Posted in Whathaveyou on July 26th, 2023 by JJ Koczan
After supporting Earth last month and gigging with the touring Cortége in their native Boise, Idaho, melodic progressive heavy rockers Ealdor Bealu entered The Chop Shop to begin recording their fourth long-player, presumably for release sometime next year. The band comprised of guitarist/vocalists Carson Russell (also Ghorot) and Travis Abbott (also Sawtooth Monk), bassist/vocalist Rylie Collingwood and new drummer Cameron Elgart (also guitar in Crush the Monster) are now finished at least with some part of that process, having spent four days working with Andy Agenbroad on the follow-up to 2022’s Psychic Forms (review here), which came out through Metal Assault Records and whose echoing strains I don’t even have to put on to hear in my head. Not a complaint.
Questions abound. What does the new album hold and what’s next and is there more to do — overdubs? on to mixing/mastering? timeline on the release? — and what’s the big show they’re about to announce later this week, perhaps even seven or so minutes after this post goes live if my usual luck for these things holds? Well, this is usually the part where I tell you I sent the band a message or something to find all this stuff out, but the truth is I keep up pretty vigorously on Ealdor Bealu‘s doings, and after a while it kind of starts to feel a little stalker-ish. Like, maybe this band from more than halfway across the country has something better to do than field who-what-when-wheres from my couchbound ass. Maybe for today we can just be stoked the recording is nearly done and leave it at that? Yeah? Cool.
Here’s what they had to say for the time being, emojis and all:
That’s a wrap on 4 incredible days recording at The Chop Shop recording services!! It was such a pleasure to reunite with the legendary Andy Agenbroad, a consummate professional and an excellent human being (#128420#)
One more short session to go next Monday and we’ll have this thing in the bag!! Next up will be Z.V. House of Rabbitbrush Audio on the mix, can’t wait to see this music continue to evolve and grow (#127926#)
Next Ealdor Bealu show will be announced later this week, and it’s gonna be a BANGER!! Stay tuned…
Posted in Radio on December 23rd, 2022 by JJ Koczan
I wish I could say I planned it out ahead of time that the 100th episode of The Obelisk Show would coincide with both the final one of 2022 and the third of the three roundups of some of the year’s best in heavy, but I’m nowhere near that coordinated. Fortunate happenstance, then, and a killer show either way.
You might note the minor departure from the general format I use in that this one doesn’t end with an extended track. Fact is there was just more I wanted to include than there was room for, so I opted to pack in three or four shorter songs where there might otherwise be one. Nothing here tops 10 minutes long — CB3 is just over eight and that’s the longest — and I can’t remember the last time that happened.
Before I turn you over to the playlist itself, I’d like to extend my sincere thanks to Gimme Metal for allowing me to continue to do this show. Seems obvious to say, considering, you know, this site in general, but sharing music I dig is among my favorite things to do, and I value the opportunity to engage with Gimme’s audience as a part of that. Thank you to Tyler, Brian, Dean and the entire crew for having me and making this thing happen.
Thanks for listening if you do, thanks for reading if you are.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 12.23.22 (VT = voice track)
Church of the Cosmic Skull
Now’s the Time
There is No Time
All Souls
I Dream
Ghosts Among Us
Sasquatch
Live Snakes
Fever Fantasy
Sky Pig
Larva
It Thrives in Darkness
VT
Abronia
Night Hoarders
Map of Dawn
Ealdor Bealu
Way of the Sudden Storm
Psychic Forms
Valley of the Sun
Images
The Chariot
Nebula
Highwired
Transmission From Mothership Earth
Supersonic Blues
They See Me Comin’
It’s Heavy
Les Nadie
Del Pombero
Destierro y Siembra
Sun Voyager
Rip the Sky
Sun Voyager
Besvärjelsen
House of the Burning Light
Atlas
VT
Dreadnought
Midnight Moon
The Endless
Author & Punisher
Misery
Krüller
Messa
Dark Horse
Close
Somali Yacht Club
Silver
The Space
Lamp of the Universe
Emerald Sands
The Akashic Field
Toad Venom
Swirling Hands
EAT!
CB3
To Space and Away
Exploration
VT
Ecstatic Vision
The Kenzo Shake
Elusive Mojo
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 6 (subject to change). Thanks for listening if you do.
Posted in Features on December 21st, 2022 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your picks yet, please do so here.]
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I believe we are in the midst of a generational turnover among artists and bands. Some have reshuffled as a result of either the pandemic or a basic desire to explore new creative reaches, and some are just plain younger, finding their way into a heavy underground that now has the fanbase ecosystem to support their work. The last couple years have not been easy for anyone, but this wouldn’t be the first instance of hard times making for good art.
The music that will define this decade is being made now. Fresh perspectives and new ideas have broadened the definitions of what makes a sound heavy, and while the change can feel and has felt excruciatingly slow, rock and roll has grown more diverse, much to its benefit. The boundaries between microgenres have become ever more porous, resulting in a vibrant shifting of styles and breadth that, even when playing directly to familiar ideals, is evolution at work. As/if you make your way through the lists below, consider the veteran acts and newcomers, young and old, how many debuts and sophomore albums and how many bands on their fifth, sixth, seventh, etc. Not that there’s nothing between, but the divide feels stark.
As war returned to Eastern Europe and the American political system teetered worryingly toward collapse, music was both respite and reportage, escape, therapy and critique marked by a blanket expressive urgency, no matter which side of which argument one was on. The ‘return’ of touring and live shows was a boon for escapists and celebrants, and one found new appreciation for the simple act of gathering. Some of the most beautiful moments I’ve ever seen on a stage happened in 2022.
In this spirit, I ask as I do every year to please, if you comment on this post in either agreement or disagreement, please, please keep it civil. For both my own sensitivities — yes, I take it personally — and those of anyone else reading. I thank you for reading, and if you feel compelled to respond, thank you for that too. I’m a human being. You’re a human being. Let’s just be nice. That’s all.
Okay. Deep breath in… and plunge:
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The Top 60 Albums of 2022
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Maybe you think a Top 60 is ridiculous. Fair. Too much? Okay. Anything else? No? Then let’s roll.
Precedent for this was set last year, and I found the trouble this time was not only sorting it by number — once you pass a certain point it’s more about including the names than the actual ordering, I’ll admit — but actually keeping it to 60. Believe it or not, these are packed in, and there were more than a handful of others I was heartbroken to have to leave out of the numbered list.
Here goes:
31. Ecstatic Vision, Elusive Mojo
32. Josiah, We Lay on Cold Stone
33. C.Ross, Skull Creator
34. Samavayo, Pāyān
35. Abronia, Map of Dawn
36. CB3, Exploration
37. Brant Bjork, Bougainvillea Suite
38. Valley of the Sun, The Chariot
39. Mos Generator, Time//Wounds
40. Edena Gardens, Edena Gardens
41. Cities of Mars, Cities of Mars
42. Dreadnought, The Endless
43. Clutch, Sunrise on Slaughter Beach
44. Tau and the Drones of Praise, Misneach
45. Nebula, Transmission From Mothership Earth
46. Birth, Born
47. Ufomammut, Fenice
48. Supersonic Blues, It’s Heavy
49. Naxatras, IV
50. Come to Grief, When the World Dies
51. Toad Venom, EAT!
52. Earthless, Night Parade of 100 Demons
53. Hazemaze, Blinded by the Wicked
54. Experiencia Tibetana, Vol. II
55. Les Nadie, Destierro y Siembra
56. MWWB, The Harvest
57. Obiat, Indian Ocean
58. Messa, Close
59. JIRM, The Tunnel, the Well, Holy Bedlam
60. Somali Yacht Club, The Space
Notes:
Some killer records. And not just things to be appreciated critically, either, but stuff I actually listened to a fair bit. Cities of Mars, Obiat, Tau and the Drones of Praise, Brant Bjork’s always a go-to. Seeing Ecstatic Vision and Josiah next to each other makes me want to book a UK tour for them together. And then you get into the gleeful acid fuckall of Nebula, Naxatras’ full-on-prog-rock pivot, Clutch being Clutch, Supersonic Blues’ right on debut — finally! — and Obiat’s first record in 13 years. Dreadnought and Edena Gardens and JIRM and CB3, Abronia. There isn’t a clunker in the bunch.
Don’t ignore this list, please, and please don’t think that because something’s not in the top 30 with the cover art right there I don’t think you should check it out. If that was the case, I’d cap the list at 30. There’s genuine treasure here to be found, and it’s my sincere hope you’ll take the time to find it.
