Death Alley Announce Indefinite Hiatus and Last Shows

Posted in Whathaveyou on October 5th, 2018 by JJ Koczan

Is this the end for Death Alley? I’d no more place a bet on it either way than I would’ve predicted where they were headed after their earlier-2018 second album, Superbia (review here), came out on Century Media. But they’re calling it hibernation and at very least stepping back for an indeterminate amount of time, so who the hell knows what will happen, and if this is it for them, I didn’t want to let it pass unmarked. If you ever got to see Death Alley live, you already know why.

The Amsterdam four-piece revitalized the idea that hard rock didn’t have to be boring or an overly commercial enterprise. On Superbia and their 2015 Tee Pee Records-released debut, Black Magick Boogieland (review here), their 2017 Live at Roadburn (review here) outing, and their sundry singles along the way dating back to their first 7″, 2014’s Over Under b/w Dead Man’s Bones (review here), they showed that heavy rock could have an edge, and that if a band has the presence, the confidence, and the songwriting ability, they can be as raw or as embellished as they want to be and still bring their audience along for the ride. It was a once-in-a-lifetime thrill to host them in 2016 at The Obelisk All-Dayer (video here) in Brooklyn, and though they were subject to lineup changes along the way, I still recall fondly the hour I spent on Skype interviewing them in 2015 for the first album. They were a total blast, front to back.

Their last shows (at least for the time being) are set for this month through January, and they’ll finish at Paradiso in Amsterdam, which I have no doubt will be an absolute blowout. Hard to imagine Death Alley would have it any other way.

Their announcement went out via the social medias as follows:

death alley (Photo by Stradlin Guitars)

Alright, wörld… After years of hypermotion, time has come for hibernation.

These final shows of our Superbia tour will be your last chance to dance with us for a while. After the 3rd of January in Paradiso, we’ll be off the radar for an indefinite period.

So you predators better not sleep on it… boogie while it lasts!

Tour dates:
13 OCT – Hengelo (NL) Beerland
17 NOV – Eindhoven (NL) Helldorado
29 NOV – Berlin (DE) Cassiopeia
30 NOV – Cottbus (DE) Zum Faulen August
01 DEC – Dresden (DE) Noteingang
13 DEC Deventer (NL) Burgerweeshuis
15 DEC Leiden (NL) Gebr. de Nobel
20 DEC Leeuwarden (NL) Neushoorn
21 DEC Bergen Op Zoom (NL) Gebouw T
22 DEC Dordrecht (NL) Bibelot
27 DEC Venlo (NL) Grenswerk
28 DEC Arnhem (NL) LuxorLive
29 DEC Uden (NL) De Pul
3 JAN Amsterdam (NL) Paradiso

DEATH ALLEY is:
Douwe Truijens – vocals
Oeds Beydals – guitar
Uno Bruniusson – drums
Sander Bus – bass

http://deathalleyband.tumblr.com/
https://www.facebook.com/deathalleyband
http://deathalley.bigcartel.com/
http://www.deathalley.nl/
http://www.centurymedia.com/
https://www.facebook.com/centurymedia

Death Alley, “Murder Your Dreams” official video

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Death Alley, Superbia: How Hungry the Lions

Posted in Reviews on March 19th, 2018 by JJ Koczan

death alley superbia

Space punk, proto-metal, heavy progressive glam and enough hooks to get you from here to Alpha Centauri — it can only be the return of Amsterdam’s Death Alley, whose 2015 Tee Pee Records debut LP, Black Magick Boogieland (review here), was a lesson in the fine art of making “heavy” sound like a party you really want to go to. The four-piece toured consistently enough after the release that they wound up trading out their rhythm section — Sander Bus for Dennis Duijnhouwer on bass and the seems-to-be-everywhere-these-days Uno Bruniusson (also Black Salvation and Procession, ex-In Solitude) for Ming Boyer — a move that left vocalist Douwe Truijens and guitarist Oeds Beydals as the remaining founders. It is no small feat for a band to trade out half its lineup from one record to the next, but, now signed to Century Media, Death Alley‘s second collection, Superbia, shows they’ve done nothing but move forward as a result of the work they’ve put in the last three years.

