselves relatively lean and concise. Maybe what the EP does best is balance that efficiency with a loose, tossoff-punker vibe, but The Jackpine Snag — guitarist/vocalist Joe Hart, bassist Jason Roedel and drummer Todd Karinen — show a keen awareness of how far out they want to go and how oddball they want to get in their ragged, grungy craftsmanship. No doubt that will serve them well should they decide next to tackle a debut full-length. The Jackpine Snag on Thee Facebooks, on Bandcamp.
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Cruthu, Creation Demo
The debut release from Lansing, Michigan’s Cruthu, the Creation Democulls together an initial three tracks that sound somewhat raw but hold significant stylistic promise, blending a heavy ’70s psych-blues mentality with drearier rock tendencies and analog worship. Frontwoman Teri Brown provides a soulful lift to “S.O.S.,” as guitarist Dan McCormick leads bassist Scott Lehman and drummer Matt Fry through a subtly doomed murk, but pushes into rawer, strained-throat vocalizing on “Walk with Me” that immediately stands the Creation Demoapart from much of what claims to have been recorded live in terms of sheer honesty. And to Cruthu‘s further credit, I don’t think the tracks were recorded live. Particularly in “Separated from the Herd” and “Walk with Me,” which closes, Cruthu find some room for instrumental exploration along with Brown‘s vocals, and the path they’re on suits them well as the demo plays out. I’d be interested to hear them branch out further instrumentally, get weird with some percussion or strings or psychedelics, but there’s time for such things, and they’re off to an evocative start. Cruthu on Thee Facebooks, on Bandcamp.
As I’ve tried not to do since I started making podcasts again, I kept away from a consistent theme this time around, but I wanted to at least get a blend of bands you’ve probably heard and bands maybe you haven’t. Of course the new Sleep was a given, and new cuts from Electric Wizard and Karma to Burn felt like they needed to be there as well, so they are. But there are a few corresponding inclusions of stuff I’ve been digging that I haven’t had the chance to write about yet — looking at you, USA out of Vietnam, Lewis and the Strange Magics and Deamon’s Child — and while I’ve no doubt you’re already down with those and the rest of what’s included here because you’re on it like that, putting them in here seemed a good way to feature them for anyone not yet exposed who might be interested in checking them out.
If that’s you, please enjoy. The second hour, as usual, is consumed by longer songs, but there are a few in the first hour as well (that Electric Wizard track is over 10 minutes, and the Sleep is close to it), but of the podcasts I’ve put together in the last few months, this one easily flows the best. It was pretty late as I was putting it together last night, so I had the headphones on and was working totally without distraction. I know it’s an unrealistic expectation to think anyone will be able to listen in that manner, but if you get the chance or if you don’t, I hope you have a good time.
First Hour:
Sleep, “The Clarity” from Adult Swim Singles Series (2014)
Electric Wizard, “I am Nothing” from Time to Die (2014)
Lewis and the Strange Magics, “Cloudy Grey Cube” from Demo (2014)
USA Out of Vietnam, “You are a Comet, You are on Fire” from Crashing Diseases and Incurable Airplanes (2014)
Serpent Venom, “Lord of Life” from Of Things Seen and Unseen (2014)
Deamon’s Child, “Lutscher!” from Deamon’s Child (2014)
Rabbits, “Reek and Ye Shall Find” from Untoward (2014)
Karma to Burn, “Fifty Seven” from Arch Stanton (2014)
The Heavy Co., “One Big Drag” from Uno Dose (2014)
Second Hour:
Wolf Blood, “Dancing on Your Grave” from Wolf Blood (2014)
Frown, “Harpocrates Unborn” from The Greatest Gift to Give (2014)
Merlin, “Lucifer’s Revenge” from Christ Killer (2014)
Causa Sui, “Incipiency Suite” from Pewt’r Sessions 3 (2014)
