POLL: The Top 20 Albums of the 2010s — RESULTS!

Posted in Features on January 9th, 2020 by JJ Koczan

top-20-of-2010s-poll-results

A few lessons were learned undertaking The Obelisk’s first end-of-decade poll. Primarily what people’s picks were, but more than that, just how broad the definition of ‘heavy’ has become and how encompassing these ideas are that some of what features on these lists is situated next to each other.

Like any decade, it had its movements and its landmarks, its triumphs and its flameouts, but standing on the other end of it, all I can say is, “Holy shit, that was a lot of riffs.”

And so it was.

I don’t even remember how long this poll ran, but it was a while. It and the top 20 of 2019 poll kind of cannibalized each other in terms of participation, I think, so I wanted to keep it open for a long time in case someone had more to say. One way or the other, considering 10 years of releases is a significant effort. I probably should’ve had it up for the entirety of 2019.

Maybe in 2029. I’m sure by then the site will be run by a much more efficient artificial intelligence anyway and I will have long since uploaded my brainwaves to the cloud, where I’ll live forever as a disembodied wisp.

You know what’s up, so I won’t delay, except to thank everyone who took part in this — and to remind of the rules: At the end, there are two lists, one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one.

Here are the lists:

Top 20 of the 2010s — Weighted Results

sleep the sciences

1. Sleep, The Sciences (295 points)
2. Elder, Lore (254)
3. Elder, Dead Roots Stirring (223)
4. Elder, Reflections of a Floating World (201)
5. Graveyard, Hisingen Blues (181)
6. YOB, Clearing the Path to Ascend (161)
7. Uncle Acid and the Deadbeats, Blood Lust (155)
7. Om, Advaitic Songs (150)
8. Clutch, Earth Rocker (131)
9. Red Fang, Murder the Mountains (107)
10. Colour Haze, She Said (96)
11. Earthless, From the Ages (92)
12. All Them Witches, Lightning at the Door (91)
13. All Them Witches, Dying Surfer Meets His Maker (87)
14. YOB, Our Raw Heart (85)
15. Baroness, Yellow & Green (79)
16. Clutch, Psychic Warfare (78)
17. Elephant Tree, Elephant Tree (72)
18. Baroness, Purple (70)
18. High on Fire, Snakes for the Divine (70)
19. King Buffalo, Longing to be the Mountain (66)
20. The Sword, Warp Riders (63)

Honorable Mention:
Pallbearer, Foundations of Burden (62)
Monolord, Empress Rising (60)
YOB, Atma (59)
Greenleaf, Rise Above the Meadow (54)
Stoned Jesus, Seven Thunders Roar (54)
Bell Witch, Mirror Reaper (53)

Top 20 of the 2010s — Raw Votes

sleep the sciences

1. Sleep, The Sciences (81 votes)
2. Elder, Lore (64)
3. Elder, Reflections of a Floating World (57)
4. Elder, Dead Roots Stirring (56)
5. Graveyard, Hisingen Blues (49)
6. YOB, Clearing the Path to Ascend (45)
7. Om, Advaitic Songs (43)
7. Uncle Acid and the Deadbeats, Blood Lust (43)
8. Clutch, Earth Rocker (37)
9. Red Fang, Murder the Mountains (31)
10. Earthless, From the Ages (28)
11. Baroness, Yellow & Green (25)
11. YOB, Our Raw Heart (25)
12. All Them Witches, Dying Surfer Meets His Maker (24)
12. All Them Witches, Lightning at the Door (24)
12. Colour Haze, She Said (24)
13. Clutch, Psychic Warfare (23)
13. Elephant Tree, Elephant Tree (23)
14. Baroness, Purple (22)
15. High on Fire, Snakes for the Divine (19)
16. King Buffalo, Longing to Be the Mountain (18)
16. Monolord, Empress Rising (18)
17. Monolord, Rust (18)
17. 1000mods, Super Van Vacation (17)
17. Green Lung, Woodland Rites (17)
17. Stoned Jesus, Seven Thunders Roar (17)
17. The Sword, Warp Riders (17)
18. Bell Witch, Mirror Reaper (16)
18. Greenleaf, Rise Above the Meadow (16)
18. High on Fire, Luminiferous (16)
18. King Buffalo, Orion (16)
18. Monolord, No Comfort (16)
18. Truckfighters, Universe (16)
18. Wo Fat, The Black Code (16)
19. Earthless, Black Heaven (15)
20. Kadavar, Abra Kadavar (14)
20. Vista Chino, Peace (14)