With the creative percussiveness of Bruniusson propelling a telltale hook like “Feeding the Lions” and Bus adding low-end complement, Beydals and Truijens both absolutely shine in a number of contexts. Whether it’s the shimmer brought to the guitar in “Headlights in the Dark” or the rawer-but-still-melodic command of Truijens‘ vocals in the three-minute “Murder Your Dreams” (video premiere here), the pair find themselves in the forward position throughout the Pieter Kloos-helmed eight-track/50-minute effort, which is as powerful in its hooks as one could possibly hope on cuts like “The Chain,” “Feeding the Lions” and the aforementioned “Headlights in the Dark,” while retaining some experimentalist edge in the progressive melodies of the penultimate “Pilgrim” and a purposeful sense of exploration in extended opener “Daemon” (9:10) and closer “The Sewage” (11:37).

It’s nearly impossible to guess how much of any sonic shift has been brought on through personnel change as opposed to naturalist or purposeful growth of Death Alley‘s songwriting, but it’s palpable when one sits Superbia alongside anything prior in Death Alley‘s catalog, whether it’s last year’s Live at Roadburn (review here), which by its very nature would be more about capturing a raw performance, or Black Magick Boogieland, or their initial 2014 single, Over Under b/w Dead Man’s Bones (review here). Strength in songwriting remains firm and makes highlights of “Headlights in the Dark,” “Shake the Coil,” nine-minute opener “Daemon” and others, and the sense of energy that’s driven them since their beginning hasn’t diminished in the slightest, as “The Chain,” “Feeding the Lions” and “Murder Your Dreams” demonstrate plainly, but even on the latter track, which is as hard-edged as Death Alley get on Superbia, one can hear their focus has changed from raw impact to more deeper melodic arrangements and a deeper sense of atmosphere on the whole, as manifest in the lush chorus of “Pilgrim” and the all-consuming summary of “The Sewage” at the finale of the record — which finds Truijens singing about “psychic sewage”; about as clever a euphemism as I’ve heard for “shit for brains.”

death alley photo lupus lindemann

The central question is does it work, and the central answer is yes, but it means Death Alley are more complex in their intentions than even those who dug deep into Black Magick Boogieland‘s spacious closer, “Supernatural Predator,” might have suspected, because the purposeful sense they give from “Daemon” is that they’re not just picking up where they left off, but using their past as a launchpad to push even further out. That they get there is what ultimately makes Superbia such a success, never mind the band’s ability to tie together disparate ideas like the jammy build of “Daemon,” the straight-ahead thrust of “The Chain” and the near-gothic strum and keys of “Shake the Coil” — lest one forget that Pieter Kloos also produced fellow Netherlanders Dool, among many others — into one complete, flowing entirety. So not only are Death Alley more complex, but they’re more realized.

Given their time on the road, this isn’t necessarily surprising, but they’re also half a new band. Still, listen to the twisting first 40 seconds of “Pilgrim,” or the weirdo break that starts 5:10 into “Feeding the Lions,” or really every single second of “The Sewage,” which stomps and struts as much as it reaches into the cosmic ether — almost an answer to “Supernatural Predator,” but not quite aiming for the same goal. To wit, the progressive harmonies circa the three-minute mark are something I simply don’t think Death Alley would’ve attempted their last time out, and it’s worth noting that as they shift into the open midsection of the track via Bruniusson‘s crashes, residual noise and foreboding riffing from Beydals and Bus, it’s the guitar that comes to lead the charge through the “21st Century Schizoid Man”-esque chase, and into the jazzy movement that follows (though that’s not to take away from the snare work there, which is fantastic), and as “The Sewage” heads toward and past the eight-minute mark, it’s Beydals‘ solo that really seems to be doing the work of summarizing the album; extended, echoing, coated in effects, poised in a way but still delivered with vitality, it puts the emphasis on just how special a player he’s emerged here as being.

Truijens returns for repeated final lines and the closer more or less works its way toward a fading oblivion. To those who heard Black Magick Boogieland, no doubt Superbia will offer more than a few surprises, and it’s plain to see that was the band’s goal all along. What they’ve managed to do is put themselves on a trajectory of progression that’s both unexpected — not to say one didn’t anticipate evolution in their approach from their first to their second album, but there are a few genuine leaps here in Truijens‘ and Beydals‘ performances and in the depth of their craft overall — and richly satisfying, especially on well-earned repeat listens. If this growth was born of touring and the tumult the band has been through in the last couple years, they’ve emerged from same sounding stronger than ever and on their way to a maturity that one finds it easy to imagine will surprise even the band in terms of its breadth and sonic impact. When Death Alley gets where they’re going, watch your ass. Superbia is another crucial forward step along their way.

