Posted in Whathaveyou on April 8th, 2024 by JJ Koczan
This is one of the best lineups I’ve seen for a US-based heavy fest in the 15-plus years I’ve been running this site. I don’t know what else to say about it, honestly. For the fact that Ripplefest Texas is bringing Dozer over alone, let alone any of the other Euro acts involved who have, say, been to North America in the last 20-plus years, it’s astonishing. And not just bigger bands like Dozer and Truckfighters or Mars Red Sky and Belzebong, but Domkraft and Kal-El, bands you know if you’re into this thing but that haven’t been around as long and aren’t as ‘huge’ in the whatever sense that applies in underground music.
And it’s not like they’re skimping on within-US geography either. Of course the desert is well represented, and Texas has a significant presence as it invariably would, but with Gozu and Leather Lung headed out from Boston, Borracho traveling from D.C., Temple of the Fuzz Witch from Michigan, Robots of the Ancient World from Portland, Oregon, and so on, they’ve got all the corners and between pretty well covered. La Chinga coming from Canada. Demons My Friends giving Mexico a nod. It is extensive.
And quality. I don’t know that I’ll be there to see it, but I’d imagine that for most who get to be, it’ll be the stuff of legend. Congrats to Ryan Garney and Lick of My Spoon for bringing it into the world, and safe travels to all involved:
Here it is! The lineup for RippleFest Texas and the amazing art by Simon Berndt @1horsetown 🤘🔥❤️
We still have a few surprises left but this roster is stacked! Don’t miss your chance to see the world’s best heavy music at the largest family reunion of the year. Plus this is the ONLY premier festival that has absolutely ZERO OVERLAPPING so you can see every second of every band! Get your tickets now and we will see you in September!
Tier 2 tickets are almost sold out and the price increases on Monday so get your tickets now:
DOZER TRUCKFIGHTERS BONGZILLA MARS RED SKY BELZEBONG DOMKRAFT LEGIONS OF DOOM FATSO JETSON GOZU HOWLING GIANT THE HEAVY EYES HIGH DESERT QUEEN KAL-EL 20 WATT TOMBSTONE THE OTOLITH TEMPLE OF THE FUZZ WITCH LEATHER LUNG THUNDER HORSE HASHTRONAUT BONE CHURCH BORRACHO SUN CROW CRYSTAL SPIDERS TIA CARRERA ROBOTS OF THE ANCIENT WORLD MR. PLOW LA CHINGA FOSTERMOTHER BLUE HERON TEMPTRESS FORMULA 400 DEMONS MY FRIENDS VERMILION WHISKEY VIOLET RISING HUDU AKIL BUZZ ELECTRO SHADOW OF JUPITER
GRAND FINALE w/ MARIO LALLI & THE RUBBER SNAKE CHARMERS “Desert Jam Session”
Plus the best light show in the business by @themadalchemistliquidliteshow
Posted in Whathaveyou on March 21st, 2024 by JJ Koczan
The message here is clear: Desertfest is all-in on New York. Begun in 2019 and resurfacing in 2022 at a new venue, The Knockdown Center, somewhere in the nebulous border region between Brooklyn and Queens, and a corresponding pre-show at the Saint Vitus Bar, which one hopes will reopen well in advance of this September, Desertfest New York 2024 is vivid in taking it to the next level.
It’s nothing less than a generational event to bring Dozer from Sweden to NYC (they toured the US circa 2000, I’m pretty sure), and for that alone, Desertfest earns your weekend ticket price today. Never mind that at the same time they’re celebrating legends like Dozer and Acid King, they’re also extending their reach to up and coming bands. Green Lung will play — gotta be the main stage, right? isn’t their sound too big for anything else? maybe outside at night? — coming over from the UK to do so, and West Coast outfits Kadabra, Abrams, Deathchant (who at this point I count as a secret being a little too well kept) and Hippie Death Cult complement well Acid King near the top of the bill, where you’ll also find instrumentalists Russian Circles, presumably a headliner, and fair enough. Oh yeah, and Truckfighters just in case anyone gets tired and needs a bit of a cardio pick-me-up.
Guhts from New York, Domkraft from Sweden, Belzebong from Poland and an awaited appearance from Boston’s Gozu round out this initial announcement, with more to come. It’s on my calendar. You might think about putting it on yours as well:
Desertfest NYC announces Russian Circles, Acid King, Green Lung, Truckfighters, Dozer & more for its 2024 lineup.
For their return to the Knockdown Center this September, Desertfest NYC has unveiled its first artists set to take the stage for their fourth edition, announcing post-metal giants RUSSIAN CIRCLES as their first headliner. Joining them will be California stoner metal legends ACID KING and London occult metal sensations GREEN LUNG, making their US debut. After they were unable to perform at DF 2022, the festival is thrilled to finally be hosting them stateside.
Swedish rockers and long-time Desertfest friends TRUCKFIGHTERS will return for their first New York performance in four years, along with fellow countrymen and stoner devotees DOZER.
Joining the party will be Poland’s instrumental ‘dudes’ BELZEBONG, Swedish psychedelic hypnotizers DOMKRAFT, and a healthy dose of rock n roll arrives courtesy of Los Angeles quartet, DEATHCHANT and Boston mainstays GOZU.
Elsewhere we’ll be treated to some psychedelic swagger from Pacific Northwesterners KADABRA and HIPPE DEATH CULT, and some heavy gazin’ with Denver’s ABRAMS and NY locals GUHTS.
Posted in Whathaveyou on February 19th, 2024 by JJ Koczan
When I started this post, Poland’s Red Smoke Festival had just unveiled the first names for its 2024 edition, set for this July 12-14. That was Domkraft, Coogans Bluff, Earth Tongue and Narbo Dacal. You know how it goes, you get caught up with stuff, a couple days go by, and now there’s four more adds in Acid Rooster, Kanaan, Perilymph and Tuskar, so it’s safe to say the event is taking shape at a fairly good clip. I don’t know the announcement schedule or anything like that, but if you’re in Poland or thinking of making the trip, I imagine you also don’t need me to suggest following their socials, etc. Even if you don’t, I believe you are capable.
So does the festival, which admirably dispenses with some of the social-media-era hoopla around these things by making a slogan out of ‘The Less You Know the Better.’ They might be right, or at least there’s a philosophical argument waiting to be made there. Either way, there were YouTube and Facebook links for the bands, but again, I believe in your power to dig and would encourage you to do so. I only took them out because it looked funny on the page and this site does weird things with YouTube hyperlinks. Certainly all parties involved have online presences and audio, which even 30 years later kind of makes the internet feel like a miracle. Not to mention it’s how I know this fest exists in the first place.
Even so, I don’t know much more than this, so I suppose I’m doing alright in that regard:
First announcements for RSF2024
COOGANS BLUFF – Horns Rock’n’Roll Dance From Germany
Domkraft – Riffs Riffs Riffs Repeat From Sweden With Love
Earth Tongue – Odd But Gold Heavy Psych Fuzz From New Zealand
Narbo Dacal – (Be)Witching Metal From Poland
Acid Rooster – Endless Trippy Kraut Experience from Germany
Kanaan – Blazing Freeform Psychedelic Rock From Norway
Perilymph – Beautiful Psychedelic Sounds From Germany
Posted in Bootleg Theater on February 8th, 2024 by JJ Koczan
Boasting familiar faces from the likes of Greenleaf, Domkraft, Besvärjelsen, The Moth Gatherer and Grand Cadaver, obviously the newcomer five-piece’s lineup will be a draw, and Young Acid meet pedigree-born anticipation with an absolute blast of electric heavy punk on their debut album, Murder at Maple Mountain, which arrives in the coming thaw courtesy of Majestic Mountain Records. Oh, and also all the lyrics are about Astrid Lindgren, who wrote Pippi Longstocking (also The Tomten, which I love but my daughter hates I think because it makes her feel feelings, and a ton of others) and is rightly revered for that. As a believer generally in the power of books written to and for children to help shape minds and frame perspectives on the world, from Lindgren to Mo Willems and the not-racist Dr. Seuss books and Curious Frickin’ George, if I’m honest, most of my favorite books ever are probably picture books from when I was a kid. I even wrote a couple over the years.
So the concept, right on. I’m down. But what’s going to hit you most on first impression with “Run, Boy, Run” more than the theme of the lyrics, which requires a deeper dive generally, is the energy with which guitarists Alex Stjernfeldt and Andreas Baier, bassist Martin Wegeland, drummer Svante Karlsson and vocalist Arvid Hällagård — who all don the first name Mio in honor of Lindgren’s 1954 novel, Mio, My Son, as you can see in the lineup listing in blue text below — hurl forth this lusty, fuzzy, sometimes bluesy, inevitably-heavy-grooving-regardless-of-tempo, we-gotta-make-our-own-good-times blowout vibe. There is no pretense here toward being anything other than what the album is even as closer “2002” dares to cross the four-minute mark and turn all that punker restlessness into voluminous, shimmering, gorgeous expanse. At 34 minutes, they could hardly make it easier to get on board if they came to your house and handed you a copy of the LP.
I might be streaming the full album before the release — definite maybe at this point — but will hope to have more on it either way before it’s out. Until then, “Run, Boy, Run” premieres below, followed by more from the PR wire:
Young Acid, “Run, Boy, Run” visualizer premiere
Introducing Young Acid, the new kickass garagerock powerhouse! Young Acid is a new super group with members from Greenleaf, Grand Cadaver, Besvärjelsen, The Moth Gatherer and Domkraft! With blistering guitar riffs, raw energy, and rebellious lyrics celebrating the legacy of Astrid Lindgren, this fierce fivesome is here to ignite the stage!