My only hope is it wasn’t a one-off that Jason Haberman (Yeahsun), Ian Blurton (Ian Blurton’s Future Now, etc.), and Jay Anderson (Lammping) came together to form this classic psychedelic soul project. With guest vocalists, the six songs on this self-titled debut ranged from flowing extended jams to tight acid disco pop, as memorable as they were righteous. Sleeper hit.
By no means the only cause to rejoice to emerge over the last few years from Hungary’s Psychedelic Source Records collective, River Flows Reverse‘s second offering brings a crafted focus on organic, natural-world psychedelia that results in an affecting beauty and warmth all its own. It is the acid folk of another world; varied in instrumentation, exploratory, welcoming and wonderfully serene.
Long-since proven as songwriters, Virginia Beach’s Freedom Hawk one-upped themselves again with their sixth album. It was an effective summary of what has made the band so crucial and so largely undervalued during their time, bringing together elements from classic metal, classic heavy rock, desert riffing, and even some flourish of psychedelia in a DIY recording that told us we all need rock and roll and went on to demonstrate why.
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27. Lamp of the Universe, The Akashic Field
Released through Headspin Records & Astral Projection. Reviewed Jan. 10.
I’ll gladly cop to being a sucker for the long-running lysergic solo-project of Hamilton, New Zealand’s Craig Williamson (ex-Arc of Ascent, ex-Datura), and as he makes ready to unveil the more riff-heavy, still-solo band incarnation Dead Shrine in 2023 (info here), this offering from Lamp of the Universe pushed through a transitional spirit as though he was passing a torch… to himself. More than 20 years on, this project still evolves, can still surprise.
A beautiful bludgeoning. Metallic in its aggression, hardcore in its soul and sludged to its monstrously-proportioned gills, the latest from Los Angeles’ 16 felt tighter in its songwriting and meaner even than 2020’s Dream Squasher (review here), but maybe that’s the difference between being punched in the stomach and the solar plexus. This was the one that took the air right out of your lungs, and did so with purpose beyond the simple violence of the act.
Recorded (with Billy Anderson) during the general awfulness of 2020, this awaited third long-player from the Portland, Oregon, outfit led by former SubArachnoid Space guitarist/vocalist Melynda Marie Jackson harvested a vision of progressive black metal likewise expansive and dug into the dirt of its making. It was not easy listening by any stretch, but to undertake the challenge it issued listeners was to engage with a churning cosmic extremity that only emphasized the limits and folly of genre.
The follow-up from guitarist/vocalist Brant Bjork, bassist/vocalist Nick Oliveri and drummer Ryan Güt to 2021’s Stoners Rule (review here) had its challenge in continuing to speak to the rawest-form desert punk of the project’s debut while nonetheless growing the sound and moving forward. Stöner did this by making it a (pizza) party, with cuts like “A Million Beers,” “Driving Miss Lazy” and “Strawberry Creek (Dirty Feet)” bringing further vocal integration from Bjork and Oliveri as they blanketly refused to not have a good time. Easy record to dig, and it was dug.
One hates to use a cliché like “now more than ever,” but the return of UK lumberchuckers Conan was especially well-timed, and Evidence of Immortality spoke to the overwhelming strangeness of our times with clever metaphor while maintaining the trio’s punishing heft and extreme noise-doom onslaught. By now, their tonality is rightly the stuff of legend, and they know it and they play into it with particularly rampaging glee, but the six-track outing also showed how central atmosphere has become to their pummel, as heard on the 14-minute instrumental closer “Grief Sequence,” a somehow fitting complement to the all-in plod of leadoff “A Cleaved Head No Longer Plots.”
It is remarkable how distinctive My Sleeping Karma have become over time. Their ever-instrumental approach is progressive and reliably able to broaden beyond its root arrangements of guitar, bass, drums and synth, but at the same time, their meditative psychedelia is only ever their own. This was their first studio album in seven years, and while its component material played out with an overarching melancholy that seemed to look inward as much as at the state of the world at large, the four-piece likewise presented an answer in the catharsis of their expression. An essential reminder of the healing art can provide, Atma‘s resonance was an immersive comfort in its own right Like a weighted blanket, and accordingly warm.
New York’s Sun Voyager provided their own best descriptor of how their second full-length and first for Ripple functions in the song title “Rip the Sky.” The trio/sometimes-four-piece took cosmic bikerisms and classic punk/grunge shove, superheated them like they were about to fuse atoms, and accordingly scorched their way through a sans-nonsense-yet-full-of-nonsense 32 minutes and seven songs that, while varied enough in tempo, remained defined by their urgency. Last month, bassist/backing vocalist/keyboardist Stefan Mersch and drummer Kyle Beach announced Christian Lopez stepping in on guitar in place of Carlos Francisco, and whatever the future holds, they’re that much stronger for this wind pushing them forward.
This band is three-for-three in my mind, and as their third full-length, Psychic Forms fostered the most realized vision of their take on progressive heavy rock to-date while feeling not at all like a culmination. In its range and atmospheric focus, it built on what came before, but in pushing as far as it did, it seemed to open as many doors as it went through. Does that make any sense? Did I mix metaphors enough? Point is, the Boise, Idaho-based four-piece seem to develop new ideas and incorporate new influences every time out, and while their material becomes more complex as a result of that, they have yet to put those adventurous impulses to any use that does not best serve the song in question. Psychic Formsis what I wish the word ‘Americana’ actually meant.
On some level/levels, Mythosphere could be seen as a continuation of Beelzefuzz, the former outfit of guitarist/vocalist Dana Ortt and drummer Darin McCloskey (both also of Pale Divine). That simplistic view, however, doesn’t account for the shift in dynamic of bringing in Victor Arduini (ex-Fates Warning, Entierro, Arduini/Balich) on lead guitar or Ron “Fezz” McGinnis (Pale Divine, Admiral Browning, etc.) on bass. The latter two play a massive role in building on the foundation of Ortt‘s recognizable style, and as they unfurled Pathological, the sense was that they were stronger for the members’ familiarity with each other even as they undertook developing this new dynamic. One of the strongest and most progressive debut albums Maryland doom has ever produced in my view.
As the year went on, the sophomore long-player from Oregon’s Charley No Face just wouldn’t let go. Songs like “Mosaic Sky,” “Big Sleep,” “Satan’s Hand” — they just kept calling me back to hear them again. Languid fuzz, dual-vocals both delivered in dreamy breaths, the odd bit of cultish tendencies, all of it feeding into tracks catchy, heavy and miraculously unpretentious; Eleven Thousand Volts wasn’t necessarily reinventing a genre aesthetic or anything so grandiose, but its tracks were impeccably well done and seemed built for repeat listens, from the mellow-heavy strut of opener “Eyes” through the sweeping culmination of “Death Mask” at the end. Charley No Face nailed it. 2020’s The Green Man (discussed here) set the course, but in bringing in keyboardist/vocalist Carina Hartley alongside guitarist/vocalist Nick Wulfrost, bassist Brad Larson and drummer Tim Abel, they leaped beyond even the most unreasonable of expectations.
The combination in Atlas of breadth, spaciousness of sound, of rhythmic crunch, and of melody, put it in a stylistic category of its own. The Swedish fivesome whose moniker well-earned its own pronunciation guide have managed to grow and change each time out, but between the confident and soulful delivery of Lea Amling Alazam, the wide-spread tones of guitarists Andreas Baier and Staffan Stensland Vinrot, and the inherited-from-Dozer rhythm section of bassist Johan Rockner and drummer Erik Bäckwall, this felt like the moment where the band became themselves and seemed to realize the intentions they’d laid out at their beginning. Not bad for a self-produced second record, and not to be lost in the narrative of their ongoing maturation is the fact that for all their expanse, the songs seemed to get correspondingly tighter and more efficient structurally, which made them all the more engaging.
While the Dubuque, Iowa, duo remained somewhat defined by the split of their initial lineup that left guitarist/vocalist Alex Baumann — joined now by drummer Rockwel Heim — as the lone remaining founder, Telekinetic Yeti pressed ahead with self-aware riff-led stoner metal that demonstrated a special kind of revelry for the form even as Primordial left its own elephantine footprint thereupon. Unrepentant in their crushing fuzz, the band tapped into the lizard-brain-thrill of celebrating aural heft, but did so without neglecting songcraft, taking melodic cues from Floor and others while sounding fresh even as they seemed so utterly covered in dense, caked-on mud. As they move forward, they’re another act from an up-and-coming generation of players whose potential at this point seems only beginning to manifest, and while Primordial hardly put one in mind for evolution thematically, Telekinetic Yeti remain one of tomorrow’s brightest hopes for riffslinging.