Death Alley, “Murder Your Dreams” official video premiere

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Death Alley Premiere “Murder Your Dreams” Video; Superbia Due March 23

Posted in Bootleg Theater on February 13th, 2018 by JJ Koczan

death alley

Amsterdam-based heavy rockers Death Alley will release their second album, Superbia, March 23 as their debut on Century Media. The eight-track outing is rife with a progressive feel even beyond what the band brought to their 2015 Tee Pee Records first long-player, Black Magick Boogieland (review here), and no, I’m not just talking about the King Crimson-style chase scenes tucked into 11-minute closer “The Sewage.” It’s the whole record. Even as the opening push of “Daemon” seems to pick up where “Supernatural Predator” from the preceding full-length left off, it does so bringing together different sides of Death Alley‘s sound — the melody and the danger — the raw earth thrust and the outer space presence.

The four-piece have undergone a few changes death alley superbiasince Black Magick Boogieland, and even since they released Live at Roadburn (review here), vocalist Douwe Truijens and guitarist Oeds Beydals bringing in bassist Sander Bus and drummer Uno Bruniusson as their new rhythm section. No doubt that switch in personnel had a hand in the corresponding sonic shift, as it invariably would, but as the band’s new single and video “Murder Your Dreams” showcases, it’s still very much the art of crafting memorable songs that’s at the heart of what Death Alley does. With that as firmly established as it is in “Murder Your Dreams” and throughout Superbia from whence it comes, Death Alley can pretty much go wherever they like stylistically. And they do.

I’ll have more on the album closer to the release itself, but I’m thrilled today to be able to premiere the video for “Murder Your Dreams,” which you’ll find below, followed by quotes from the band and from director Luuk BouwmanDeath Alley also have tour dates booked throughout the coming months and Superbia is available to preorder at the portal in the links at the bottom of the post. Can’t miss it.

Please enjoy:

Death Alley, “Murder Your Dreams” official video premiere

DEATH ALLEY – Murder Your Dreams (OFFICIAL VIDEO). Taken from the album “Superbia”, out March 23rd, 2018.

Death Alley on “Murder Your Dreams”:

“‘Murder Your Dreams’ shows a side of our musicality that was always there but never revealed itself in our music before. Just when we needed it, The Wipers came knocking and we crushed them to bits. A bittersweet taste of Superbia in its most compact form.”

Director Luuk Bouwman on the video:

“The video is based on chase and falling dreams — which I felt would fit well with the song. I remembered a great scene in the Nightmare on Elm Street series in which the characters are stuck in a loop. So I wanted to create a nightmare-like slapstick in which the protagonist is condemned to keep falling, eternally. I was already joking that it was an autobiographical story and as if it was an ominous prophecy, a day after finishing the video I fell really hard on a bridge because of black ice. I broke my arm, cheekbone and eye socket. So last week I was in surgery to reconstruct my face.”

Death Alley live:
23-03 (DE) Cologne – Jungle (release show)
24-03 (DE) Münster – Alterna Festival
30-03 (NL) Amsterdam – SkateCafe (release show)
31-03 (NL) Schijndel – Paaspop
13-04 (NL) Eindhoven – Stroomhuis
14-04 (NL) Groningen – LOLA
26-04 (NL) Den Haag – Life I Live
28-04 (NL) Rotterdam – V11
04-05 (DE) Berlin – Desertfest
06-05 (UK) London – Desertfest
08-05 (FR) Paris – Gibus*
09-05 (FR) Nantes – Feraullier*
10-05 (ES) San Sebastian – Dabadaba*
11-05 (ES) Barcelona – Upload*
12-05 (FR) Clermont Ferrand – Camille Claudel*
13-05 (CH) Olten – Coq D’Or*
15-05 (DE) Leipzig – NATO*
16-05 (DE) Nürnberg – Stereo*
17-05 (DE) Dortmund – FZW*
18-05 (DE) Lohr am Main – Umsonst und Drinnen Festival*
19-05 (DE) Lichtenfels – Paunchy Cats*
26-05 (NL) Raalte – Dauwpop
02-06 (NL) Nijmegen – Fortarock

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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Desertfest London 2018 Adds High on Fire, Church of Misery, The Obsessed, Black Rainbows, Death Alley, Akercocke and More

Posted in Whathaveyou on December 4th, 2017 by JJ Koczan

Bit of a stunner announcement from Desertfest London 2018, whose third headliner arrives in the form of High on Fire celebrating their 20th anniversary, and who’ll be joined at the Camden Town festival by doom legends The Obsessed, Japan’s number one riff export Church of Misery, plus Italian forerunners Black Rainbows, UK devil worshiping extremists Akercocke, Dutch proto-specialists Death Alley and more.