Honorable Mention:
Causa Sui, Euporie Tide (13)
Wo Fat, The Conjuring (13)

Notes:

I’m quite sure there were more on the lists with 13 votes than those two in the Honorable Mentions for the raw votes, but for a Top 20 that already features 37 entries, you’ll pardon me if maybe I’m a little less inclined to go hunting. In any case, both lists ultimately paint a similar picture: Sleep and Elder dominated. It’s interesting because if you think about it, one are the established masters and the other represent the next generation. Elder are veterans by now, but it’s in this decade, the 2020s, that their influence is really going to flesh out as bands working in their wake continue to develop, whereas I think it’s fair to say Sleep have already had a monstrous impact on capital-‘h’ Heavy. That dichotomy is fun, but it’s of course just the beginning of the story that unfolds here when one considers the span of years encompassed and the swath of heavy offerings. Note Green Lung getting some love for their 2019 debut. No pressure, chaps. And I don’t think it’s arguable that groups like Earthless, All Them Witches, Graveyard, YOB, Elephant Tree and King Buffalo well earned places on the list. I was glad to see Bell Witch made it too, and some of the repeat offenders like Monoord and High on Fire were of course going to be present and accounted for. It’s a list of the decade’s best records. Of course it’s good.

Thank You

Massive thanks to the nearly 300 — I think the final tally was 293 — people who participated in this poll. It was a lot to consider and I genuinely appreciate the thought and effort people put into making their picks. This was a special one and your being a part of it if you were is incredibly meaningful. If you spent a decade listening to awesome music, I hope you feel excellent about that, because you should.

And of course, thanks for reading as always.

All submitted lists follow here after the jump. Have fun.

Read more »

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Psycho Las Vegas Announces Psycho Swim 2020 Lineup

Posted in Whathaveyou on January 8th, 2020 by JJ Koczan

The full 2020 lineup reveal for the aptly-named madness that is Psycho Las Vegas is impending, but in the meantime, maybe you caught it last month when the Vegas-based festalith unveiled a more-than-handful of unexpected acts like Thursday, Warpoint, Cursive, Boy Sets Fire, Pinback, and so on — who, with the maybe-exception of Pinback, whose Rob Crow also spearheads Goblin Cock, are names I never thought I’d write on this site — and thereby offered those who thought they knew what they were getting a reminder of just what it is Psycho specializes at.

To wit: The suckerpunch.

The lineup for Psycho Swim 2020, the now-more-branded pool party of past years, is a little more in line with what one might consider Psycho‘s wheelhouse. Elder return to the fest, plus Here Lies Man, The Skull, Blackwater Holylight, and so on. Rest assured, it’ll still be a party, but if the message to those buying tickets early wasn’t made clear yet, it is now. Bring your bathing suit.