Just about a year ago, I was lucky enough to be invited to the studio (features here and here) with Kingston, New York, trio Geezer while they put down the basic tracks for what would become Stoned Blues Machine. Even at that early point in the record’s making, it was apparent that they’d outdone even what was their definitive statement in 2020’s Groovy (review here). In terms of songwriting, the performances captured from guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Steve Markota, and the scope of the record, Geezer took the lessons of their best album yet and made a new best album yet. Rife with hooks in “Atomic Moronic,” the title-track, “A Cold Black Heart,” etc., they dug into songs like “Eleven” and “Saviours” with an honest and sincere music-as-escape mindset and honored their jammier side with the tripped out “The Diamond Rain of Saturn.” I’m a fan of these guys, and Stoned Blues Machine was more than I’d have asked for, even holding them to the high standard I do.
Yeah, I said as much in the album review, and maybe-not-surprisingly my opinion hasn’t changed in the last two weeks, but if Sky Pig represent the future of sludge metal, that’s cool by me. The Sacramento outfit’s debut full-length takes the urgent crush of 2020’s Hell is Inside You EP and presents its maddening charge with offsetting, sometimes disturbing drone complement, sometimes resolving in steamroller-over-your-brain riffs and sometimes refusing to resolve at all. No matter how many times I put on the record, it’s a challenge. It’s not an easy listen, and where in many cases it wouldn’t be worth the effort, meeting Sky Pig on their level is thrilling and refreshing, which is so weird to think of about an album that so expertly seems to harness an atmosphere of decay. I won’t predict what the years to come will bring, or where Sky Pig will go from It Thrives in Darkness in terms of craft, but their first LP is both a significant accomplishment in individualizing stylistic impulses and overflowing with potential. A beast that hypnotizes, strikes, and hypnotizes again, purely because it can.
Listening to it, it seems somewhat cruel on the part of Los Angeles trio Sasquatch that, after being mastered in March 2020, Fever Fantasy sat in the proverbial can for more than two years before seeing release this June. Fortunately for all who’d take it on — only to be overwhelmed and consumed by the unruly dense fuzz of guitarist/vocalist Keith Gibbs and bassist Jason “Cas” Casanova en route to being punched upside your fool head by Craig Riggs‘ snare — the nine-song outing lost none of its edge for that time, and songs like “Lilac,” “Voyager” (dig that organ) and “Save the Day, Ruin the Night” hold firm to their on-the-beat intensity, a flawless uptempo heavy rock execution broadened by the flowing roll of the eight-minute “Ivy” and the full-bore-volume finish in “Cyclops” (dig that organ too). They’ve been on a streak for, I don’t know, the better part of two decades, and if the shove of “It Lies Beyond the Bay” doesn’t get you, then maybe the fact that in all their time they’ve never sounded this brazenly heavy will. Wouldn’t’ve minded it sooner, but it was certainly welcome this year. Inimitable energy in Sasquatch.
What do you say to a seven-track/75-minute Wo Fat album except maybe “yes please?” Could be the now-veteran Dallas-based three-piece — guitarist/vocalist Kent Stump, bassist Zack Busby, drummer Michael Walter — were making up for lost time, having not had a studio album since 2016’s Midnight Cometh (review here) when they’d previously been on an every-two-years pattern like relative clockwork, but whatever it was, The Singularity was an album by which to be engulfed. The riffs, of course, the riffs, but consider that quick break of bright noodling in 13-minute opener “Orphans of the Singe,” or the delve into next-level heaviness that followed in “The Snows of Banquo IV.” While keeping to their core approach in jazz-informed, jam-prone-but-still-hooky bluesy fuzz rock, Wo Fat seemed to purposefully screw with their own formula, giving “The Unraveling” a tense chug and finding new realms of vastness in 16-minute closer “The Oracle.” Maybe it’ll be two years for their next one, maybe six, maybe never, but Wo Fat answered the call in 2022 as only they could, and one could only be grateful for their return.
It’s my nature to dig a lot of bands. I’m left in awe by far fewer. The second album from Forlesen, recorded mostly remotely as at least some portion of the band is now based in Oregon, Black Terrain was stunning enough that I couldn’t bring myself to even review it until about two months after it was already out. Beautifully arranged and set to purposes that were at times genuinely terrifying, this four-song answer to 2020’s debut, Hierophant Violent (review here), felt more patient even as it drew thicker lines between its movements and seemed to begin a process of melding styles through which one can only hope Forlesen‘s style will continue to develop. Sad and aggressive, wholly immersive and still challenging to the listener, Black Terrain was just as likely to tear open the cosmic fabric in “Harrowed Earth” as to drone itself into oblivion on its title-track, but it was the enthralling nature of the album as a single work — never mind that triumphant final solo in “Saturnine” — that was the real accomplishment. Most of all, Forlesen stood on their own, as themselves, and set their own path forward into the actually-unknown, with all the gorgeousness and horror that might imply.
The way “Pleading to the Cosmic Mother” seemed to actually plead, and the swap in perspective for “Last Words of a Dying God.” The sinister underpinning in the lyrical promises of “One More Step.” The devotional sensibility and swirl of “Seven Rays of Colour” at the outset and the corresponding regret of “We Lost it Somewhere” at the end. That hook in “Now’s the Time.” The complement across sides in “Valleys and Hills Pt. 1 – Peel Away the Layers” and “Valleys and Hills Pt. 2 – Pure Illumination.” Church of the Cosmic Skull‘s fourth album not only brought founding guitarist/vocalist Bill Fisher‘s whole-album compositional sensibility to new heights, but was truly classic in feel and the ways in which the songs spoke to each other, worked off each other, melodically, rhythmically and in theme. Gorgeously harmonized as ever, the cult-minded UK seven-piece gave up nothing of craft in service to their audio/visual aesthetic, and even just on the level of a-thing-to-put-on, the utter listenability and welcome that There is No Time offered was no less resonant than the calls to sing along to any number of the choruses. There is no one else out there like them, no other band among the hundreds covered here who can do what they do, and yes, I mean that. They are special, transcendent.
Granted, as regards narrative, the story of All Souls‘ third album behind 2020’s Songs for the End of the World (review here) and 2018’s self-titled debut (review here) was always going to be that the Los Angeles-based then-trio of guitarist/vocalist Antonio Aguilar, bassist/vocalist Meg Castellanos (both ex-Totimoshi) and drummer Tony Tornay (also Fatso Jetson) recorded with producer Alain Johannes (Eleven, Queens of the Stone Age, etc.). And the songs bore his mark for sure, in backing vocals and lead guitar, complementing and fleshing out the root heavy punk rock-isms of the band, who, well, were down a guitarist anyhow and had room for such contributions. I don’t know what the impetus was behind the collaboration, but even just in the performances captured from the trio, the songs felt like the best versions of themselves, and went beyond third-record realizations in terms of stepping forward from where All Souls were two years ago. They remain woefully undervalued in my mind, and I have the feeling that might be the case even if they were millionaires, but the spirit in Ghosts Among Us, that intangible atmosphere and sonic persona that emerged was both intimate and sprawling, deeply singular and heartfelt while bringing the listener along for the journey across its still-humble 39 minutes. Records like this don’t happen every year. You should hear it.
Formerly (?) the drummer of New Paltz, New York, psych purveyors It’s Not Night: It’s Space, self-recording multi-instrumentalist Michael Lutomski is the lone figure behind Okkoto, and Climb the Antlers and Reach the Stars was his second full-length under the banner after 2019’s Fear the Veil Not the Void. Across five individualized but flowing pieces, Lutomski harnessed a meditative ambience that pushed into homemade intimacy and aural distance in kind, the songs serene as they evocatively conjured a three-dimensional world of length, width, depth. With just a couple guest appearances adding to his own performances, Lutomski found balance in exploration, and the resonance of “Wind at the Gated Grove,” the birdsong in “First Drops in the Cup of Dawn” and the ethereal presence in the soft, rolling nod of finale “Where the Meadows Dream Beside the Sea” all fed into an impression that one might call “striking” were it not so gently, carefully handled. Climb the Antlers and Reach the Stars felt like an offering in the truest sense of the word, and brought soulful purpose to its experimentalism, giving comfort to the listener in its willful contradiction of anxiety; not so much ‘for our times’ as beyond time. It established Lutomski as a noteworthy auteur and creator, and engaged with the organic on every level in a way unforced, loving and hypnotic. Everything was exactly as it needed to be.