Look. I post a lot of fest updates. I mean, a lot. This is one of three slated for today, for example. Rarely does an announcement immediately up the game of a given event like this one does for Desertfest London 2018. With High on Fire completing the triumvirate of headliners alongside Monster Magnet and Graveyard, and The Obsessed and Church of Misery joining EyehategodNapalm DeathWeedeaterElderNebula and Warning on the next tier, the festival’s seventh edition moves into nigh-unfuckwithable terrain. Kudos to Desertfest on outdoing itself once again in 2018.

From the PR wire:

desertfest london 2018 square banner

DESERTFEST LONDON announce final headliner High On Fire and more acts to join the 2018 edition!

DESERTFEST LONDON announce High On Fire as final headliner and further acts to join the likes of Monster Magnet, Graveyard, Napalm Death, Eyehategod and many more to set the riff party in Camden on May 4-6th, 2018.

The final headliner for Desertfest London 2018 is an act fronted by a man who is no stranger to the DF family and all it encompasses, having headlined last year’s proceedings with one of his many musical outlets Sleep: living legend Matt Pike returns to Camden with the mighty HIGH ON FIRE. Formed in Oakland, California in 1998, the heavy metal trio have perfected their feel-good, balls-out and take-no-prisoner sound. HOF’s sludgy-thrash vibrations are an unstoppable wrecking force, with seven seminal albums under their belt; we are more than ready for the HOF tidal wave to hit.

Doom-rock trailblazers THE OBSESSED will make their first UK appearance next May after their two-decade long hiatus. Having recently reformed and playing shows met with critical acclaim, this will truly be a set to remember, and it is an honour to finally play host to one of the most iconic bands of our time.

Also returning to UK shores are Japanese overlords CHURCH OF MISERY, always delivering staggering live performances, the trio are a constant welcome addition to Desertfest. Their riff-filled, horror inspired sound has risen to fresh heights with new singer Hiroyuki Takano at the helm.

Space leaders BLACK RAINBOWS are crashing into town, fuelled by the power of hard rock and insanely good riffs. The Italian psych-fuzz trio have been storming through the cosmos for the last 10 years, their expert fusion of slick 70’s swagger with a 90’s stoner-grunge tint make them one of the most talked about and respected acts of their kind across Europe. Straight up, fuzzing good times. Speaking of heavy, London extreme metal masters AKERCOCKE are heading to familiar grounds to bring their perfected devilry to eager ears!

Dutch destroyers and feel good heroes DEATH ALLEY will bring their rock’n’roll, punked up party to Desertfest 2018. A nod to times gone past, the band plays proto-metal psychedelic music with a slab of heavy metal chucked in for good measure – if you want energy, look no further. Acclaimed newcomers PUPPY, who have been on hot on the lips of the London scene for some time now, is another welcome addition. They are hard to label but a true must-watch!

Also making up the bill are Bay Area fuzz-lovers THE WATCHERS, UK favourite psych demons OLD MAN LIZARD, Oakland’s stoner rock stalwarts BLACKWÜLF, Mancunian groove leaders PIST and heavy doom harbourers MORASS OF MOLASSES.

Desertfest London 2018
4th-6th May in Camden Town, London
3-day pass (£115) now on sale AT THIS LOCATION

Our special split payment plan is available until December 12th!
Pay half of your ticket now and the other half in January. Find more info HERE.

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest
https://www.instagram.com/desertfest_london/

High on Fire, “Devilution” Live at Roskilde 2017

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Desertfest Berlin 2018 Adds Death Alley, Yuri Gagarin & Dopelord

Posted in Whathaveyou on October 18th, 2017 by JJ Koczan

You know it’s still early days when it comes to filling out the Spring festival season in Europe because there’s still so much room for more logos on the poster for Desertfest Berlin 2018. No doubt the final design will be much more full by the time the first weekend in May rolls around and the festival actually gets underway at its new home in Arena Berlin, but already we’re seeing bands joining the bill at a pretty decent clip. The latest batch includes three more joining the ranks of Monster Magnet, Eyehategod, Nebula, Planet of Zeus, Jex Thoth and The Necromancers, and as you can see in the headline above, it’s an international and sonic swath unto itself, with Death Alley from the Netherlands, Yuri Gagarin from Sweden and Dopelord from Poland each bringing something different sound-wise to the already diverse roster.