More to come from Psycho, of course. Until then, I’m just glad to have the chance to post their 2020 logo treatment again. This kind of righteousness doesn’t happen every year:

psycho las vegas 2020 psycho swim

Psycho Entertainment & MGM Entertainment present PSYCHO SWIM

Lineup:
OLD MAN GLOOM
ELDER
THE SKULL
DEATH VALLEY GIRLS
BLACKWATER HOLYLIGHT
HERE LIES MAN
POLYRHYTHMICS
DJ SCOTT SELTZER

Psycho Swim 2020 event page: https://www.facebook.com/events/3354696257881847/

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

PSYCHO LAS VEGAS offers several pricing tiers and payment plans starting with a $20 deposit. 3-Day GA Weekender passes start at $199 (excluding tax and fees). Limited VIP 3-Day High Roller passes – which sell out annually – are available for $499 (excluding tax and fees) and include:

— VIP access for all three days of the festival + entry to the Thursday pre-party
— VIP hotel and festival check-in at Mandalay Bay
— Dedicated lines for expedited entry to all stages of the festival
— Private viewing areas, seating, restrooms and bars at three stages of the festival
— Limited edition and exclusive merch item for 2020 High Rollers only

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

Meticulously curated, PSYCHO LAS VEGAS has gained worldwide recognition for consistently delivering lineups that grow increasingly diverse and eclectic with each passing year, the magnitude of which have yet to be seen in North America. From post-rock, to black metal, to world music and even electronica, PSYCHO’s wide-ranging allure has expanded ceaselessly since its inception, bringing together musicians and artists from seemingly immiscible corners of the musical world.

https://www.facebook.com/events/3255628101138593/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

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Album of the Decade: Elder, Lore

Posted in Features on December 27th, 2019 by JJ Koczan

elder-lore

[NOTE: This is not the results of the best of the 2010s poll, which is ongoing. Please add your choice/choices there if you haven’t, and thanks.]

This has been an incredibly difficult choice. It’s something I started really thinking about in the middle of last year, and even this morning I was back and forth on what my final pick would be. You know what sealed the deal for Elder‘s Lore (review here) as album of the decade?

I put it on.

And it wasn’t two minutes into the sweeping 10-minute opener “Compendium” before the deal was sealed. The then-Massachusetts-based then-trio (hey, things change) of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto — the latter of whom recently parted ways with the band — issued Lore in 2015, and it was album of the year at the time as well. I recall agonizing over that choice as well, but in the end, my reasoning is much the same now as it was then, in that I genuinely don’t think there is another full-length record released between 2010 and 2019 that works at the level of craft Elder do on Lore while at the same time being so purely forward thinking.

Lore‘s release through Armageddon Shop and Stickman Records followed 2011’s Dead Roots Stirring (review here) on MeteorCity and felt long in the making, but the jump in sound was even further. To compare the approach of the two records, some of the differences are superficial. Elder‘s penchant since their 2008 self-titled debut (discussed here) has always been for composing songs by marrying parts together and creating a flow based more on movements than traditionalist verses and chorus. I admit there are times when I personally find this hilariously maddening, but their work still finds ways to stand pieces out and make them memorable. It was true on Dead Roots Stirring and Lore alike, but the presentation and the mission were fundamentally different between the two.

It’s a question of clarity. Where Dead Roots Stirring was (and is, if you’re listening in the present tense) more rooted in heavy rock distortion and production, the Justin Pizzoferrato-recorded Lore certainly had those elements at play — the post-guitar-as-mellotron-orchestra sweep apex of the 15-minute centerpiece title-track being a riffy example, as well as the swinging rush earlier in “Compendium,” the finish in “Spirit at Aphelion,” etc. — but the album is much more defined by DiSalvo‘s shimmering guitar and its progressive edge. It is a clean sound. And what’s more, four years since Lore came out and listening to it, my head is still spinning. I mean it. You would have to sit with a flowchart for each track and measure out where one part ends and the next starts. And when you’re done doing that, once you have all the crescendos and twists and winding progressions measured and calculated and so on plotted, you’ll still only have one piece of Lore‘s puzzle configured, because in addition to its blindsiding, careening movements, there’s the melody.

elder (Photo by Ryan Boyd)