There was so much happening at times throughout the 40 minutes of Axexan, Espreitan that it could be hard to keep up with, but in fusing together heavy psych and classic, progressive heavy rock with their native Galician folk influences, Moura found a sound unlike anything else I heard this year. It was such a palpable sense of sharing; an expression of the internalized value of culture. Even as “Romance de Andrés d’Orois” seemed at its outset to float in the antigravity space created by the prior intro “Alborada do alén,” it did so with humanity and made itself memorable in its arrangement and across-language-barrier total-dialogue, conversing with itself, history, the future and the listener. It could be traditionally heavy, as in the scorcher guitar work in the second half of “Pelerinaxes” or the closing stretch of “Lúa vermella,” but showed in songs like “Encontro cunha moura fiadeira en Dormeá” that Axexan, Espreitan was about more than where a given linear build was going, but about the sights and meetings along the way. On just their second full-length, Moura displayed a rare mastery of their approach and made each piece feel like a celebration of something beyond themselves and their songwriting, whether that was the relatively minimal “Cantar do liño” or the kosmiche thrust of “Baile do dentón.” Could be head-spinning, could be tranquil, but whatever else it was at any given time, it was wonderfully complete and engrossing.
ColourHaze are not only one of the most pivotal and influential European bands of their generation — heavy psychedelic rock would not exist as it does without them, period — but even more importantly, they’re a group who have refused stagnation outright. Sacred was the Munich-based four-piece’s 14th album, and it presented a shift in the dynamic in marking the studio introduction of bassist Mario Oberpucher — taking on the role held for more than two decades by Philip Rasthofer in the rhythm section alongside drummer Manfred Merwald — and found Stefan Koglek‘s guitar playing off Jan Faszbender‘s keys and synth in ever more engaging ways. It wasn’t just about stepping back and giving space to one instrument or the other anymore, but about how they can converse together and bolster the songs, push each other as players and bring the best out of each other to the ultimate strengthening of the record itself. Like so much of what Colour Haze do, this is organic; a natural process happening over time, and to be sure, their next album will likewise be an outgrowth of what they accomplished in Sacred, their songs so undeniably their own even as they explore new reaches and ideas. A bit of lyrical cynicism in “Avatar,” “See the Fools” and the defiant stance of “Goldmine” spoke to the moment of their creation, but Sacred provided its own best argument for love over hate, and perhaps the highest compliment that can be paid is that it’s a record worthy of the band that made it.
This was my album of the year for most of the year, and there’s a big part of me that continues to think of it on those terms. The eighth full-length from San Diego solo industrialist Tristan Shone — who brought Ecstatic Vision‘s Doug Sabolick on tour as guitarist — branched out melodically from 2018’s Beastland (discussed here), which was his first for Relapse, which could be heard likewise in his own not-just-harsh vocals and in the use of melodic programmed synth as well on a song like “Maiden Star.” At the same time, an uptick in production value gave cinematic presence to the storytelling of “Drone Mounting Dread,” “Centurion” and the concluding title-track (among others), and a corresponding increase in engagement with non-synth instrumentation — needing a guitarist was not a coincidence — brought weighted bass to “Centurion” and live drums to “Misery,” further broadening the scope of what was an examination of pandemic-era life in America, the dystopian nature of the US circa 2021 presented as the backdrop upon which the songs took place; see “Incinerator,” the electronic-noise overload of “Blacksmith” and even the masculine voice through which the Portishead cover “Glorybox” was manifest. Shone reaffirmed his place miles ahead of almost the entire sphere of industrial metal, and gave the everything-is-whole-planet-death-and-it’s-our-fault moment the cruel sense of tragedy it deserved, mourning chaos even as it acknowledged a place for love within it.
In the name of all that is good and right in the universe, have you heard this album? With it, Caustic Casanova — bassist/vocalist Francis Beringer (who wrote the best lyrics I read all year, hands down), drummer/vocalist Stefanie Zænker, and guitarists Andrew Yonki and Jake Kimberley — outdid themselves, the pandemic and the legacy of Theodore Roosevelt in five songs and 45 minutes of unflinchingly perfect quirk. Are they punk, noise, prog, stoner rock, post-hardcore or sludge? Yes. Also no. Also a little bit, maybe? I’ve been through Glass Enclosed Nerve Center — the band’s fifth album and first written as a four-piece — a bother-my-family-with-it amount of times, and I’m still up in the air on where it rests categorically, and perhaps that’s in part because the one thing it did not do was rest. Even in the multiple stages of 22-minute finale “Bull Moose Against the Sky,” which I promise you is the only reason I’m even doing a Song of the Year part of this post below, their moves were considered and unpredictable in kind, and whether it was the weight of “Lodestar,” the sunrise at the outset of “Anubis Rex,” the yes-it’s-been-like-that mania of “A Bailar Con Cuarentena” or the hypnotic-plus-dizzying then massive “Shrouded Coconut” on side A, Caustic Casanova were able to pivot from one part the next while making hooks out of single measures and crafting an outing that went beyond even the sundry weirdo triumphs they’ve had to this point in their tenure. A special record on every level one might want to consider, and quintessentially the band’s own.
When Salt Lake City, Utah’s SubRosa ended after releasing the best album of 2016 in For This We Fought the Battle of Ages (review here), the heart ached for the expressive artistry and distinct style that was snuffed out when it seemed the band still had so much more to say. The emergence of The Otolith, with former SubRosa members Sarah Pendleton and Kim Cordray (violin and vocals, both), Levi Hanna (now guitar/vocals) and Andy Patterson (drums, percussion, production, mixing, mastering) — four-fifths of the band that was — and their presentation of the debut album Folium Limina, has been the flower growing on top of that grave. Together with bassist/vocalist Matt Brotherton, the atmospheric, almost-gothic-but-too-in-the-real-world, gracefully flowing post-metallic five-piece didn’t so much pick up where the last band left off as use that ending to mark a new beginning of their own exploration. Increased use of sampling (at least one big one in the penultimate “Bone Dust”), keyboard/synth, and deeper arrangements of harsh/clean vocals on songs like “Ekpyrotic” and the finale “Dispirit” diverged in intent and the full album maintained a mournful, critical, intelligent-but-emotive poetic voice that carried across the entirety of its consuming 63 minutes. This made Folium Limina of a kind with its high desert/mountainous, surrounded-by-dangerous-fanatics-and-duly-frightened-and-defiant predecessor, but even better, it declared The Otolith as ready to step out of that significant shadow and flourish as something new.
The third of three was perhaps a definitive statement of who King Buffalo are as a group. The Rochester, New York, trio of guitarist/vocalist/synthesist Sean McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson released two albums in 2021 in The Burden of Restlessness (review here), which was my pick for last year’s album of the year, and the also-in-the-top-five, cave-recorded Acheron (review here), the seven-song Regenerator, as their fifth full-length overall, faced the biggest challenge of any of their studio work to-date in completing their unofficial pandemic-era trilogy of LPs written during covid-19 lockdown in 2020. Regenerator not only rose to the occasion, but deftly served as keystone for the series in tying together the progressive psychedelia of The Burden of Restlessness with the exploratory, speaking-to-the-natural-world communion of Acheron. Whether it was the opener/longest track (immediate points) “Regenerator” itself, the tight push of tension in “Mercury” or the later melodic fleshing out of “Mammoth” and “Avalon,” or the all-embracing conclusion in “Firmament,” Regenerator tied together the two albums before and stepped forward as something new, finding an ideal balance for the band’s increasingly multifaceted approach without sacrificing songcraft in its individual pieces. These last two years have seen King Buffalo ascend among the foremost purveyors of heavy psychedelia, and the genre is stronger for the efforts they’ve made to reshape it in their image. The truly horrifying part is I’m convinced their best work is still ahead of them. Amid trauma and cynicism, King Buffalo made it okay to feel optimistic.
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2022 Album of the Year
1. Elder, Innate Passage
Released by Stickman Records & Armageddon Shop. Reviewed Nov. 17.