What happens when you combine members from Greenleaf, Domkraft, Grand Cadaver, Besvärjelsen and The Moth Gatherer? Well… disappointment happens. Disappointed in the sense that it does not sound the way you think!
Young Acid plays Punk infused Rock with great storytelling influenced by a famous Swedish author. But is it any good? Of course it is! At least if you ask some members of the band.
Young Acid was formed around the motto: Nobody can ruin our day, ‘cause we’re probably going to ruin it ourselves!
The polarising debut album will be out early 2024 via Majestic Mountain Records!
‘Run Boy Run’ is the second singel from the upcoming debut album ‘Murder at Maple Mountain” to be released on Majestic Mountain Records in Spring 2024!
Recorded at Welfare Sound, CrookedTeeth and Midlake Production Mixed by Per Stålberg & Kalle Lilja at Welfare Sound Mastered by Johan Reivén (Audiolord)
Posted in Whathaveyou on February 1st, 2024 by JJ Koczan
So I guess this is the last announcement for the lineup of Desertfest London 2024, and I’ll just say I kind of love the casual manner in which the festival set for May 17-19 tosses in another 30-plus names for the bill. Oh no big deal but here’s like two more fests we’re just gonna add while we give you the schedule. Badass. There’s a lot to dig here on all levels, from the headliners — that Friday at The Electric Ballroom, also Saturday and Sunday, looks pretty sweet — and while I’d set up camp at The Underworld on Saturday, no question I’d have to abscond from that home base to at least catch a bit of Saint Karloff, Acid King, and so on, and, well, on Sunday I’m actually kind of relieved I’m just pretending to have to pick one spot to be in, as each room has a distinctive pull. DVNE and Morag Tong or Borracho and Kadabra? Ufomammut and Monolord or Stinking Lizaveta, Darsombra and Orme? This shit is hard sometimes.
You could go on here in choose-your-adventure daydreaming, and frankly I’d encourage you to do just that. Worst that happens is you end up listening to good music. Or, you know, going to the fest, which would also be the best thing that could happen. Here’s why:
Desertfest London announces day splits and 32 additional artists
Friday 17th May – Sunday 19th May 2024 Weekend & Day Tickets now on sale
Desertfest London has revealed their day and stage splits for their 13th edition, taking place this May across multiple venues in Camden, London.
The festival proudly welcomes Masters of Reality as Friday’s Electric Ballrooms headliners, with Chris Goss at the helm providing a master-class in desert sounds. Plus, newly announced for this stage are Colour Haze and Frankie and The Witch Fingers who will join Brant Bjork Trio and Mondo Generator to kick off the weekend in true Desertfest style. Mantar and Raging Speedhorn will shake-up the Underworld, whilst Brume and Alber Jupiter psych-out at The Black Heart.
Saturday sees skate-punk legends Suicidal Tendencies back in London for the first time in seven years, as they decimate the equally legendary Roundhouse. Joined by Cancer Bats, Bongripper, Acid King and newest addition to the bill, Pest Control. Saturday’s Roundhouse stage is undeniably a melting pot of genres, but celebrating one common thread – insane live performances. Elsewhere, Maserati, Monkey3, Domkraft, Wet Cactus and many more will level Camden to the ground.
Back at the Ballroom on Sunday night, the festival enters its final day with a dose of experimental heaviness from Godflesh, Ozric Tentacles, Monolord, Ufomammut & Ashenspire. Additionally, Desertfest will be welcoming Bat Sabbath, the Black-Sabbath cover band formed by Cancer Bats to close out the entire weekend at our Underworld Stage after-party. Plus, DVNE, Nightstalker, Astroqueen, Stinking Lizaveta & The Grudge, with a hell of a lot more will be rounding off the weekend’s festivities.
Across the weekend, Desertfest has also newly announced the likes of Morag Tong, Borracho, Noisepicker, Gramma Vedetta, Lodestar, Kulk, Earth Tongue, Skypilot, Wolfshead, Weedsnake, Orsak:Oslo, WAXY, Horndal, Silverburn, Fires In The Distance, Sleemo, Midwich Cuckoos, Akersborg, Grand Atomic, Voidlurker, Under The Ashes and Fuz Caldrin.
Weekend & Day Tickets for the event are on sale now via www.desertfest.co.uk
Posted in Whathaveyou on December 28th, 2023 by JJ Koczan
The following festival announcement — under the poster in the blue text; come on, you know how we do — was put through a major internet company’s translation matrix, so I will not at all vouch for the accurate swapout of English for Swedish generally, though it was kind of fun to see Domkraft called ‘Power of Domination,’ DRÖÖG come up listed as ‘DARE’ and Slôdder become ‘Slodger,’ which at least is pretty close. You might’ve seen the initial lineup reveal for the inaugural Västerås Doomfest in its native Swedish or another language entirely, depending on your preferences/geolocation tracking.
Wherever you’re coming from, those three — Domkraft headlining, and well they should — will be joined by 10,000 Years, who have a new record coming and whose Alex Risberg is among those putting the event together, as well as Mushroom Caravan Overdrive, Steel Freight and Käpprätt, rounding out a seven-band all-dayer on June 1 at O’Leary’s (a fine Swedish name if e’er my American ears heard one) as a beginning, a testing of concept and waters, and what looks like a hell of a show.
Kudos to Risberg and company (assuming he’s got some in the endeavor) on getting a thing going, and in the spirit of well wishes on a first-fest, here’s the lineup announcement and appropriate linkage:
Västerås Doomfest 2024
Death Valley Productions presents, in collaboration with O’Learys, the Contact Network and Merchprint, the first edition of Västerås Doomfest! This year’s big gathering, and definitive highlight, for all worshipers of the Riffet and all lovers of heavy, hard underground metal. A delight for both eyes (? ) and ears are promised!
Domkraft is one of Sweden’s biggest bands in the genre and one of the best and most respected worldwide. With their latest masterpiece “Sonic Moons”, and three more modern classics, in the luggage, they honor the festival’s first edition Västerås with a visit for the first time. As everyone who has seen Domkraft before can attest, it is a special experience to be crushed by Domkraft’s gravity in the live format and thus nothing you want to miss when the opportunity is given. We are therefore extremely proud to present Domkraft as the main act at Västerås Doomfest 2024! Riff hook repeat until numb.
10,000 YEARS
Västerås own stonermetal heroes! This trio has gone from clarity to clarity since the start of 2020. So far, they have gotten three shelved plates and a new one is on the way in 2024 via a new, exciting record contract. This together with intensive live performances around Sweden has made 10,000 Years a hot name in the heavy underground and now they finally make their home debut with us at Västerås Doomfest!
DRÖÖG
These Dalmas themselves call their music lumberjack jazz, and there’s something to it. Slightly retro-scented doomrock with prog vibes is also close to the truth, a bit like Witchcraft but better. But to really understand Dröög, you have to hear and see them yourself, and dive into Dröög’s dark tales.
MUSHROOM CARAVAN OVERDRIVE
Mushroom Caravan Overdrive worships daily life at Riffet’s altar and delivers heavy, draggy and psychedelic stonerdoom in Sleep school. Transcendental from start to finish and twenty-minute songs are promised. Did we mention that they are also the brains behind the legendary Krökbackenfestivalen?
SLÔDDER
Did you know that Värmland’s deep forests double as Sweden’s New Orleans? Well, that’s the truth. The Yankees have Eyehategod and we have Slôdder, that’s proof enough. With the fantastic “A Mind Designed To Destroy Beautiful Things”, Slôdder delivered one of the best albums of 2023 and their dirty sludge metal does not leave many listeners consciously after completed acquisition.
STEEL FREIGHT
Is it hardcore? Is that death metal? No, it’s steel freight! It’s a hell of a hard, angry and unique blend of said genres, perfect for those who are not afraid of the mosh pit.
KÄPPRÄTT
The raw punk swingers from Västerås open the festivities with dist, dance and a fist in solar plexus at the establishment.
See you in front of the stage, because in the beginning there was Riffet. And nothing would ever be after the Riffet.
Posted in Features on December 18th, 2023 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which ends in January. If you haven’t contributed your picks yet, please do so here.]
—
It is encouraging in the extreme to see heavy music, as both concept and practical reality, growing more diverse. For all its rebellious airs, rock and roll has always been predominantly white and male, and its heavy underground form is no different. But for any artform to survive let alone evolve, it has to be open to new ideas and perspectives, and I firmly believe that the underground is becoming a more inclusive community. It has a distance to go that can only be measured in light years, but progress is progress.
2023 was a stunner from the start, with early highlights that stuck around and were joined by more as the months progressed. And while we’re speaking about it in past tense and it’s wrap-up time and so on, there are still new releases coming out every day and week. All over the planet, the heavy underground represents a vibrant subculture, rife with creativity and purpose, speaking inside genre and out, and all the time looking to grow artistically and in terms of listenership. As a result, the work being released holds itself to a high standard.
And yes, that’s true even if it’s about bongs.
Actually, that such willful primitivism is taking place at the same as doom forays into goth, psych forays into mania and tone-worshipping stoner rock seems intent to both double-down on simplicity while expanding into increasingly progressive territory is emblematic of that very standard and the diversity among practitioners of these styles in the current and up and coming generation.