Early-bird tickets are on sale now for those who like to plan ahead. Sound of Liberation made the announcement thusly:

desertfest-berlin-2018-new-poster

It’s time to unveil a few more bands for DesertFest Berlin 2018!!

Making up for last year cancellation, we are thrilled to finally welcome Death Alley on the stage of Desertfest Berlin 2018! These Dutch destroyers deliver heavy punked-out proto-metal and defining the good ol’ rock ‘n’ roll played with metal finesse and a hint of a black psychedelic soul cherry on top.

Hailing the mighty weedian cult and slow riff worships, we’re also stoked Poland’s stoner doomsters Dopelord will make their way to Berlin! Last but not least, we have decided to open up stage one more time to Yuri Gagarin. We heard your protest that not everybody could see them perform last year so it was clear the beloved Swedish rockers had to be back in 2018, taking over our new and bigger stage with more space at the ARENA BERLIN!

We hope this new bunch of exciting bands is fitting your expectations, and we’re waiting for you all in the capital of the almighty Riff !

There’s only very few early bird-tickets left, better be quick and grab them on www.desertfest-tickets.de/produkte/150!

——————–
DesertFest Berlin 2018 / May 4th – 5th – 6th / ARENA BERLIN

with Monster Magnet / EYEHATEGOD / Nebula / Planet of Zeus / Dopelord / Death Alley / Yuri Gagarin / Jex Thoth / The Necromancers and more to be announced!

Presented by: Sound of Liberation & GreyZone Concerts & Promotion

www.desertfest.de
www.facebook.com/desertfestberlin
www.facebook.com/events/128298847822160
https://www.facebook.com/Soundofliberation/
https://www.facebook.com/greyzoneconcerts/

Yuri Gagarin, At the Center of all Infinity (2015)

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Death Alley Sign to Century Media; New Song Posted; On Tour Now

Posted in Whathaveyou on October 16th, 2017 by JJ Koczan

Heartfelt congratulations are in order for Amsterdam’s Death Alley. The four-piece, who issued their Live at Roadburn (review here) live album earlier in 2017 via Suburban Records and Tee Pee Records, have had a tumultuous year, including an unceremonious separation in April with bassist Dennis Duijnhouwer and the subsequent bringing-aboard of Sander Bus as his replacement as well as former In Solitude drummer Uno Bruniusson to join the remaining founding duo of guitarist Oeds Beydals and vocalist Douwe Truijens. The news this time is mind-blowingly good, however, as the band have signed to Century Media for the release of their next album.

Currently on tour with Kadavar, the veterans of Psycho Las Vegas 2016 — who also stopped by Brooklyn to play The Obelisk All-Dayer (video here) — released their debut, Black Magick Boogieland (review here), via Tee Pee in 2015, and aside from reaffirming once more that New York label’s tastemaker stature (let’s not forget the likes of Kadavar and Graveyard and Earthless, let alone High on Fire, are Tee Pee alums), their signing to Century Media represents the next step in an upward, forward trajectory that’s been blasting out ever since. An absolutely scorching live act, Death Alley blend space rock and heavy psych with motor-fueled charge in their studio material, and one can hear shades of both represented in the new track “The Sewage, Pt. 1,” which is streaming now at the bottom of this post.

Am I stoked at the prospect of a new Death Alley record tracked once again by Pieter Kloos (ex-35007, producer for MotorpsychoDoolBeaverMonomyth7Zuma7Celestial SeasonSpoiler, and so, so many others) at his The Void studio in Eindhoven? Well that’s kind of a stupid question. Yes I fucking am. Right onto the list of 2018’s most anticipated albums Death Alley‘s Century Media debut goes, where it will remain until I actually get to hear the thing and proclaim it one of the year’s best records (no pressure; ha). Won’t happen nearly soon enough, as far as I’m concerned.