Sometimes the obvious answer is the answer. In the last decade, the first-Massachusetts-then-mostly-Berlin, first-trio-then-four-piece Elder became a defining presence in progressive heavy psychedelic rock, with 2011’s Dead Roots Stirring (review here), 2012’s Spires Burn/Release EP (review here), 2015’s landmark among landmarksLore (review here), and 2017’s Reflections of a Floating World (review here) each taking forward steps to create a sound influential even as it seemed to be constantly coming to fruition. This is their best album, no, this is their best album. In this decade, they stand astride their aesthetic as masters. As the follow-up to 2020’s moment-of-transition Omens (review here), the five-track Innate Passage is an arrival; a vision of Elder as mature and still evolving, veterans ahead of their time while most of their generation are upstarts, and on a wavelength of their own despite the increasing pervasiveness of their predominance. The flexibility of their songwriting, and the ability of founding guitarist/vocalist/keyboardist Nick DiSalvo — joined by founding bassist Jack Donovan, guitarist/keyboardist Mike Risberg and drummer Georg Edert — to marry parts together that would in other hands be too disparate to connect have never been so resonant, and in cuts like “Endless Return,” “Catastasis,” and the 14-minute two-parter “Merged in Dreams/Ne Plus Ultra,” Elder harvested their most accomplished melodicism to-date (guest vocal harmonies from Samavayo‘s Behrang Alavi and the production of Linda Dag at Clouds Hill Studio were both notable contributions to this aspect of the work), while simultaneously keeping mindful of the dynamic potential of the songs to be tonally and rhythmically heavy, as in “Coalescence” the otherworldly finisher “The Purpose” and indeed, impact-minded stretches in “Catastasis” and “Merged in Dreams/Ne Plus Ultra.” This emphasis felt daring from a band who had purposefully moved away from lumbering-style riffing a decade earlier, and the seamlessness with which Elder integrated these ideas into their proggy aural macrocosm helped make Innate Passage a standout even in their unflinchingly forward-moving discography, even as the title itself reminded that this too is likely only another step along their path. Off they go again, ascendant.
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The Top 60 Albums of 2022: Honorable Mention
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Strap yourselves in, kids. We’re not done yet.
The year wouldn’t have been as sonically stellar as it was without:
40 Watt Sun, 10,000 Years, Aawks, Abrams, Alunah, Ararat, Artifacts & Uranium, Basalt Shrine, Behold! The Monolith, Black Capricorn, Black Lung, Black Space Riders, Blue Heron, Boris, Brujas del Sol, Burning Sister, Cachemira, Candlemass, Carcaño, Carson, Cave In, Chat Pile, Church of the Sea, Circle of Sighs, Come to Grief, Crippled Black Phoenix, Crowbar, Michael Rudolph Cummings, Deathwhite, Deer Creek, Desert Wave, Deville, Dirty Streets, DRÖÖG, DUNDDW, Dune Sea, Dystopian Future Movies, Early Moods, Electric Mountain, El Perro, E-L-R, End Boss, Evert Snyman & The Aviary, Firebreather, Foot, Fostermother, Freebase Hyperspace, FutureProjektor, Fuzz Sagrado, Garden of Worm, Gaupa, Gnome, Goatriders, Greenbeard, Half Gramme of Soma, Horehound, Humanotone, Ian Blurton’s Future Now, James Romig/Mike Scheidt, Jawless, Kadavermarch, Kaleidobolt, Kanaan, Kandodo4, Kryptograf, LáGoon, Erik Larson, Les Lekin, Lydsyn, Madness, Mammoth Volume, Melt Motif, Mezzoa, MIGHT, Mirror Queen, Mother of Graves, Motorpsycho, Mount Desert, Mount Saturn, My Diligence, Mythic Sunship, Nadja, Ode and Elegy, Oktas, Olson Van Cleef and Williams, Ol’ Time Moonshine, Onségen Ensemble, Orango, Øresund Space Collective, Papir, Paralyzed, People of the Black Circle, Pia Isa, Pike vs. the Automaton, Psychlona, Red Eye, Reverend Mother, Rickshaw Billie’s Burger Patrol, Rocky Mtn Roller, Ruby the Hatchet, Russian Circles, Seremonia, Sergeant Thunderhoof, Sergio Ch., Seven Nines and Tens, Sleepwulf, Slowenya, Soldat Hans, Somnus Throne, Sonja, Sons of Arrakis, Steak, Știu Nu Știu, Sula Bassana, Sum of R, Supplemental Pills, Swamp Lantern, The Swell Fellas, Tekarra, T.G. Olson, Trace Amount, Uncle Woe, Vitskär Süden, Voivod, Eric Wagner, Weddings, Wild Rocket, and Yatra.
Notes:
Some of these, in comparison to the year-end poll, are more popular picks than others. As always, part of what I base my list on is my own listening habits, so if my list is different than yours, well, I’m a different person. Mystery solved.
That said, I acknowledge that especially at post-time, this is preliminary and I am — at times overwhelmingly — fallible. While I keep a running list all year of standout records, based on my preferences as well as what I perceive as critical value separate from them within a given subset of styles, and despite the fact that I’ve gone back through the more than 300 releases that have been reviewed (so far) in 2022 to make this list, it’s possible and indeed likely I’ve forgotten somebody, left someone out who deserves to be here.
If that’s the case — and based on just about every other year I’ve done this, it very likely is — I ask again that you please be kind in pointing out whatever that may be and whyever you believe it should be where it isn’t. Maybe your pick for the best release of 2022 isn’t here at all. Instead of calling me a dipshit and an idiot, let’s try to celebrate the fact that in a single heavy underground, there can be such a diverse range of opinions and different artists and styles to appreciate, and how fortunate we are to be alive at a time when so much incredible art is available at the click of a make-believe button. Also indoor plumbing and penicillin, but that’s a different conversation entirely and best left to another day.
Last year, I limited honorable mentions to 60 to correspond with the numbered list. I’ve got over 115 bands listed above, and if in combination with the top 60 itself you find that to be an insurmountable swath of releases, good. That’s the point. We are surrounded by beauty every day. It can be difficult to keep this in mind, but there is little that’s more important than knowing that. I thank you for your attention and hope, as ever, that you find something in all of this that speaks to you.
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Debut Album of the Year 2022
The Otolith, Folium Limina
Other notable debuts (somewhat alphabetically):
AAWKS, Heavy on the Cosmic
Arð, Take Up My Bones
Basalt Shrine, From Fiery Tongues
Burning Sister, Mile High Downer Rock
Burn the Sun, Le Roi Soleil
Chat Pile, God’s Country
Church of the Sea, Odalisque
Come to Grief, When the World Dies
DRÖÖG, DRÖÖG
Early Moods, Early Moods
Edena Gardens, Edena Gardens
El Perro, Hair Of…
Elk Witch, Beyond the Mountain
End Boss, They Seek My Head
Faetooth, Remnants of the Vessel
Freebase Hyperspace, Planet High
The Gray Goo, 1943
High Noon Kahuna, Killing Spree
Jawless, Warrizer
Kadavermarch, Into Oblivion
Kamru, Kosmic Attunement to the Malevolent Rites of the Universe
Les Nadie, Destierro y Siembra
Limousine Beach, Limousine Beach
London Odense Ensemble, Jaiyede Sessions Vol. 1
Lydsyn, Lydsyn
Magnatar, Crushed
Maunra, Monarch
Mother Bear, Zamonian Occultism
Mount Desert, Fear the Heart
Mount Saturn, O Great Moon
Mythosphere, Pathological
Ode and Elegy, Ode and Elegy
Oktas, The Finite and the Infinite
People of the Black Circle, People of the Black Circle
Pia Isa, Distorted Chants
Reverend Mother, Damned Blessing
Rocky Mtn Roller, Haywire
Room 101, Sightless
SAPNA, SAPNA
Sky Pig, It Thrives in Darkness
Sonja, Loud Arriver
Sons of Arrakis, Volume 1
Supersonic Blues, It’s Heavy
Supplemental Pills, Volume 1
Swamp Lantern, The Lord is With Us
UWUW, UWUW
Venus Principle, Stand in Your Light
VoidOath, Ascension Beyond Kokytus
Voidward, Voidward
Yawn, Materialism
Notes:
I struggled this year with what counted as a debut album. As noted above, four-fifths of The Otolith were in a previous band together. Is this a first record or a continuing collaboration? What about Mythosphere, born out of Beelzefuzz? Come to Grief? Edena Gardens? Lydsyn? Ultimately I decided to err on the side of inclusion, as you can see, and count it all. I will not apologize for that.