One could go on here, speculate on future directions and so forth, but frankly there isn’t time just now. The list you see below is mine. I made it. It’s informed by my listening habits — what I had on most — by what I see as the greatest level of achievement by the band in question, and in some cases by critical import. It’s a weird mix, but let’s face it, you don’t care. The bottom line is all I’m claiming to represent here is myself and this site.
Accordingly, as with every year, I’ll ask you to please be mindful of the feelings and opinions and others if and as you proffer your own. I love comments here, I love discussions on this post most of any throughout any year, every year, but that can’t happen if somebody’s being a jerk, so don’t. If you disagree with me or someone else, I don’t care if you have a 40-page treatise on your opinion or if you just don’t dig a thing, but if you’re seeing these words, it is our responsibility to each other to be respectful and kind.
Beyond that, in advance of what’s about to unfurl below, please know that I thank you for reading.
**NOTE**: If you’re looking for something specific, try a text search.
—
The Top 60 Albums of 2023
—
For the last two years (2022 and 2021, linked for reference), I’ve done my own list as a countdown from 60, and since it feels both like way too much, over-the-top, totally unnecessary, and like a completely inadequate sampling of what was worth hearing this year, I guess it’s the way to go once again. Right now is the first of three times I’ll encourage you not to skip this list.
This is the second. Here we go:
60. Codex Serafini, The Imprecation of Anima (review here)
59. Strider, Midnight Zen (review here)
58. Black Helium, Um (review here)
57. Humulus, Flowers of Death (review here)
56. Fuzz Evil, New Blood (review here)
55. Blood Lightning, Blood Lightning (review here)
54. Rotor, Sieben (review here)
53. Cleõphüzz, Mystic Vulture (review here)
52. Black Sky Giant, Primigenian (review here)
51. Khan, Creatures (discussed here)
50. Slumbering Sun, The Ever-Living Fire (review here)
49. Massive Hassle, Number One (review here)
48. Búho Ermitaño, Implosiones (review here)
47. Black Moon Circle, Leave the Ghost Behind (review here)
46. Oldest Sea, A Birdsong, a Ghost (review here)
45. Edena Gardens, Dens (discussed here)
44. Merlock, Onward Strides Colossus (review here)
43. Obelyskkh, The Ultimate Grace of God (review here)
42. Lord Mountain, The Oath (review here)
41. Dorthia Cottrell, Death Folk Country (review here)
40. Yawning Balch, Volume One / Volume Two (reviews here and here)
39. The Golden Grass, Life is Much Stranger (review here)
38. Somnuri, Desiderium (review here)
37. Haurun, Wilting Within (review here)
36. Bees Made Honey in the Vein Tree, Aion (review here)
35. Stinking Lizaveta, Anthems and Phantoms (review here)
34. Black Rainbows, Superskull (review here)
33. Polymoon, Chrysalis (review here)
32. Fuzz Sagrado, Luz e Sombra (review here)
31. Yawning Man, Long Walk of the Navajo (review here)
Notes:
This is the third time I’m telling you not to skip this list. Linking to more on these is new. I haven’t done that before for this part of the list, but I hope it helps if you want to dig in.
That Khan stands out to me as needing to be higher given the quality of the work itself, but I got there late. But if you sent this into the year-end poll as your top 30, I feel like you wouldn’t be ‘wrong’ with some of the showings here, whether that’s the blinding shimmerprog of Polymoon, Merlock’s axe-swing sludge or Dorthia Cottrell of Windhand’s acoustic-based solo work.
Strong debut full-lengths from Haurun, Oldest Sea, Boston supergroup Blood Lightning, Cleõphüzz who already broke up, the aforementioned Merlock, mega-weirdos Codex Serafini, Slumbering Sun (kin to Monte Luna and Destroyer of Light), Church of the Cosmic Skull offshoot Massive Hassle, Turkish heavy rockers Strider and Californian metal traditionalists Lord Mountain. Established outfits like Yawning Man, Stinking Lizaveta, Cottrell, Black Rainbows, The Golden Grass, and Rotor continue to explore new avenues of their sound.
In the meantime, the respective progressions displayed by the likes of Black Helium, Fuzz Sagrado, Somnuri and Bees Made Honey in the Vein Tree, the e’er-listenable Fuzz Evil and Argentinian instrumentalists Black Sky Giant offered thrills anticipated and not. Humulus bringing in Stefan Koglek from Colour Haze was a nice touch, and though I haven’t even reviewed it yet, the third and maybe-last Edena Gardens LP completes that collaborative trilogy with members of Causa Sui and Papir as fluidly as one could ask, which is only saying something because of the personnel involved.
There are a ton of others I wanted to put on this list, but numbers are cruel and if I get into decimals or fractions or something like that I’m going to end up huddled in a ball crying. But please know that because something’s not here doesn’t mean it sucked even just in my own opinion or whatever. At the end of the list come the honorable mentions and rarely have they been so honorable.
Buenos Aires trio Moodoom nailed a classic, ’70s-style Sabbathian blues rock with a non-cornball vintage feel better than anyone else I heard who tried in 2023. Their Desde el Bosque didn’t top half an hour, but you can almost feel the heat from the tubes of the amplifiers behind it, and it’s such an organic flow that it’s undeniable as an LP. Dig that creeper riff in “El Ente,” man. Proh. Toh. Doom.
The eighth full-length in a career that goes back 33 years, Zero Minus Infinity is the second Negative Reaction album since guitarist/vocalist Kenny Bones moved himself and the band from Long Island to West Virginia and revamped the lineup, and it’s a beast. It’d be here for “I’ll Have Another” alone with that crush of distortion and Bones raw-throating “It’s you I need,” on repeat, perhaps to alcohol, but that’s just one example of the disaffected delights on offer from the kings of anxiety sludge.
Downpour is one of two 2023 outings from upstart progressive Norwegian instrumentalists Kanaan, as they answered its Spring release with the jammy Diversions Vol. 2: Enter the Astral Plane. Any way you go, composed or improvised, this is a band with a special chemistry. In addition to the nodder highlight “Amazon,” which brought a collaboration with Hedwig Mollestad and the dense boogie riff-push of “Black Time Fuzz” at the start, they proceeded on an evolutionary path that looks now like it will go as long as they do. For now, in its urgency and space both, Downpour is a pinnacle achievement. How long that lasts depends on what comes next.
—
27. Mathew’s Hidden Museum, Mathew’s Hidden Museum
Some records make a world. Mathew Bethancourt of Josiah, Cherry Choke, etc., put at least a solar system into the self-titled debut from his solo-project Mathew’s Hidden Museum. Melding lysergic experimentalism and off-kilter vibing with classic boogie, acoustic grunge, the piano quirk of “Golden” and more, it drew lines connecting disparate ideas and ended up making its own kind of sense, with depth enough in its layers that when I close out a week with it half a decade from now (inshallah), I’ll probably still be talking about it. Go get swallowed.
Recorded in Winter 2021/2022, Borracho‘s Blurring the Lines of Reality carried its where-did-we-go-wrong head-scratching sensibility into 2023, where to be sure it remained relevant. The Washington D.C. riffer trio know who they are and what they’re about, and their songwriting, groove and total lack of pretense continue to satisfy five records later even as the band pushes themselves further in structure and craft. And if you’d hold the social comment of their lyrics against them, first, grow up, second, your loss. Give me that smooth jam at the end of “Burning the Goddess” every time.
It was a total shock when superlatively-filth-encrusted sludgers Khanate not only returned with the surprise release of their first LP in 14 years, but that they pulled off such a remarkable change of style, abandoning their former miseries in favor of a more upbeat, uptempo outlook and poppier structures. What’s that you say? That didn’t happen? The record was just so completely, engrossingly wretched that my unconscious mind actually replaced it with something more palatable because Khanate stretch the limits of what punishment human beings can absorb in sound? Well fucking right on. That sounds like Khanate.
Oslo-based doom rockers Saint Karloff harnessed an energy that 25 years ago or so propelled the very beginnings of modern Scandinavian heavy rock and roll, and they did it as a duo paying tribute to bassist Ole Sletner as well. Rife with familiar genre elements, stoner riffing, and band-in-room vibes, and even a little cosmic prog in closer “Supralux Voyager,” Paleolithic War Crimes had its emotional crux in its celebration of song and style, and so became the successful rebound after a terrible loss. If you call yourself a fan of heavy rock, chances are there’s something for you in it.
Though they released the single-song I EP (review here) in 2018, the severely-titled Soul Murder is their first full-length since late-2016’s Blueside (review here). It puts the heavy blues frontmanship of guitarist/vocalist Mathias Northway at the fore as he, bassist Danny Smith and drummer Michael Lowe offer the most live-sounding studio effort I heard this year. Even if you go beyond the songwriting, the soul in the performances, the emotionalism and the believability of their blues, the classic warmth in their tones, the epic oil painting from Nick Keller that adorns its cover, you still have vitality (yes, even in slow parts) and the instrumental conversation happening between the members of the band. The degree of that alone warrants inclusion here.