Announcement from Century Media from the PR wire, Death Alley‘s current remaining tour dates, and of course that song stream follow here. Dig it:

death alley

DEATH ALLEY Sign Worldwide Deal with Century Media Records; Premiere New Song, “The Sewage”

Dutch destroyers DEATH ALLEY already raised attention with their debut album, “Black Magick Boogieland”, in 2015. The band, revolving around former The Devil’s Blood guitarist Oeds Beydals, singer Douwe Truijens, Swedish drummer Uno Bruniusson (ex-In Solitude) and latest addition Sander Bus on bass, mainline an unorthodox cross contamination of psychedelic hard rock and punk, played with excellent precision and power. The spirit of Bad Brains and King Crimson, Hawkwind and Poison Idea, and hints of The Stooges and Black Sabbath-worship form the fundament for DEATH ALLEY’s solid rock and roll presented with metal finesse and a pitch black psychedelic soul cherry on top.

Since their debut release, DEATH ALLEY have relentlessly toured the world. From the smallest underground venues to the bigger stages at festivals like Psycho Las Vegas, Hellfest in France, and multiple Desertfests, the band has been leaving a lasting impact with their energetic performance. Their show at the prestigious Roadburn Festival resulted in a critically acclaimed live album, released earlier this year.

The ink on their new deal with Century Media Records isn’t dry yet and they just left the Moon Studios where they recorded their sophomore album with producer Pieter Kloos (Motorpsycho, The Devil’s Blood, Dool, etc.). Right now, they are hitting the road again with their friends Kadavar with whom they release a very special tour split 7”.

“The Sewage” is also available as a digital single on all streaming and download platforms.

The band comments: “We’ve been sailing the sewage for quite a while now, and time has come to harvest the gold and offer it to you on a silver platter. We can spend much time and effort describing the feeling of the new music, the upcoming record, and the European tour with Kadavar, but that will always be just a faint shadow of showing it: so just come to the shows and blast the new song with volume at 11 – that’ll say more than the dozens of synonyms for ‘stoked’. Let us feast on it.”

DEATH ALLEY live:
KADAVAR / MANTAR / DEATH ALLEY
16.10.2017 Antwerpen (BE), Desert Fest
17.10.2017 Strassbourg (FR), La Laiterie Club
18.10.2017 Paris (FR), Le Trabendo
19.10.2017 Rennes (FR), L’Ubu
20.10.2017 Bordeaux (FR), La Krakatoa
21.10.2017 Madrid (ES), But
22.10.2017 Barcelona (ES), Bikini
24.10.2017 Lyon (FR), Feyzin
25.10.2017 Monthey (CH), Pont Rouge
26.10.2017 Aarau (CH), Kiff
27.10.2017 München (GER), Backstage
28.10.2017 Wien (AT), Flex
29.10.2017 Graz (AT), PPC
30.10.2017 Zagreb (CRO), Mocvara
01.11.2017 Budapest (HU), A38
02.11.2017 Warschau (POL), Progresja
03.11.2017 Krakau (POL), Kwadrat
04.11.2017 Prag (CZ), Nova Chmelnice
05.11.2017 Nürnberg (GER), Hirsch
07.11.2017 Amsterdam (NL), Paradiso Noord
08.11.2017 Hannover (GER), Capitol
09.11.2017 Copenhagen (DK), Pumpehuset
10.11.2017 Stockholm (SV), Debaser
11.11.2017 Oslo (NO), BLA
12.11.2017 Gothenburg (SV), Pustervik
13.11.2017 Deventer (NL), Burgerweeshuis
15.11.2017 Köln (GER), Stollwerck
16.11.2017 Wiesbaden (GER), Schlachthof
17.11.2017 Stuttgart (GER), LKA Longhorn
18.11.2017 Berlin (GER), Columbiahalle

DEATH ALLEY is:
Douwe Truijens – vocals
Oeds Beydals – guitar
Uno Bruniusson – drums
Sander Bus – bass

http://deathalleyband.tumblr.com/
https://www.facebook.com/deathalleyband
http://deathalley.bigcartel.com/
http://www.deathalley.nl/
http://smarturl.it/DeathAlleyTheSewage1
http://www.centurymedia.com/
https://www.facebook.com/centurymedia

Death Alley, “The Sewage, Pt. 1”

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The Obelisk Presents: The Top 20 of 2017 So Far

Posted in Features on June 12th, 2017 by JJ Koczan

the obelisk top-20-2017-so-far

The time has come to take a look at some of the best albums of 2017 so far. I hardly know where to start. In some ways, this list is harder to put together than the end-of-year one that comes out in December, because by then not only do you have the full year to draw on, but it’s easier to sort of put a narrative to the course of events of 12 months, whereas in this case, obviously, the story is half told. So I guess if the list feels incomplete, that might be part of why.