The Otolith’s Folium Limina stood alone as the year’s best debut, but other personal favorites here were Sky Pig, Mythosphere, Early Moods (who are among the brightest hopes for traditional doom in my mind), Supersonic Blues, Mount Saturn, End Boss, Les Nadie and UWUW, and Edena Gardens — if you’re looking for recommendations of places to start before diving into the weedian mischief of The Gray Goo. Some of these got more hype than others, and there’s a fairly broad range of styles represented, but even as grim as the material on this list gets, these acts and artists are united by the potential they represent for pushing heavy music forward, covering new ground and exploring new ideas as only fresh perspectives can.
At the beginning, I asked you to note how many second LPs were included in the overall list, and it did feel like a lot to me. With the quality in this list as well, I would not expect that to change in the next few years to come, as generational turnover and post-covid reshuffling continue to shake out.
Short Release of the Year 2022
Domkraft & Slomatics, Ascend/Descend Split LP
Other notable EPs, Splits, Demos, etc.:
Ascia, III
Black Math Horseman, Black Math Horseman
Blasting Rod, Mirror Moon Ascending
Bloodshot Buffalo, Light EP
Captain Caravan & Kaiser, Turned to Stone Ch. 6
The Cimmerian, Thrice Majestic
Elephant Tree, Track by Track
Fatso Jetson & All Souls, Live From Total Annihilation
The Freeks, Miles of Blues
Lammping, Stars We Lost
Lightrain, AER
Naxatras, Live in Athens
Pyre Fyre, Rinky Dink City/Slow Cookin’
Red Mesa, Forest Cathedral
Ruby the Hatchet, Live at Earthquaker
Sâver & Frøkedal, Split
Saturna & Electric Monolith, Turned to Stone Ch. 4: Higher Selves
Slugg, Yonder
Temple Fang, Jerusalem/The Bridge
Torpedo Torpedo, The Kuiper Belt Mantras
Trillion Ton Beryllium Ships, Consensus Trance
Warpstormer, Here Comes Hell
Notes:
First I’ll say that of all the lists in this super-listy post, this is the least complete. I don’t know if I just sucked at keeping track of EPs this year, but if you’ve got more you’d like to add to the above, I’m all ears.
Slomatics and Domkraft took the top spot early. Yes, I did the liner notes for that release, but between Majestic Mountain’s presentation of the vinyl, the bands covering each other and their own original work, it was too substantial to not be considered as it is. Temple Fang were a late contender, and I’ll note the work of Torpedo Torpedo and Lightrain, who are newer acts of marked potential as well. I look forward to debut albums from both of them, if not in 2023 then hopefully 2024.
Some live stuff from Elephant Tree, Naxatras, Ruby the Hatchet and Fatso Jetson/All Souls. The always-welcome Lammping. Trillion Ton Beryllium Ships continuing their intriguing progression, Slugg with a single-track statement, Ascia marching forth, Red Mesa branching out — there’s a lot here to dig, even if it’s not everything. Note two of Ripple’s ongoing Turned to Stone split series being included, and the Sâver and Frøkedal split, which was among the year’s boldest outings while still relatively brief. That in itself is a thing to be honored.
Song of the Year 2022
Caustic Casanova, “Bull Moose Against the Sky”
Tracks from Conan, UWUW, Chat Pile, Temple Fang, CB3, The Otolith, Elder, King Buffalo, Ruby the Hatchet, Melt Motif, Forlesen, My Sleeping Karma, Author & Punisher, Church of the Cosmic Skull, -(16)-, River Flows Reverse, Telekinetic Yeti, Wo Fat, on and on and on, were also considered.
But they were considered after the fact of Caustic Casanova’s “Bull Moose Against the Sky.”
The 22-minute side-B-devouring epic tale — multiple speakers and Greek chorus included — spanned progressive Americana, heavy rock and roll, punk, black metal blastbeats, disco keyboards, and historical narrative with nigh-on-impossible fluidity, mining cohesion from confusion in a singular achievement and at a level of execution that most bands simply never touch. Though its purposes were different, I rate “Bull Moose Against the Sky” of a quality that stands alongside the likes of grand declarations like Ancestors’ “First Light” and YOB’s “Marrow” as the kind of song that happens only a couple times in a decade. As I said above, it is the reason I’m including a song-of-the-year section in this post at all. If you have not heard it, I tell you with all sincerity that you’re missing something special.
Looking Ahead to 2023
With the eternal caveat that release plans change and that production delays in vinyl and label release schedules are fluid, malleable things, here are some of the artists I’m watching for in the New Year to come, presented in some semblance of alphabetically:
Ahab, Ahrbeka, Aktopasa, The Awesome Machine, Azken Auzi, Benthic Realm, Big Scenic Nowhere, Bismut, Black Rainbows, Blackwülf, Carlton Melton, Cavern Deep, Child, Church of Misery, Clouds Taste Satanic, Dead Shrine, Dirge, Dozer, Draken, Endtime & Cosmic Reaper, Enslaved, Ethyl Ether, Fatso Jetson & Dali’s Llama, Fever Ray, Fuzz Sagrado, The Golden Grass, Gozu, Graveyard, Greenleaf, Green Lung, Gypsy Chief Goliath & End of Age, Hail the Void, High Leaf, High Priestess, Hippie Death Cult, Iron Void, Isaak, Jack Harlon and the Dead Crows, Katatonia, Kind, Kollapse, KVLL, Lord Mountain, Love Gang, The Machine, Mansion, Mars Red Sky, Mathew’s Hidden Museum, Merlock, Monarch, The Necromancers, Negative Reaction, No Man’s Valley, Obelyskkh, The Obsessed, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Polymoon, Raum Kingdom, REZN, Ridge, Rotor, Ruff Majik, Sacri Monti, Saint Karloff, Seum, Shadow Witch, Siena Root, Solemn Lament, Stinking Lizaveta, Stöner, Super Pink Moon, Tidal Wave, Tranquonauts, Trillion Ton Beryllium Ships, Westing, Witch, Witch Ripper, Witchthroat Serpent, Yawning Balch, Yawning Man, Zeup
Thank you
A bit about what’s gone into making this post: In the ‘Notes’ doc by which I organize the bulk of the part of my life that deals with music, I have sections devoted to the various best-of categories you see above. These are always in progress. I began to keep track of 2022 releases in 2021, just as I’ve begun already to consider what’s in store for 2023 (and beyond). It does not stop.
Because of this, I cannot give you an accurate count of the hours involved in this project, but as it always seems to be, it is the biggest post I’ve written this year — over 8,000 words as of this paragraph, the most time-consuming, and second in importance in my mind only to the results of the year-end poll still to come. On this actual writing, I’ve spent the last week involved in prep work, from early mornings that start at four on my laptop and end when my son (now five) wakes up and immediately demands to watch Sesame Street, to frantically swiping words into my phone in between the sundry tasks of my ensuing day.
I’m not telling you this to brag — in fact I don’t think it’s anything to brag about — but to make the point that without your support, none of this would be worth my time. Year in and year out, I thank you for reading, and the longer I run this site, the more continually astounded I am that anybody beyond myself gives a crap about what goes on here. From the bottom of my heart to the farthest reaches of Hawkwindian space, I am grateful, humbled, and appreciative to my core. Thank you.
Thank you.
Thank you.
And thanks to my wife, The Patient Mrs., through whose support and love all things are possible.
I’m gonna try my damnedest to take tomorrow off, but rest assured, there’s more to come. Here’s to the next round, and thanks again for reading.
Posted in Whathaveyou on August 10th, 2022 by JJ Koczan
You know what? I’d really like to see this band. Like, right now, for this record. I have no idea if their touring plans would ever bring them to the Eastern Seaboard, but listening back to their 2022 third album, Psychic Forms (review here), I sure wouldn’t argue against showing up if they did. I guess something like the Fire in the Mountains fest is ideal for their sound, but honestly, I’d take it as it comes. Happy to make my own ritual out of whatever show I’m lucky enough to see.
Maybe I’ll run into them somewhere, sometime, ever, but they’ve got three killer records to their credit now, so hell yes. Show up to that show and maybe they’ll tour more. Don’t make me book a thing. Nobody wants that, me least of all.
From the PR wire:
EALDOR BEALU Announce Upcoming Southwest US Tour In Support Of The New Album Psychic Forms
EALDOR BEALU is a progressive stoner rock quartet from the high desert of Boise, ID. With a focus on shifting dynamics from the ambient to the massive and back again, their sound expands beyond the boundaries of genre to create a mosaic of sonic praise. EALDOR BEALU are preparing to embark on their Southwest US tour this Autumn.