It can be a challenge to keep up with the ongoing progression of Bergen, Norway, progressive black metal innovators Enslaved, but these 32 years on from their founding it remains worth the effort. Heimdal followed tumultuous but busy years for the band, who mostly supported 2020’s Utgard (review here) digitally for obvious reasons, and was perhaps that much freer in its experimentation as a result of the period of less live activity. However they got to the keyboard part sticking out of “Congelia,” it is only fortunate that they did, since certainly in another couple decades the rest of us might actually be on Enslaved‘s wavelength, and we’ll be glad for it. Until then, they outclass just about everyone’s everything across the board. One of the world’s best bands, outdoing themselves as ever.
Mondo Drag‘s fourth album was also their first in eight years, and with it the Oakland outfit put the lie to the stereotype that prog music is staid. Indeed, the crux of Through the Hourglass came with the passing of founding keyboardist/vocalist John Gamiño mother, in whose honor the Days of Our Lives reference in the title was made. That personal exploration of loss became a classic melancholy progressive psychedelic rocK, bolstered by a partially revamped lineup that includes bassist Conor Riley (Birth, ex-Astra) and drummer Jimmy Perez alongside the established character in the guitars of Nolan Girard and Jake Sheley (both also founding members). Likewise beautiful and sad, songs like “Passages” and “Death in Spring” resonated with the universal experience of mourning as filtered through a rich breadth of influences, memorable movements and entrancing melody. One hopes it was a comfort to Gamiño as surely it has been to others.
With shorter, tightly composed songs, Northern Ireland trio Slomatics managed to make the most atmospheric record of their career to-date. Their seventh LP, it used its time in songs like “Time Capture” and “Zodiac Arts Lab” to underscore the melody that’s been in their sound all the while but has never as much been the focus when set next to the abiding crush of David Majury and Chris Couzens‘ guitars, and though he’s behind the kit, drummer/vocalist Marty Harvey seemed all the more a frontman as his voice soared when called upon to do so. Of course, there was still plenty of time in the 36-minute run for Slomatics‘ crushall in “Wooden Satellites,” “I, Neanderthal,” later in “Voidians,” and so on, but it’s clear their range and reach have grown and their gradual evolution has brought a new level of complexity to their approach. If they keep this up, they risk feeling compelled to stop calling themselves Neanderthals, and while that would be a bummer, one very much hopes they keep it up anyway.
A new solo incarnation of Hamilton, New Zealand’s Craig Williamson — who is best known for his other one-man operation, Lamp of the Universe — the full-band-style heavy roller riffs throughout Dead Shrine‘s The Eightfold Path scratched what must have been a pretty fervent itch for heavy groove, classic swing, and fuzz, fuzz, fuzz, which cuts like “The Formless Soul,” “As Pharaohs Rise,” and side-ending self-jammers “Enshrined” and “Incantation’s Call” fortunately also have a mix spacious enough to hold. Williamson has rocked plenty since the turn of the century when he was in the heavy rock trio Datura, and around 2010 when he had the trio Arc of Ascent going. That band and this one have a lot in common, but Williamson has proven his most sustainable and seemingly preferred way of working is solo, and as one, Dead Shrine stands alongside Lamp of the Universe (wait for it…) in a way that feels like it could be longer term, even as Williamson seemed to blur the lines between the two sides on Lamp of the Universe‘s own 2023 outing…
Although they’re certainly distinct enough to be separate from each other at this point, Dead Shrine and Lamp of the Universe obviously share a lot in common and it felt right to pair them like this. Every year I give myself one ‘#a’ pick, so this is it for 2023 and I’ll just use it to say how incredibly vast Lamp of the Universe has become. While remaining loyal to its beginnings in acid folk and meditative psychedelia, Williamson‘s multi-instrumentalism, the scope of his production, and the absolute care he puts into the project have brought it beyond what reasonable expectations might’ve been. And in part, by that I mean Kaleidoscope Mind rocks. That wah solo in “Golden Dawn?” The blowout drums behind nine-minute opener “Ritual of Innerlight?” Goodness gracious, yes. Even “Immortal Rites,” which is about as close as Williamson gets to Lamp‘s beginnings here, has evolved. But it’s also still the same thing in the root. I don’t know. If you don’t stretch reality to get there, try again later. The most honest thing I can say about it is I feel lucky to be a fan.
It was the feeling that at any given point they might just go anywhere that made Sherpa‘s Land of Corals a surprise as the Italian practitioners of the psychedelic arts have thrown open the doors of both perception and microgenre and come across as thoroughly willful in their krautrock-minded ethereality, and just because the listener doesn’t know what might be next doesn’t mean the band aren’t working with a plan regardless. The follow-up to 2018’s Tigris and Euphrates (review here), the six-song/39-minute collection seemed to be fearless in what it took on, and though much of it was less serene than either of their first two outings, the divergences and the complexities in mood, ambience and arrangement render Land of Corals unto itself. Are we post-heavy here? Maybe. Still heavy as the drums behind “High Walls” show, however, though Sherpa‘s take on what that means and how that manifests is no less individualized than anything else in these tracks. Not something everyone is going to get — I’m not convinced I get it myself at this point — but an act whose creativity has yet to get its due.
—
17. Gozu, Remedy
Released by Blacklight Media / Metal Blade Records. Reviewed May 18.
The Boston riff factory known as Gozu have only gotten more vicious, more pointed with time, and yet, tucked at the end of their 2023 outing, Remedy, which has them as veterans at 14 years’ tenure, are “Ash” and “The Handler” and it just goes from sweet to sweeter. Yeah, it’s a ripper into its blood with “CLDZ,” “Tom Cruise Control,” and Gozu — Marc Gaffney (vocals/guitar), Doug Sherman (guitar), Joe Grotto (bass) and Seth Botos (drums), working with producer Dean Baltulonis for a threepeat — have a brand of melody in Gaffney‘s vocals that’s all their own, and fast or slow, loud or quiet, ’80s movie reference or ’70s movie reference, Gozu have been around long enough to know what they’re about. But, after 2018’s Equilibrium (review here) and 2016’s Revival (review here), Remedy feels one step heavier. Revivalwas a great sharpening of sound. Equilibrium brought refinement to that. Remedy comes across with a little of a sense of letting go, of the band digging in where it’s more about what they can do together than the response it’ll get afterward. It suits them.
Oh, The Machine. Seven records deep and still in your 30s. That’s the advantage of starting early, which the Netherlands-based trio most definitely did. Wave Cannon, accordingly, is both masterful in its conjurations of warm heavy psychedelic fuzz, and energetic in its delivery, with founding guitarist/vocalist David Eering bid welcome to bassist Chris Both and farewell to original drummer Davy Boogaard. And where 2018’s Faceshift (review here) tipped a balance in their style toward more of a punker push, Wave Cannon led off with “Reversion” and seemed all the more purposeful in its mature heavy psychedelic delve for that. It could be Wave Cannon will be the blueprint for a settled-in aesthetic the trio now more than ever driven by Eering, or it could be the beginning of a whole new evolution of sound from the revamped three-piece recommitted to trippy sounds and warm nod. Either way, it’s not that often you talk about a band’s forward potential after seven full-lengths, so The Machine are in a pretty special place circa 2023 and Wave Cannon, whatever it leads to, is a special moment of transition captured.
Similar to how trees live in an experience of time separate from ours and the way an earth year is laughably tiny set against the scale of the universe, Chicago heavy psych rockers REZN seem to operate on their own temporal wavelength throughout their fourth album, Solace. Able to crush at will, as at the end of “Possession,” or the early going of “Stasis,” in the trades of “Reversal,” et al, Solace found REZN more confident in their dives through melody and atmosphere than even they were on 2020’s Chaotic Divine (review here), they created a space and dimensionality of sound that belongs solely to them in the style. Quieter stretches in “Webbed Roots” enthralled with their depth, and the ethereal vocals brought human presence while furthering the smoke-swirls and incense mystique. On their own terms, and yes, very much at their own pace, REZN have made themselves one of America’s most essential heavy psych bands, and Solace — joined in 2023 by REZN‘s collaboration with Mexico’s Vinnum Sabbathi, Silent Future (discussed here) — crowns their to-date discography.
I’m not saying I think it’s cool to write songs about serial killers, but if you’re going to listen to a Church of Misery release almost 30 years after bassist Tatsu Mikami started the band, chances are you know their stated theme is nothing if not consistent. Born Under a Mad Sign delivered on its promise of memorable doom riffs, and as the songwriter and figurehead for arguably Japan’s most influential doom export, Mikami acted as ringmaster while returning vocalist Kazuhiro Asaeda brought mapcap intensity (and fun) to the grooves fostered through Yukito Okazaki‘s guitar, Tatsu‘s bass and Toshiaki Umemura‘s swinging drums. As ever, loyalty and reverence to Black Sabbath are at the core of Church of Misery‘s everything, and in that sphere, there are very, very few humans walking the planet who can do the thing as well as Tatsu. Like, maybe four going on five. As such, regardless of the subject matter (something I can say because I don’t know anyone who’s been murdered) and some eight years after their preceding long-player, Church of Misery are essential as the vehicle for that.
I’m not sure if in 2015 when Boston’s Kind released their first album, Rocket Science (review here), anyone would have guessed there would even be a third full-length from them, let alone one that so much typifies the personality the band has built for itself. Comprised of the otherwise-plenty-busy lineup of vocalist Craig Riggs (also Sasquatch‘s drummer and so constantly touring), guitarist Darryl Shepherd (ex-Milligram, Blackwolfgoat, Test Meat, scores of others), bassist Tom Corino (Rozamov) and drummer Matt Couto (Aural Hallucinations, ex-Elder), Kind have found a sound that is separate from what its component members have done on their own, and become a genuinely more-than-sum-of-parts grouping. Whether it’s the rush of “Power Grab” or the way the rhythm of “What it is to Be Free” seemed to gain so much extra punch, or “Massive” at the record’s center earning its name in tone and swing alike. The “whoa baby come on” at 1:56 into that song is of course the reason Close Encounters made this list, but rest assured that across the span Kind are at what is a thus-far peak of their powers.