Even with just six months to work from, the list has become fairly immense. I’ve been keeping track of 2017 releases since about September of last year, and the amount of stuff that’s come through has been staggering. Every year brings good music, and the basic fact of the matter is that if you don’t think so it’s because you’re either unwilling to find it or unwilling to let yourself hear it, but 2017 has been a multi-tiered assault of sounds from all over the world, and it seems like whatever you might be into, the universe stands ready to accommodate.

There’s a lot to say about that — is the market flooded? — but it’s a topic for a different post. I’ll keep it short here and just say that as always, it’s an honor to be covering the stuff that I cover and that I deeply appreciate you taking the time to read. I hope if there’s a release you feel deeply passionate about that you don’t see on my list below that you’ll please let me know about it in the comments.

Also, please note that in order to qualify for this list, a record had to come out on or before June 9. That’s the cutoff.

Okay, here goes:

The Top 20 of 2017 So Far

elder reflections of a floating world

1. Elder, Reflections of a Floating World
2. All Them Witches, Sleeping Through the War
3. Samsara Blues Experiment, One with the Universe
4. Colour Haze, In Her Garden
5. Atavismo, Inerte
6. Sun Blood Stories, It Runs Around the Room with Us
7. Cloud Catcher, Trails of Kozmic Dust
8. Vokonis, The Sunken Djinn
9. The Obsessed, Sacred
10. Mothership, High Strangeness
11. Spaceslug, Time Travel Dilemma
12. Electric Moon, Stardust Rituals
13. Alunah, Solennial
14. Arc of Ascent, Realms of the Metaphysical
13. Rozamov, This Mortal Road
14. Siena Root, A Dream of Lasting Peace
15. PH, Eternal Hayden
16. Geezer, Psychoriffadelia
17. T.G. Olson, Foothills Before the Mountain
18. Telekinetic Yeti, Abominable
19. The Devil and the Almighty Blues, II
20. Lord, Blacklisted

Notes

If you keep up with this site at all, there probably aren’t a lot of surprises in there. These are all records that have been discussed at great length over the last six months, reviewed, streamed, analyzed, whathaveyou’d all the way. If you don’t believe me, search any of the names. Still, as far as my personal picks go and who I think has crafted something special over the last six months, this feels pretty representative to me. I managed to live for a full week with the list as you see it above, without making changes. That’s usually my standard.

And as always, it’s a combination of what I’ve listened to most and what I feel has had the greatest impact thus far into the year. Between the two, there was little doubt Elder would take the top spot. I’ve probably listened to the All Them Witches record more than anything else this year, including Elder’s Reflections of a Floating World, but the truth is the Massachusetts trio are working at a level of their own making in terms of their sonic progression, and that they’ve emerged as one of if not the most pivotal American underground heavy rock bands going. The situation was much the same when they put out Lore in 2015 and claimed that year’s top-album spot, but even since then their sound has expanded and they continue to demand ultimate respect.

As for the All Them Witches album — absolute stunner. The increased depth of their arrangements on Sleeping Through the War came at no expense of songwriting, resulting in ultra-memorable material that could either wash over you with melody or shove you out of your seat with the force of its rhythm, and that band continues to be a treasure. No other way to put it.

From there, we move into what I think are the four best heavy psych offerings of 2017 so far, with Samsara Blues Experiment, Colour Haze, Atavismo and Sun Blood Stories, in that order. Samsara Blues Experiment’s return has been a joy to witness and their first album in four years lived up to the occasion. Colour Haze expanded the palette from their last album with In Her Garden and proved as immersive as always. I’m still getting to know that record. Atavismo’s second full-length upped the progressive influences without losing fluidity or cohesion in songwriting, and Sun Blood Stories’ hypnotic shoegaze offered expansive thrills and a sense of varied, beautifully crafted exploration.

A pair of exciting young bands thereafter in Colorado’s Cloud Catcher, whose boogie is right-on-right-on and whose development continues to hold much potential, and Vokonis, whose crushing riffs on The Sunken Djinn were met with an increased focus on structure and tightening of approach that maximized overall impact. The Obsessed’s unexpected return could only be called a triumphant one, and Mothership’s third long-player found them working in a richer sense of mood than previous outings, adding yet more character to what was still a blast of good-time rock and roll. They round out the top 10 in full command of who they are as players.