The band comments:
“We’re thrilled to announce our upcoming 2022 Southwest US Tour in support of our new record Psychic Forms, out on vinyl/cd/digital via Metal Assault Records! We’ll be hitting a ton of new cities on this run, and can’t wait to venture west for shows with GREEN DRUID, TEMPTRESS, DESTROYER OF LIGHT, and tons of other killer bands!”
The band’s first full-length offering Dark Water At The Foot Of The Mountain (Independent 2017) drew local, regional, and even international praise as a standout debut offering. With the release of EALDOR BEALU’s sophomore full-length album Spirit Of The Lonely Places on July 20th 2019 on vinyl/digital the band has seen new levels of success around the globe. The band took a step further in that direction, with the signing to Metal Assault Records in July 2021. The signing announcement was accompanied by the label immediately issuing Spirit Of The Lonely Places on CD.
EALDOR BEALU made a successful appearance at Treefort Music Fest in their hometown in March 2022, and shortly after, on April 22 2022, the band released their third full-length studio album, Psychic Forms, via Metal Assault Records, on digital, CD and vinyl.
Psychic Forms is streaming on all digital platforms, and is available for purchase on digital download, CD and vinyl formats via ealdorbealu.bandcamp.com.
Tour Dates:
10.6 Pocatello, ID SIXES 10.7 Denver, CO HI-DIVE (with Green Druid) 10.8 Wichita, KS Barleycorn’s 10.9 Dallas, TX RUINS (with Megafauna and Temptress) 10.10 Austin, TX Sagebrush (with Destroyer of Light) 10.11 San Angelo, TX The Dead Horse 10.12 El Paso, TX The Rockhouse 10.13 Albuquerque, NM Moonlight Lounge 10.14 Phoenix, AZ Yucca Tap Room 10.15 Las Vegas, NV The Usual Place
Festival Appearances:
August 27 Crucial Fest 2022 Salt Lake City, UT Metro Music Hall with MIZMOR, MARISSA NADLER, THE OTOLITH, and more
September 23-25 Flipside Fest 2022 Garden City, ID
EALDOR BEALU is: Carson Russell: Guitar, Vocals Rylie Collingwood: Bass, Vocals Travis Abbott: Guitar, Vocals Michael Mulcock: Drums
About five minutes after I sent in this playlist, a mass email went out from Gimme Metal to reinforce the guidelines for how to make shows in terms of length and allowing room for promos, voice tracks, and so on. If in fact that’s more than coincidence, I won’t say I didn’t earn it, considering. Some of this stuff I’ve played before — Apostle of Solitude, Uncle Woe, Scott Kelly probably — but a lot of it is new too. If you’ve been on the site at all this week, you’ve probably already seen premieres for Soldat Hans, Uncle Woe and Ealdor Bealu (the latter today), and Moura and that new Geezer were recently featured here as well. You see? It’s all about cross-promotional synergy between varying sides of the massive corporate machine that is The Obelisk. We own Coca-Cola now, if you didn’t know. A recent pickup.
Keep an ear out for the shift from MWWB to Tau and the Drones of Praise. There’s some weirdo back and forth in the playlist here that I love, especially in that middle block of music. I tried to talk less and cram in as much music as I could. You know how it is. Next time, I’ll try to keep it to the established timeframe. I try to be good. And no, The Obelisk didn’t really buy Coca-Cola. Not that I would if I could, but I can’t even afford a can thereof, let alone the company itself.
Thanks if you listen, thanks if you’re reading. Thanks in general.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com.
Full playlist:
The Obelisk Show – 03.18.22
Apostle of Solitude
Apathy in Isolation
Until the Darkness Goes
Crowbar
Zero and Below
Zero and Below
Geezer
Broken Glass
Stoned Blues Machine
VT1
Deathwhite
Earthtomb
Grey Everlasting
Daisychain
How Can I Love You
Different Shades
Moura
Baile do dentón
Axexan, Espreitan
Ealdor Bealu
Mirror Reflecting Mirror
Psychic Forms
MWWB
The Harvest
The Harvest
Tau and the Drones of Praise
Already Written
Dream Awake: Live at Roadburn Redux
Atlas789
El Despertar – Luz Y Sombra
El Despertar – Luz Y Sombra
Dark Worship
Culling Song
Death of a Saint
Scott Kelly & the Road Home
The Field That Surrounds Me
The Forgiven Ghost in Me
Famyne
Once More
II
Kaleidobolt
I Should Be Running
This One Simple Trick
VT2
Uncle Woe
We Plant the Seeds for Things We Know Will Never Grow
Pennyfold Haberdashery & Abbatoir Deluxe
Soldat Hans
Anthaupt
Anthaupt
E-L-R
Opiate the Sun
Vexier
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is April 1 (subject to change). Thanks for listening if you do.
Ealdor Bealu release their third full-length, Psychic Forms, April 22 as their first offering through Metal Assault Records. The still above comes from one of the very last shots from the band’s video for album-closer “Mirror Reflecting Mirror,” which you can see premiering below, and while certainly the image of guitarist/vocalist Carson Russell (also of Ghorot) holding a sign that reads ‘the end is nigh’ is relevant to the storyline that accompanies the eight-minute track, if you want to get a real sense of where the band are coming from in terms of style and message, look at those fucking mountains behind him. They’re way up, out of town, high Rocky Mountains, their points looming, present even at a distance. If you want to hear those mountains beckoning, Ealdor Bealu — Russell, bassist/vocalist Rylie Collingwood, guitarist/vocalist Travis X. Abbott (also Sawtooth Monk) and new drummer Michael Mulcock — do a pretty good job of translation across the fluidly executed and at times surprisingly lush five songs and 40 minutes that comprise Psychic Forms. They are the very definition of the earthy ethereal. Mountain pastoralism. And they’re not hiding it. It’s right there on the album cover.
Psychic Forms follows three years after 2019’s Spirit of the Lonely Places (review here), and is in some ways less up front about its sense of communion, but as opener and longest track (immediate points) “Be Ye Gone” unfurls with a multi-tiered progression of acoustic and electric guitar and adds vocals not so much to beat the listener over the head with verses and hooks, but to add to the atmosphere, it proves to be Ealdor Bealu‘s most expansive production to-date, reaching outward in ways that the prior release seemed to turn its meditative crux inward. No complaints with that offering, or 2017’s Dark Water at the Foot of the Mountain (review here) for that matter, but Psychic Forms works smoothly to convey high-altitude warmth, the crispness of the guitar evocative of a light breeze, the thoughtful changes and shifts progressive in tone and structure, moving into a solo-topped heavier push that comes together to remind just a bit of Valley of the Sun‘s “Riding the Dunes” in its rhythmic urgency. Given the span of time between Ealdor Bealu‘s second album and the third, one wonders if there isn’t an escapist impulse playing out in the material as well.
The video for “Mirror Reflecting Mirror,” which is the second single from Psychic Forms behind the opener, nods in its narrative to escapism as well, with the band as a supporting cast. Fair enough, frankly. Though like “Fade into Nothing” earlier on, “Mirror Reflecting Mirror” veers into some shredding guitar and bombast before three of its eight minutes are up, the bulk of the impression Ealdor Bealu are looking to make is in the atmosphere and mood of the piece, as the balance of vocals in the mix as well as the more languid groove that takes hold demonstrate. With Collingwood echoing out soothing “ooh”s as they move into the last comedown and strums, any and all freneticism is gone, and just maybe they’ve arrived at that other place for which they’ve seemed all along to present such a longing — even if that’s not necessarily how it works out in the video. In any case, between “Be Ye Gone” and “Mirror Reflecting Mirror,” Psychic Forms heathen dances and twists through “Fade into Nothing,” the centerpiece “Way of the Sudden Storm” and “Laid on Display,” bringing individualist purpose to an aural ideology that is classically heavy and yet brought to bear as informed by the modern prog of Elder, a European folk-metal aesthetic and a deep sense of Americana as well. From the graceful manner in which “Way of the Sudden Storm” executes its midpoint sweep to its last drift into the highlight serenity in the opening moments of “Laid on Display,” which will bring forth its crunch in its own time thank you very much, the forward steps the band are taking as a collective are considered, plotted skillfully, and presented to the listener with an intention toward immersion and communicating identity through sound.