Stay with me here, because as you scroll further down this post, you’re going to see that Iron Jinn‘s hour-long 2LP first offering, declaratively-titled Iron Jinn, is my pick for debut album of 2023. Born out of an initial onstage collaboration at Roadburn 2018 (review here), the Arnheim, Netherlands-based four-piece brings together guitarist/vocalists Oeds Beydals (Molassess, ex-Death Alley, ex-The Devil’s Blood) and Wout Kemkens (Shaking Godspeed) with the labyrinth-constructing rhythm section of bassist Gerben Bielderman (Pronk, etc.) and drummer Bob Hogenelst, and from the late pointed lead lines of “Truth is Your Dagger” acting in duly jabbing fashion to the heady ambient drama of “Bread and Games” and the dark-prog atmospheres fleshed out as a backdrop to the melodies of “Soft Healers” and “Blood Moon Horizon,” the all-corners turns of “Lick it or Kick It,” on and on and on, the album resounds with both scope and ambition. What the long-term story of this project will be, I have no idea, but Iron Jinn is a record that brings new ideas to a sphere that very much needs them, and if there’s any luck, it will prove influential in the coming years.
Let the record show that when tasked with the biggest moment of their career to this point, Green Lung absolutely stepped up to meet it. This Heathen Land, as their first full-length with Nuclear Blast‘s backing (and third overall), will be the point of introduction for what will gradually become the bulk of their audience, and in its occult lyrics, sweeping, unironic, all-in grandiosity, weight of tone and craft of hooks, it tells you everything you need to know about why and how Green Lung got to where they are (save perhaps touring). Their task from here will be to find and refine the balance between metal and rock in their sound, but for a band whose clear intention from the outset was to take on the world to bring themselves to a point where they’re arguably doing so at least as regards the heavy underground is an accomplishment in itself. Then you get to songs like “Maxine (Witch Queen)” and the over-the-top finale “Oceans of Time,” and if you can let yourself have a little fun every now and again with your doom and witches and whatnot, this one was just about irresistible.
The album that boldly asked if it needed to be a wizard to earn your love, the fifth long-player from volume/tone/devil-worshiping (and perhaps in that order) Polish doomcrafters Dopelord was not at all the first heavy record to use Satan as a political statement — specifically in this case about social oppression in their home country and the political power of the catholic church there — but they wielded their rebel-angel argument with already-in-your-head songs like “Night of the Witch,” “The Chosen One,” “One Billion Skulls,” “Evil Spell” and the upped nastiness of “Worms,” in other words each and every of the non-intro/outro tracks, with emergent mastery and a plod that was as clear and infectious a call to praise as I heard in 2023, no less for its melodicism than its heft or the crispness of its delivery, the guttural rasps of “Worms” aside, which swapped in vitriol at just the right time. Songs for Satan was a new level for Dopelord‘s approach and as much an epistemological fuckoff to fundamentalism as it was consuming nod, and there was none more righteous in their cause. At the risk of saying the quiet part loud, dudes are going to be copping riffs from it for years.
Returning with their fourth long-player, Swedish trio Domkraft have found the style they’ve been working toward all along. As with some of the others on this list, it’s not that Sonic Moons was such a radical departure. It wasn’t. They worked with the same production team that helmed their 2022 Ascend/Descend (review here) split with Slomatics as well as 2021’s Seeds (discussed here). Björn Atldax‘s cover art was on point and in keeping with their visual aesthetic. But there’s a spaciousness on Sonic Moons in “Downpour” and amid the intensity of crash in “Stellar Winds,” and their sound has grown to become dynamic enough that as nine-minute leadoff “Whispers” pushed through its crescendo it seemed to get more and more physically forceful as part of the process. Couple that with assured writing and performances from bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren, and Domkraft honed in on an evolved cosmic noise rock and were unafraid to incorporate elements of psychedelia, space and classic stoner riffing into a definitive statement of their purpose.
Ukrainian progressive heavy rockers Stoned Jesus released a career album this year. Did you catch it? Restricted from touring as their home country continues to struggle against a Russian invasion that’s been ongoing for, well, a decade, but more intensely for the better part of the last two years, Stoned Jesus offered something different across each of Father Light‘s six tracks. From the catchy strums of “CON” to the only-timely-but-written-earlier “Thoughts and Prayers” and the you-want-riff-here’s-your-riff 11-minute neckroll of “Season of the Witch,” they proved once again to be a more diverse and thoughtful act than they’re almost ever given credit for being. Expanded stylistically from 2018’s Pilgrims (review here), Stoned Jesus — guitarist/vocalist Igor Sydorenko, bassist/backing vocalist Sergii Sliusar and drummer Dmytro Zinchenko — toyed with retroism on “Thoughts and Prayers” while the late solo in “Get What You Deserve” underscores the sentiment in that climate-change-themed finisher, all the while standing astride their own material, solid, confident, still looking forward. It’s the world that’s the problem, not the band.
First of all, I stand by the review. To expand on that (and the review itself was expanded on here), it was the songwriting that kept me coming back to the second album from Washington trio Kadabra, who progressed on all fronts from their already-impressive 2021 debut, Ultra (review here). They made hooks like “The Serpent” and “The Devil” feel like landmarks in a record-long horror feature that’s told as much in riffs as lyrics, but at the same time there’s nothing fancy happening in terms of sound. Some organ in “Mountain Tamer,” plenty of fuzz throughout, and the songs. It’s the songs. The songs. The fucking songs. That uplift in “Midnight Hour.” The feeling of oh-shit-we’ve-arrived in “The Serpent.” Playing toward some of Uncle Acid‘s lyrical creep with tight-knit grooves and sharp turns, Umbra not only showed the preceding LP wasn’t a fluke, it conveyed mood and atmosphere without giving up momentum or structure, and every move it made, from the shimmer opening “White Willows” to the last strains underscoring the chorus of “The Serpent” in the concluding acoustic reprise “The Serpent II,” Kadabra‘s sophomore outing communed with genre with a perspective becoming increasingly its own. And again, the songs.
There was a while there where I honestly didn’t think Dozer were ever going to do another record, so Drifting in the Endless Void is a life event as far as I’m concerned. The trailblazing Swedish heavy rockers have been playing live periodically for the last decade, and word has been kicking around of studio work, new songs following what was until this year their most recent album in 2008’s Beyond Colossal (featured here), but to actually have such a thing manifest and take the form it did made it a reinvigoration of Dozer‘s sound and what seemed to be a chance to try both new and old methods of working. In the raging “Ex-Human, Now Beast” and the breadth of “Missing 13,” Dozer reminded older heads. and showed a generation that’s come up since, why they’ve had the influence they have over the last quarter-century, including in their absence. Realize you’re lucky to be on the planet with it.
—
5. Mars Red Sky, Dawn of the Dusk
Released by Vicious Circle Records and Mrs Red Sound. Reviewed Dec. 7.
A fifth full-length brought fresh ideas and new perspectives to the established progressive, melodic heavy psychedelic rock methodology of Bordeaux’s Mars Red Sky, who’ve greeted their maturity as a band with creative openness rather than stagnation. To be sure, guitarist/vocalist Julien Pras, bassist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — each crucial to the group as they are — have plenty of recognizable aspects for longtime fans. Indeed, their signature blend of warm but remarkably heavy tonality and floating melodic vocals remains unflinching, but what they do with it has changed. And that’s not just set up for mentioning the Queen of the Meadow collaboration either (more below), glorious as Helen Ferguson‘s contributions to “Maps of Inferno” are (she’s also on the closing reprise “Heavenly Bodies”), or that Jimmmy takes a lead vocal on “The Final Round.” You can hear the progression in “Break Even,” in the expanses of “Carnival Man,” that groove in “Slow Attack,” and even the spaciousness around the lurch of “A Choir of Ghosts.” Fast or slow, loud or quiet, even the interludes here shine with a sense of purpose, and if e’er forward is to be the course of Mars Red Sky for hopefully a long time to come, so much the better.
I will not mince words. This has been a difficult, taxing year for me personally and emotionally, and anytime I felt like I wanted to beat my head into the wall — which has been A LOT — Seattle bringers of chicanery-laced heavy punk-metal Sandrider were ready to go along for the ride. Working as ever with producer Matt Bayles (Mastodon, Isis, a small city’s worth of others), guitarist/vocalist Jon Weisnewski (who also released a killer record this year with his experimental grind/weirdo project Nuclear Dudes; don’t skip), bassist/vocalist Jesse Roberts and drummer Nat Damm wound at mostly high speed through energy summoned from a place I’ve clearly never been with songs that, while they were smashing all your favorite everything to tiny bits, left a memorable impression behind as bruises in the shape of themselves and ended up with enough bounce so that cuts like “Alia,” “Weasel” (the delivery of, “Here comes the mouth/Look at all its teeth”) the their-version-of-epic-and-that’s-pretty-epic “Ixion,” “Circles,” “Grouper,” the title-track, were fun in doing so. It’s their fourth record and I don’t know if there are a ton of surprises, but I sure was happy when it came along and kicked so much ass in such a specific and, for me, helpful way. A catharsis record, but don’t take that to mean it’s just angry. There’s a lot of humor here as well and the songs are a blast. Hard to imagine this isn’t what Sandrider had in mind when they set out over a decade ago.