Granted, the next 10 releases are kind of all over the place, but I think that just shows the overarching quality of work being done across the board. From Spaceslug’s melodic stoner-psych to Electric Moon’s studio return — so, so, so good — to Alunah’s continued growth in nature-worshiping heavy and Arc of Ascent’s comebacker of rolling heavy riffs and metaphysical themes, there’s been so much to take in. I especially like the pairing of Rozamov and Siena Root as a sense of scope for 2017 so far; the former being so dark and crushing and the latter who lived up to calling their record A Dream of Lasting Peace. You want to know both ends of the spectrum? There they are.

PH’s Eternal Hayden gets a nod for its effective reset of the context of that band following the completion of their trilogy of albums, and Geezer’s Psychoriffadelia might have been something of a tossoff in the making, but the level at which the New York trio jams nonetheless assures it a spot here. Plus, a Nazareth cover. So duh.

I couldn’t help but include T.G. Olson’s Foothills Before the Mountain on the list as the Across Tundras frontman creeps closer to a full-band sound for his solo work, adding to his acoustic singer-songwriter foundations, and the crush of Telekinetic Yeti’s post-Sleep riffing evoked so many nods I thought they deserved one here as well. Placing The Devil and the Almighty Blues was difficult, but especially after seeing them live, I felt like I had a better idea of where they were coming from on II, so knew they belonged somewhere, even if it was tucked in at the end. And of course, Lord. Always killer, always experimenting, always chaotic. Never have grind and sludge sounded more cohesive together. They’re the band I wish Soilent Green had become, and yes, I mean that.

Honorable Mention

Let’s do another 10 releases, shall we?

21. Beastmaker, Inside the Skull
22. Arduini/Balich, Dawn of Ages
23. Brume, Rooster
24. John Garcia, The Coyote Who Spoke in Tongues
25. Six Sigma, Tuxedo Brown
26. Demon Head, Thunder on the Fields
27. Summoner, Beyond the Realm of Light
28. Steak, No God to Save
29. Six Organs of Admittance, Burning the Threshold
30. Dool, Here Now There Then

And just to make the point, here are even more worthy of note in this space:

Elbrus, Elbrus
Cortez, The Depths Below
Ecstatic Vision, Raw Rock Fury
Child, Blueside (a December 2016 release, maybe, but I think the vinyl was this year, so whatever)
Pallbearer, Heartless
Spidergawd, IV
Green Meteor, Consumed by a Dying Sun
Loss, Horizonless

There are of course other names as well that come to mind. Like I said at the outset, it’s a crowded field: Hymn, Arbouretum, Green Meteor, REZN, Demon Head, Galley Beggar, Devil’s Witches, Orango, Heavy Traffic, Coltsblood, Mt. Mountain, Vokonis, Solstafir, High Plains, on and on.

Also worth highlighting several really, really quality live records that have surfaced so far this year. I didn’t really know where to place them among the other studio offerings, but they deserve note for sure:

Causa Sui, Live in Copenhagen
Death Alley, Live at Roadburn
My Sleeping Karma, Mela Ananda – Live
Enslaved, Roadburn Live

More to Come

Of course, we’re still just barely halfway through the year, so keep on the lookout for more to follow. If you didn’t see my massive 200+ albums to watch for list in January, it has many that have come out and many more still to surface, but here are a few highlight names as well that you’re going to want to keep an eye on in the months ahead:

Queens of the Stone Age
Radio Moscow
The Atomic Bitchwax
Kadavar
Ufomammut
The Midnight Ghost Train
Moon Rats
Clamfight
Egypt
the Melvins
Bison Machine
Seedy Jeezus
High on Fire
Monster Magnet

Thanks for Reading

Before I check out, I’d like to give special mention to Lo-Pan’s In Tensions EP as the best short release of the year thus far. Along with EPs from Godhunter, Kings Destroy, Solace and Shroud Eater, it has assured those seeking a quick fix are handed their ass in return for asking.

Well, that’s about where I’m at with it. As per usual, I’m sure there are things I forgot and/or left off here, because I’m human and whatnot, so please if you have something to add, feel free to do so in the comments so long as you can keep it cordial. No name calling. I’m sensitive and you’ll ruin my whole day. I mean that.

Thanks again for being a part of this and here’s to an excellent rest of 2017.

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