And while Psychic Forms is declarative in that way, it does not impose. The shove in “Be Ye Gone” is gentle — answered with nearly-subconscious-seeming symmetry in “Mirror Reflecting Mirror” — and even at its most forceful, “Fade into Nothing” uses heft and intensity — you’ll note the screams late for a touch of blackened extremity amid the solo — as means rather than ends, and for however much time they spend exploring the air around them, Ealdor Bealu refuse to lose their footing. This dynamic, perhaps with Mulcock shifting the chemistry somewhat as a new member of the band, still feels built off their prior accomplishments, but the fluidity of “Way of the Sudden Storm” alone is enough to demonstrate the clarity with which they approach their craft. Psychic Forms is consciousness speaking to the organic. Not light on ambition by any means, but the scope of shimmering highs and dug-in lows realizes the aims of Psychic Forms in such a way as to be wholly satisfying and almost impressionistic in its brush strokes. They are not necessarily telling you at any moment where they’re putting you, but you end up there and they’re ready to greet you just the same. The listening experience is ultimately rewarding in proportion with the effort one puts into it. To engage and be engaged.
As to Russell‘s message in the sign above, I might only argue that ‘the end,’ such as it is, is neither one thing nor ‘near’ as much as unfolding on multiple fronts before our unwilling-to-see-it eyes. No shortage, then, of fodder for escapism. May the world that Ealdor Bealu seem to find in this music actually come to pass.
And if there’s any message being delivered here, it is the old adage: quit your fucking job.
Off we go:
Ealdor Bealu, “Mirror Reflecting Mirror” video premiere
We’re thrilled to finally announce that our new album Psychic Forms will be released into the world on Friday, April 22nd on Vinyl/CD/Digital via Metal Assault Records!! Recorded in Boise, ID by Z.V. House of Rabbit Brush Audio and mastered by the legend himself James Plotkin, Psychic Forms is the strongest album Ealdor Bealu has ever achieved in all aspects of song craft, performance, and production. It is also our first offering with new drummer Michael Mulcock steering the rhythm section to prolific and uncharted territory, as well as our first to be fully supported by a record label. Metal Assault Records has an incredibly creative and formidable roster, and we’re honored to be able to work with this rapidly growing label on our new album.
The majestic, sprawling gate-fold artwork for the record was created by Italy’s Leoncio Harmr, and lends itself perfectly to the diverse and unpredictable album it bears. Always with a mind toward the natural world around us, but steeped in the intricacies of our own human existence and struggles, Psychic Forms delves deep into the path Ealdor Bealu has carved out over these past 7 years all the while pushing toward bold and surprising new realms.
Track Listing:
Be Ye Gone 9:28 Fade into Nothing 8:15
Way of the Sudden Storm 7:05 Laid on Display 7:04 Mirror Reflecting Mirror 8:07
Recorded & Mixed by Z.V. House @ Rabbit Brush Audio (Boise, ID) Mastered by James Plotkin Album Art by Leoncio Harmr Album Layout by Adam Rosenlund
Ealdor Bealu is: Carson Russell: Guitar, Vocals Rylie Collingwood: Bass, Vocals Travis Abbott: Guitar, Vocals Michael Mulcock: Drums
Posted in Whathaveyou on January 10th, 2022 by JJ Koczan
Brazen in its forward reach, the upcoming third album, Psychic Forms, by Boise, Idaho, four-piece Ealdor Bealu, is set to release April 22 through Metal Assault Records. And oh my goodness. Its five tracks run a particularly gorgeous and progressive 40-minute stretch, and with preorders coming Feb. 18, I know word’s out early here, but wow this record right on. With vocal contributions from guitarists Carson Russell (also Ghorot) and Travis X. Abbott (also Sawtooth Monk) as well as bassist Rylie Collingwood — I never realized how many double-letters there were in this band; I wonder if drummer Michael Mulcock feels left out, though at least he’s got some alliteration — their earthen psychedelic procession has never sounded more vital or patient in its flow and you’ll pardon me if I just cut to the chase, save the review for the review, and tell you that it’s already on my best of 2022 list.
So think of this as a heads up, or a keep-your-eyes-peeled or just a more-to-come if you want. Whatever gets you there. There’s no audio from Psychic Forms yet to share, much to my chagrin — opener “Be Ye Gone” makes the point beautifully and will serve as the lead single next month — but 2019’s Spirit of the Lonely Places (review here), which was also one of that year’s favorite offerings, is streaming below to give you a base to work from as it seems they’ve also done.
Go ahead:
EALDOR BEALU – Psychic Forms – April 22
New Full-Length Album(3rd): Psychic Forms Release Date: Friday April, 22nd 2022 First Single/Vinyl Pre-Order: Friday February, 18th 2022
Record Label: Metal Assault Records (LA) Medium: 200 Multi-Color Vinyl, 200 CD, Digital Recorded and Mixed by: Z.V. House @ Rabbit Brush Audio (Boise, ID) Mastered by: James Plotkin Album Artwork: Leoncio Harmr
We’re thrilled to finally announce that our new album Psychic Forms will be released into the world on Friday, April 22nd on Vinyl/CD/Digital via Metal Assault Records!! Recorded in Boise, ID by Z.V. House of Rabbit Brush Audio and mastered by the legend himself James Plotkin, Psychic Forms is the strongest album Ealdor Bealu has ever achieved in all aspects of song craft, performance, and production. It is also our first offering with new drummer Michael Mulcock steering the rhythm section to prolific and uncharted territory, as well as our first to be fully supported by a record label. Metal Assault Records has an incredibly creative and formidable roster, and we’re honored to be able to work with this rapidly growing label on our new album.
The majestic, sprawling gate-fold artwork for the record was created by Italy’s Leoncio Harmr, and lends itself perfectly to the diverse and unpredictable album it bears. Always with a mind toward the natural world around us, but steeped in the intricacies of our own human existence and struggles, Psychic Forms delves deep into the path Ealdor Bealu has carved out over these past 7 years all the while pushing toward bold and surprising new realms.
The first single from Psychic Forms, Be Ye Gone, arrives on Friday, February 18th as well as the Vinyl Pre-Order kickoff via Metal Assault Records. Follow us on all platforms for tons of new content over the coming weeks and months as our album release draws closer!!
Track Listing:
Be Ye Gone 9:28 Fade into Nothing 8:15
Way of the Sudden Storm 7:05 Laid on Display 7:04 Mirror Reflecting Mirror 8:07
Ealdor Bealu is: Carson Russell: Guitar, Vocals Rylie Collingwood: Bass, Vocals Travis Abbott: Guitar, Vocals Michael Mulcock: Drums
I knew I wanted to start the show with Fuzzy Lights and I knew I wanted to end with Iceburn. Putting together the in-between was where the adventure happened here. I included some stuff still rippling out from the Quarterly Review last month — that’s you, Expo Seventy, The Black Heart Death Cult, LáGoon (also Iceburn) — as well as some more that’s been kicking me around and covered here in the few weeks since one way or the other, like Healthyliving, Horte, The Angelus, Guhts, Hippie Death Cult, Ouzo Bazooka, Kadabra, Ealdor Bealu and Acid Magus. Top that off with The Otolith covering “Would?” and it’s a pretty cool progression of sound and style. There’s a lot to dig here. If you listen, I hope you dig it.
And if you don’t listen — and I don’t have numbers to back this up but in my head no one ever gives a crap about anything I do except me; there are pros and cons to this position — and you’ve made your way to this post anyhow, I hope you take the here’s-a-list-of-bands-you-might-want-to-check-out-cue and hear something you might not have otherwise heard. That’s pretty much what I’m here for.
Either way, thanks for listening and/or reading. I hope you enjoy.
The Obelisk Show airs 5PM Eastern today on the Gimme app or at: http://gimmemetal.com
Full playlist:
The Obelisk Show – 08.06.21
Fuzzy Lights
Songbird
Burials
Expo Seventy
Echoes of Ether
Evolution
Healthyliving
Below
Until / Below
Horte
Pelko karistaa järjen
Maa antaa yön vaientaa
VT
LáGoon
Skullactic Visions
Skullactic Visions
The Black Heart Death Cult
Trees
Sonic Mantras
Ouzo Bazooka
Monsters
Dalya
Kadabra
Settle Me
Ultra
Acid Magus
Conscientious Pugilist
Wyrd Syster
VT
Hippie Death Cult
Circle of Days
Circle of Days
The Angelus
Hex Born
Why We Never Die
Ealdor Bealu
Isolation
Spirit of the Lonely Places
Guhts
Handless Maiden
Blood Feather
The Otolith
Would?
Alice in Chains Dirt: Redux
VT
Iceburn
Dahlia Rides the Firebird
Asclepius
The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Aug. 20 (subject to change). Thanks for listening if you do.