A breakthrough in craft and style, and immaculate in its turns, tight-but-not-choked arrangements, and willingness to go and be in unexpected spaces, Elektrik Ram was for South African heavy rockers Ruff Majik — comprised of guitarist/vocalist Johni Holiday, bassist Jimmy Glass, guitarist/backing vocalist Cowboy Bez and drummer Steven Bosman — a rare realization of potential. I said as much in the review. Not every band gets to make a record like this. From the charge of its title-track and “Hillbilly Fight Song” and the unspeakable catchiness that begins there and threads throughout the stylistic shifts of “She’s Still a Goth,” “Cement Brain,” “Delirium Tremors” — on the 15th anniversary reissue, maybe bring the triangle down in the mix? (kidding; it’s painful and should be) — and into the broader grooves of its ending section with “A Song About Drugs (With a Clever Title),” “Shangrilah Inc.” and the raw-emotive “Chemically Humanized,” which when set against the oh-look-I-just-beat-your-ass thematic of “Hillbilly Fight Song” feels duly brought low. This is a great — yes, great — album, and I don’t think I listened to anything as much this year as I listened to it. They’ve already started work on their next LP, reportedly, and I worry it’s soon, but with the kind of control over their approach that they demonstrate here, there’s really no choice but to trust they know what they’re doing, since that is so much the underlying message in the material, even if its lyrical themes were by and large much darker.
It wasn’t exactly a secret that Howling Giant had momentum and progression on their side. They’ve toured hard the last couple years, offered the instrumental Alteration EP (review here) in 2021 following their oh-shit-these-guys-are-for-real split with Sergeant Thunderhoof, Masamune/Muramasa (review here), and back to their debut LP, 2019’s The Space Between Worlds (review here), and have worked so diligently to engage their audience that a sense of reachout has become part of their sound. You knew that when they next set themselves to making a long-player, there was a real chance for them to sculpt something special, but Glass Future was still a surprise. Unflinching in its construction, mixed for brightness as well as weight, and cutting through that with clearly-schooled harmonies between guitarist Tom Polzine, drummer Zach Wheeler and bassist Sebastian “Seabass” Baltes to give a pop-ish sensibility to progressive sounds that in other hands would serve far more self-indulgent ends. Received as a whole work with its timely endtimes lyrical foundation, it exuded welcome in the hooks of “Siren Song,” “Hawk in a Hurricane,” “Glass Future,” “Sunken City,” “Juggernaut” and the periodic slowdowns through “Aluminum Crown,” “Tempest, and the Liar’s Gateway” and the closer “There’s Time Now,” which called back to the Twilight Zone reference (Simpsons did it) in intro “Hourglass” while fleshing out a brilliantly melodic comedown for the human species. As with the finest of any year’s releases, it will hold its relevance far past the coming January, and for Howling Giant, it sets them on a path of fresh ideas and expansive sound, filtered through a cohesive process to be the engaging good-time apocalypse they’ve become. Glass Future makes Howling Giant one of America’s most essential heavy rock bands and figureheads for a generation still on the rise.
There was never another choice, and not much choice to start with. The manner in which founding guitarist/vocalist Lori S. revamped her band, bringing in bassist/synthesist Bryce Shelton (Nik Turner’s Hawkwind) and drummer Jason Willer (Jello Biafra’s Guantanamo School of Medicine) as the rhythm section supporting the band’s trademark rolling fuzz, and collaborating with Black Cobra‘s Jason Landrian, who added guitar and synth to the tracks, was an expansion and redirection of sound that simply wasn’t anticipated from a band closing in on three decades of activity. But after 2015’s still-undervalued Middle of Nowhere, Center of Everywhere (discussed here, review here), saw Lori and her then-lineup explore more heavy psychedelic sounds, Beyond Vision expanded on that with atmospheres never before conjured by any incarnation of Acid King, and Billy Anderson‘s production, as ever, allowed for scope and claustrophobia to exist in the same aural space. Hypnotic in the riffs of year-highlight “Mind’s Eye” and its penultimate title-track, Beyond Vision freely incorporated an influence from Author and Punisher into the slow plods of “Electro Magnetic” and the huge-in-a-new-way-for-them “90 Seconds,” tripped out easy on the roundly immersive opener “One Light Second Away” and galloped to a (again, surprisingly) rousing finish in “Color Trails.” A band you thought was a known quantity, whose sound you thought was set, showing that creativity doesn’t have to stop just because you have an established sound or are known for doing one thing. Acid King are still Acid King on Beyond Vision, but the boldness with which the album is realized and the sheer bravery of taking the risks it takes in pushing beyond (oh!) what were the parameters of Acid King‘s trailblazing, mellow-psych-informed stoner riffing — always possible it would fall flat in ways it obviously very much doesn’t — came together on a level that was simply unmatched in 2023. Acid King have perhaps never been more royal, more regal as they unfurl these seven cosmic triumphs, but somehow underneath they’re still punk rock. One way or the other, that the on-paper concept of Beyond Vision — all the changes, growth, shifts — winds up secondary to the strength and listening experience of the songs themselves makes it undeniable as the album of the year. It was a no-doubter.
—
The Top 60 Albums of 2023: Honorable Mention
—
I could very easily do another top 60 with these, and then some. Alphabetically:
1782, Abanamat, Acid Magus, Ahab, Albinö Rhino, Ananda Mida, Astral Sleep, Bell Witch, Benthic Realm, Bismut, Black Helium, Black Rainbows, Blood Ceremony, Blood Lightning, Bong Corleone, Bongzilla, Bridge Farmers, Cavern Deep, Cleõphüzz, Cloud Catcher, Clouds Taste Satanic, Danava, Darsombra, Dead Feathers, Deadpeach, Delco Detention, Desert Storm, Dommengang, Doom Lab, Dr. Space, Earthbong, Ecstatic Vision, David Eugene Edwards, End of Hope, Avi C. Engel, Fin del Mundo, Fire Down Below, The Fizz Fuzz, Formula 400, Fuzz Evil, Gévaudan, Ghorot, Giöbia, Godflesh, Godsleep, Graveyard, The Gray Goo, Green Yeti, Hail the Void, Haurun, Healthyliving, Hexvessel, Hope Hole, Humulus, IAH, Iron Void, JAAW, Jack Harlon & the Dead Crows, Katatonia, La Chinga, Lamassu, Larman Clamor, L’Ira del Baccano, Love Gang, Lucid Void, Maggot Heart, The Magpie, Mammatus, Mammoth Caravan, Mansion, Margarita Witch Cult, Masheena, Melody Fields, Melt Motif, Merlock, Minnesota Pete Campbell, Mizmor, Moon Coven, Moonstone, Morag Tong, Morass of Molasses, Morne, The Moth, Mountain of Misery, Mouth, Mudness, Mud Spencer, Los Mundos, Mutoid Man, Natskygge, Nebula Drag, Nuclear Dudes, Obelyskkh, Conny Ochs, Øresund Space Collective, Orsak:Oslo, Patriarchs in Black, Plainride, Primordial, Restless Spirit, Ritual King, The River, Robots of the Ancient World, Rocky’s Pride & Joy, Royal Thunder, Runway, Sadus The Smoking Community, SÂVER, Seum, Siena Root, Slowenya, Smokey Mirror, Evert Snyman, Sonic Moon, Sorcia, Spidergawd, Spotlights, Surya Kris Peters, Swan Valley Heights, These Beasts, Thousand Vision Mist, Thunder Horse, Tidal Wave, Tortuga, Travo, Treedeon, Trevor’s Head, Unsafe Space Garden, Vlimmer, Warp, Westing, Wet Cactus, Witch Ripper, WyndRider, Yakuza, Zone Six, and apparently frickin’ everything that Dr. Space touches.
Notes:
Certainly a landmark year for Blues Funeral and Magnetic Eye, while Ripple Music, Heavy Psych Sounds, Small Stone, Kozmik Artifactz, Napalm, Sound Effect, Spinda, Mongrel Records and Exile on Mainstream fostered a deeply admirable swath of sounds. If you’re not following these however you do your following — email lists, social media, Bandcamp, etc. — I suggest in a spirit of friendship that you consider doing so.
A couple thoughts before we wrap the big list. First, I harbor no delusions that it’s complete. There always are and always will be records that slip by me. I’m one person running this site. I’ll never be able to hear everything, appreciate everything I do hear to the utmost as everyone else might, or even want to. This is my list, my listening habits for the year and what I thought were 2023’s best full-length releases. If you’d put more in it than that, go look at the headline again. It’s a list. I take it seriously, of course, but if you had Swan Valley Heights or Godflesh or La Chinga at number three on your list — all of which are totally valid picks, just like the rest — and I didn’t, that’s okay.
In fact, it’s beautiful, but it doesn’t always come out that way in the discussion. I’m asking as I do every year to please keep opinions and conversations civil in their presentation. I know arguing on the internet is fun but I’d rather not have the drama and rest assured, I take it all personally.
So, about the honorable mentions: where do you even start? While the balance of the main list, the top 60, is toward established and even veteran acts, it’s encouraging to see so many up and coming groups forcing their way into consideration. From the ambient evocations of Orsak:Oslo to Sorcia’s thick sludge and Melt Motif’s sultry industrializations, Mountain of Misery branching off from Spaceslug, outfits like IAH and Swan Valley Heights finding new maturity, Mammoth Caravan bring aggro edge to huge tones, Healthyliving, Merlock, Morag Tong, Godsleep, These Beasts, Margarita Witch Cult, Warp, Earthbong, Abanamat, Runway, WyndRider, Trevor’s Head, Fire Down Below, High Priest, Nebula Drag, The Magpie, Love Gang, Jack Harlon and others, a slew of impressive debuts and second albums, the generational evolution of sound is ongoing, vibrant, bands establishing themselves and claiming their aesthetic place and respective audiences as we speak. I would urgently encourage you to engage with these artists now, both for immediate satisfaction and as investment in the shape of heavy music to come, which they will make.
The bottom line is this: I believe deeply in the power of art to affect your life, to make it richer, fuller, better. There are mornings when The Obelisk is the reason I’m getting out of bed, and I thank you for reading, for being a part of this. I’ll say more later. We still have a ways to go.
—
Debut Album of the Year 2023
Iron Jinn, Iron Jinn
Other notable debuts (alphabetical):
Altered States, Survival
Astral Hand, Lords of Data
Benthic Realm, Vessel
Blood Lightning, Blood Lightning
Bog Monkey, Hollow
Bong Corleoone, Bong Corleone
Cleõphüzz, Dune Altar
Codex Serafini, The Imprecation of Anima
Daevar, Delirious Rights
Dead Shrine, The Eightfold Path
Deer Lord, Dark Matter Pt. 1
Dread Witch, Tower of the Severed Serpent
Ego Planet, Ego Planet
Embargo, High Seas
From the Ages, II
Fuzzy Grapes, Volume 1
Haurun, Wilting Within
Hibernaut, Ingress
HIGH LEAF, Vision Quest
High Priest, Invocation
Inherus, Beholden
JAAW, Supercluster
The Keening, Little Bird
King Potenaz, Goat Rider
Lord Mountain, The Oath
Margarita Witch Cult, Margarita Witch Cult
Massive Hassle, Massive Hassle
Mammoth Caravan, Ice Cold Oblivion
Medicine Horse, Medicine Horse
Merlock, Onward Strides Colossus
Milana, Milvus
Mountain of Misery, In Roundness
Ockra, Gratitude
Oldest Sea, A Birdsong, a Ghost
Pyre Fyre, Pyre Fyre
Runway, Runway
Slow Wake, Falling Fathoms
Strider, Midnight Zen
WyndRider, WyndRider
Slumbering Sun, The Ever-Living Fire
Sonic Moon, Return Without Any Memory
Tō Yō, Stray Birds From the Far East
Tribunal, The Weight of Remembrance
Weite, Assemblage
Notes:
Tell your friends. I think what I like most about that glut of names just above is that there’s a full spectrum of sounds there. Yeah, it’s all under an umbrella of expanded-definition heavy, but that’s the point too. A creative boom is happening that’s seeing the post-Gen X and the earlier end of the Millennials making room for newer acts with new ideas and perspectives.
Why did I pick Iron Jinn as debut of the year, when there was obviously so much otherwise to choose from? Easy. It was the most its own thing out of any of these releases. I love Dead Shrine, Blood Lightning’s intensity speaks to my brain in a way not everything can, Margarita Witch Cult have been building buzz all year. Oldest Sea’s debut is a melancholic declaration of arrival. I was not short on choices, and I’ll probably keep adding to this list as the next week or so goes on.
Dark, heavy, progressive in its approach and complex enough that I still feel like I’m getting to know it, Iron Jinn‘s self-titled so much brimmed with purpose that it seemed to go beyond a first record. My hope, honestly, is that Oeds Beydals and Wout Kemkens spend the next 30 years or so refining that collaboration and exploring where it can go, because if this is the starting point, it’s got enough to it to be the beginning of a lifetime’s exploring. One never knows how things will work out when songwriters work together, but clearly Iron Jinn drew from the strengths of all its members. Records like this, on the unlikely occasion they happen at all, don’t happen by accident.
And yes, Iron Jinn are a new band not necessarily comprised of inexperienced players, but most bands start from members of other bands. Blood Lightning, Slumbering Sun, Weite, Mountain of Misery, JAAW, Ego Planet, Massive Hassle, all the way back up to Benthic Realm and Altered States. New bands, new sounds, new ideas all coming to the fore. Couple that with acts like WyndRider, Daevar, Lord Mountain, Hibernaut, Oldest Sea, Mammoth Caravan, Sonic Moon, Tō Yō, Medicine Horse, High Priest and others here whose members haven’t necessarily appeared in an Obelisk year-end post before, and you get a more complete picture of the churning magma that is the potential for the heavy underground over the rest of the 2020s and hopefully beyond.
—
Short Release of the Year 2023
Mars Red Sky & Queen of the Meadow, Mars Red Sky & Queen of the Meadow
Other notable EPs, Splits, Demos, Singles, etc.
Aawks, Luna EP
Aawks & Aiwass, The Eastern Scrolls Split LP
Apollo80 & Dimartis, Reverberations Vol. 1: Tales of Dust and Winds Split LP
Beastwars, Tyranny of Distance EP
Black Glow, Black Glow EP
Bloodsports, Bloodsports EP
Book of Wyrms, Storm Warning Single
Borracho, Kozmic Safari Single
The Bridesmaid, Come on People Now Smile on Your Brother
Burning Sister, Get Your Head Right EP
Cervus, Shifting Sands
Familiars, Keep the Good Times Rolling EP
The Freqs, Poacher
Grin, Black Nothingness EP
Guided Meditation Doomjazz, Expect EP
High Desert Queen & Blue Heron, Turned to Stone Ch. 8: The Wake Split LP
The Holy Nothing, Volume I: A Profound and Nameless Fear EP
Iress, Solace EP
Josiah, rehctaW EP
Kal-El, Moon People EP
Kombynat Robotron & DUNDDW, Split LP
Lammping, Better Know Better EP
Monolord, It’s All the Same EP
Mordor Truckers, Nowhere
Nerver & Chat Pile, Brothers in Christ Split
Night Fishing, Live Bait EP
Oxblood Forge, Cult of Oblivion
Zack Oakley, Demon Run / Funkier Than a Mosquito’s Tweeter EP
Severed Satellites, Aphelion EP
Space Queen, Nebula EP
Speck & Interkosmos, Split LP
Stöner, Boogie to Baja EP
Suspiriorium, Suspiriorum EP
Trillion Ton Beryllium Ships, Destination Ceres Station: Reefersleep EP
Ufomammut, Crookhead EP
Vokonis, Exist Within Light EP
Weedevil & Electric Cult, Cult of Devil Sounds Split LP
The Whims of the Great Magnet, Same New Single
Notes:
In keeping with their history of releasing EPs ahead of their LPs, Mars Red Sky this Spring offered the Mars Red Sky & Queen of the Meadow short outing as a preface to Dawn of the Dusk (number five on the big list), but with just three songs it became one of the releases I listened to most this year. I had “Maps of Inferno” on repeat to a degree that was kind of embarrassing to me even in front of family, and since the EP was basically that, the companion “Out at Large,” which isn’t on the full-length, and an edit that cuts out most of the trippy midsection of “Maps of Inferno” so that it all the more hammers groove into your head in what drummer Matgaz very kindly explained to me was 4/4 timing with three extra beats. Good luck following along to his kick on what seems like such a straightforward nod. What a band. I’m not doing a separate section for it, but “Maps of Inferno” was also hands-down my song of the year.
You can see above, it’s a pretty broad mix, both of release types, of new and older acts, and of styles. I’ve been hailing Vokonis’ better-future queer prog-doom on the regular, and Josiah, Monolord and Ufomammut’s EPs were nothing if not listenable. I dug the first outing from Suspiriorum (mems. Destroyer of Light and more) and hope they continue to flesh out their cult-horror ambience, and Severed Satellites’ (mems. Sixty Watt Shaman, etc.) jams set just right in their Marylander groove. Lammping will likely be on some list of mine until they break up — I’m hooked — and Zack Oakley’s funk also resonated. From the warm heavy psych of Cervus to The Bridesmaid’s all-in-on-far-out experimentalism, a victory lap from Stöner after two quality LPs and the High Desert Queen and Blue Heron split that’s another landmark in Ripple’s ongoing ‘Turned to Stone’ series, it’s been a good year if you’re willing to be distracted bouncing from one thing immediately to the next, which apparently I am.
It’s no coincidence Aawks are on the list twice, and I haven’t reviewed that Black Glow EP yet (it’s in the next Quarterly Review), but it’s a gem as well. Also very interested to see where The Freqs go as a new voice in heavy rock from Boston, and Night Fishing (mems. Abrams) feel like they’re just starting to find what they’re looking for, but this year was also their first and second releases, so they’re on their way. Grin’s assault was furious, and Beastwars always tick that box as well. I continue to dig the vibe of Trillion Ton Beryllium Ships and look forward to more from them, and same goes for both DUNDDW and Bloodsports here, as well as both Apollo80 and Dimartis on that split. Burning Sister took advantage of an opportunity to expand on their sound, and their take on Mudhoney’s “When Tomorrow Comes” was overflowing with love for the source material. If you can’t get behind a band being fans, I’m not sure what we’re doing here.
Because a ‘short release’ can be so much, I won’t call this list complete. If you have a single you loved, or an EP or split or anything else of the sort, and you don’t see it above, please just leave a comment. Maybe I left off something crucial. Maybe you can put me onto something awesome I didn’t hear. I’ll take it either way, and only ask again please be kind.
—
Live Album of the Year
Ecstatic Vision, Live at Duna Jam
Other notable live albums:
The Atomic Bitchwax, Live at Freak Valley
Causa Sui, Loppen 2021
Dool, Visions of Summerland
Duel, Live at Hellfest
Edena Gardens, Live Momentum
King Buffalo, Live at Burning Man
Messa, Live at Roadburn
Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Live in NY
Rainbows Are Free, Heavy Petal Music
Sacri Monti, Live at Sonic Whip
Temple Fang, Live at Freak Valley
Uncle Acid and the Deadbeats, Slaughter on First Avenue
Villagers of Ioannina City, Through Space and Time
Notes:
This isn’t a huge list, but it’s burners front to back, and in that regard there’s little in the heavy underground, certainly toward the maddened-space-psych end of it, that can touch Ecstatic Vision’s intense performance ethic. If they’re not yet, I firmly believe the Philadelphia outfit led by guitarist/vocalist Doug Sabolick (also guitar for Author & Punisher) are on their way to having their reputation as a live band precede them, and Live at Duna Jam is further evidence that it should. Issued through Heavy Psych Sounds, it both captured the four-piece’s ultra-dead-on cosmic blast, but it paired that with the theatre-of-the-mind romance of Duna Jam itself; the best-kept-secret-in-heavy week-long unofficial festival held each year in Sardinia is the ultimate escapist daydream. That combination was just too powerful to ignore.
King Buffalo’s surprise Live at Burning Man release will do well to hold over till their next full-length, and I’ll just tell you flat out that no home should be without Causa Sui’s Loppen 2021. Uncle Acid’s first live outing was somewhat obligatory but welcome, and Messa’s Live at Roadburn celebrated the emergence of that genre-blending Italian unit as one of the most essential up and coming bands in Europe. They also made their first appearance on North American shores this year. One suspects it won’t be their last.
I’ll be very much anticipating what’s next from Sacri Monti, Duel, Causa Sui (of course), Temple Fang and actually the rest on this list, which leads us to…
—
Looking Ahead to 2024
You’re almost there. Just keep going. Special thanks to the folks in The Obelisk Collective on Facebook for the help on rounding up this hopefully-alphabetized list of names:
10,000 Years, Acid Mammoth, Apostle of Solitude, Big Scenic Nowhere, Bismarck, Blue Heron, Castle Rat, Coogans Bluff, Crystal Spiders, Curse the Son, Deer Creek, DVNE, Foot, Full Earth, Fu Manchu, Greenleaf, Hashtronaut, Heavy Temple, High on Fire, Horseburner, Iota, Ironrat, King Buffalo, Kungens Män, Lamassu, Mammoth Caravan, Mammoth Volume, Maragda, Mario Lalli & The Rubber Snake Charmers, Monarch, Monkey3, Moura, My Diligence, The Obsessed, Orange Goblin, Psychlona, Red Mesa, Rhino, Ruff Majik, Sacri Monti, Sasquatch, Sleepytime Gorilla Museum, Slift, Slomosa, Spirit Mother, Stonebride, Troy the Band, Ufomammut, Unida, Vitskär Süden, Vokonis, Weedpecker, and just because they should probably be on this list every year until a new record comes out if one ever actually does: Om.
If you’ve got names here too, the more the merrier, comment button is below.
—
THANK YOU
This has not been a minor undertaking, whether or not you count the fact that I started keeping notes for 2023 in 2022, just like right now I’ve already got notes going for 2024. It never stops. But every year, I feel like this is among the most important things this site puts out and I use these lists all the time for reference, looking back on what was happening where and when, what came out when, etc. I hope you also find something useful here. I don’t have an exact count, but just by estimate there are at least somewhere between 200-300 bands talked above above. It’s a lot. It’s overwhelming. But I hope you can find something that sounds like it’s speaking directly to you, because I know that I have several times over. Any one of my top five picks I consider an ‘album of the year,’ if that’s a decent place to start.
Thank you to The Patient Mrs. for her support, love and inexplicable willingness to put up with my crap. Right this second, she is keeping our daughter hooked into a going-late morning loaf in bed I think specifically until I get up from the couch, go in the other room, and declare I’m about to start The Pecan’s breakfast, which I probably should’ve done like an hour ago. I am luckier than I am able most days to realize, and I’m working on that, and it is the beauty and flat-out amazing nature of the two people with whom I share our home that is the reason why it’s worth that effort.
I’m sure I said as much above, but I believe in art. I believe in creativity. I believe these things are a path to fulfillment that lives without them do not experience. There are ups and downs to everything, and any glorious creative individual is just as likely to be their own worst critic, but isn’t that still worth it too? Don’t we move forward anyway, because what’s the other choice?
I thank you for reading a lot. I’ll do it again now: Thanks for reading. Your support is the reason this site is still here. It’s why it’s worth it to me to take hours from days stretched across the better part of a week (I actually finished early, thanks again to The Patient Mrs.) to do this in the first place, let alone entertain the notion of doing so again next December and on into some unknown measure of perpetuity.
Thank you. Thank you. Thank you. If you’re seeing these words, I wish you and yours the best of everything for fucking ever, and cannot begin to tell you how much I value your time and willingness to spend it here.
Taking tomorrow off, but after that, we go as ever: onward.
Posted in Whathaveyou on November 8th, 2023 by JJ Koczan
Getting Masters of Reality over has been a project in the works for Desertfest London since before the pandemic, and it looks like 2024 will be the year. The band burned a few bridges over the last couple years when frontman Chris Goss took a hardline right-wing stance on issues surrounding covid and whatever else (that kind of thing will win fans as well in some cases), but their work remains the stuff of legend and any time there’s a connection to OG-era Californian desert rock — as there is with Goss, who was there in his own band and as producer for Kyuss, etc. — that’s a boon and a good get for Desertfest generally, though even if you’re not a Masters of Reality fan owing to politics or just never having gotten on board, the entire line right under them on the poster is unfuckwithable: Godflesh, Monolord, Acid King and Ufomammut. Goodness gracious. And the next name is Brant Bjork. Gonna be Desertfest, to be sure.
Warms my cold dead ‘eart to see Stinking Lizaveta and Darsombra confirmed — I’ll put Domkraft in that sentimental-favorite category as well, and check out fellow Swedes Astroqueen doing some more traveling — and I look forward to the grandiose plaudits soon to be bestowed on Warpstormer and Goblinsmoker after their respective appearances, which is something Sergeant Thunderhoof should be able to help them through. With Clouds Taste Satanic traversing the Atlantic again, and others like Pijn and Duskwood, Mantar, Maserati and Monkey3, there’s a three-day fest’s worth of acts already revealed in this first announcement and probably two or three more three-day fests’ worth of names to come. I’ll tell you outright I’d shit a brick to see this. If you’re gonna be there, know how lucky you are.
From the PR wire:
Desertfest London announces 25 bands for 2024 edition including headliners Masters of Reality plus, Godflesh, Monolord, Acid King, Ufomammut & more
Friday 17th May – Sunday 19th May 2024 | Weekend Tickets now on sale
Desertfest London have unveiled 25 bands for their 12th edition, taking place across multiple venues in Camden next May 17th – 19th.
Following their pandemic induced cancellation in 2020, Desertfest is thrilled to announce desert rock pioneers Masters of Reality for the event. It will be the band’s first UK appearance in almost a decade. Masters of Reality is the brainchild of legendary producer Chris Goss (Welcome to Sky Valley, Rated R, Blues for The Red Sun, Dust, Songs for The Deaf). Their combination of hard-rock blues with a progressive tinge makes no apologies for not sticking within the stylised box listeners would expect, yet simultaneously provides the perfect lesson in the musical ethos and story-telling of the Palm Desert scene – all led by the man who laid its foundations.
Following an unforgettable performance at the New York edition of the Desertfest franchise a few months ago, industrial trailblazers Godflesh will return to London for a masterclass in sonic brutality. UK exclusive performances come in the form of Swedish doom masters Monolord, California stoner metal legends Acid King and the long-awaited return of Italian experimentalists Ufomammut.
Further Desert Rock royalty rolls into Camden Town, as Brant Bjork Trio will treat attendees to a back-catalogue few artists can compete with. Instrumental sound shifters Maserati, hard-hitting duo Mantar, introspective visionaries Cloakroom and heavy-psych rockers Monkey3 will take the concept of genres and set them ablaze.
Elsewhere the likes of Blanket, Domkraft, Pijn, Sugar Horse, Stinking Lizaveta and Darsombra will bring a captivating change of pace to the event. Whilst the stoner rock vibes remain alive and well with Astroqueen, Wet Cactus, Sergeant Thunderhoof and Duskwood.
If that wasn’t enough to get your teeth into, Desertfest rounds of its first announcement with Goblinsmoker, Clouds Taste Satanic, Warpstormer, Sonic Taboo & Wizdoom.
Weekend Tickets for the event are on sale now via www.desertfest.co.uk with much more to still be announced!