With the prescient experimental play at the start of “Deadweight” and even in the cascade wash that emerges in that track’s second half — a glorious noise bath that leads to a galloping end that at the time seemed outshined by the title-track before it and now stands as all the more testament to Lore‘s enduring quality — or in the lead and languid verse atop the rolling beginning of second cut “Legend,” Elder unfolded a new level of accomplishment in melodic reach instrumentally and vocally. With Donovan and Couto in rhythmic lockstep as the sure foundation of DiSalvo‘s tonal breadth, the three-piece used traditional power trio dynamics to pull tradition apart at the seams. And for an album that’s an hour long and begins at such an immediate rush with the opening guitar figure of “Compendium” daring the listener to keep pace, it still remains eminently listenable and enjoyable because of the work the melody does in carrying across all its many changes. Along with Couto‘s essential swing, it’s the melody most responsible for tying Lore together and uniting its five component tracks as a single work.

As the only song under 10 minutes long (it’s 9:28), “Deadweight” allows itself the indulgence of a little classic heavy rock soloing, but even in that, it takes its own approach. Consider the penultimate cut at four minutes in. DiSalvo, shredding. Donovan is holding down the central groove with Couto punctuating righteously. Then, at 4:14, they pivot, and it’s so quick and so sharply executed that you don’t even realize what you’re in is a transitional part and that 20 seconds later, they’re going to be off on the “next riff” along the song’s building course. Lore is rife with these moments, which are the kind of thing that, if they were on someone else’s record once, they’d make the whole album better. With Elder, they’re just another part on the way to the next part. It continues to be an astonishing work.

Of course, Lore closes with the 10:32 “Spirit at Aphelion,” and though one hardly thinks of any part of the 2LP as being understated — it is not without its indulgent stretches — the ending fadeout seems to ride the tension of its final riff in such a way as to hint at more to come. One almost expects the song, which is a victory lap in summarizing what precedes and certainly plenty dynamic in its stretch prior, to fade back in for another round, even after it’s over. But the end is, in fact, the end, and it would be just two years before Elder turned around and offered Reflections of a Floating World (review here) as the inevitable follow-up and next forward step in their ongoing progression. By then, the impact of Lore was already being felt in the work of other bands, and the ensuing two years, as well as the reception to the fourth long-player and their concurrent touring, have only seen Elder‘s influence spread further.

I could have made any number of choices here. But in looking back over the last decade, no single release seemed to encapsulate a vision of what heavy rock and roll could be in the way Lore did, and no single band have manifest their vision in way Elder have. It is an epicenter from which they and heavy rock as a whole will continue to grow.

Honorable Mention

Like I just said, I could’ve made any number of choices here. When I went to bed last night, it was planning to write about Om, so there you go. We’ll do the poll results early in January, but here are a few more of my own picks for album of the decade contention:

  • OmAdvaitic Songs
  • YOBClearing the Path to Ascend
  • Uncle Acid and the DeadbeatsBlood Lust
  • ClutchEarth Rocker
  • GraveyardHisingen Blues
  • High on FireSnakes for the Divine
  • All Them WitchesLightning at the Door

I’ll leave it there so as not to spoil anything for the poll to come, but yeah, there are plenty of noteworthy contenders. If you have one or 50 you’d like to add, please feel free to leave a comment here, or, of course, hit up the decade-end poll and drop a list there. Either way, your thoughts and consideration are always appreciated.

And thanks for reading.

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The Obelisk Presents: THE BEST OF 2019

Posted in Features on December 24th, 2019 by JJ Koczan

the obelisk best of 2019

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

Make no mistake, my friends. 2019 was the year it went off the rails.

Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.

I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?

In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.

Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.

A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.

Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.

Here we go:

The Top 50 Albums of 2019

#50-31

50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays of Light
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English

Notes: Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.

30. Sun Blood Stories, Haunt Yourself

sun blood stories haunt yourself

Self-released. Reviewed Sept. 6.

Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.

29. Church of the Cosmic Skull, Everybody’s Going to Die

Church of the Cosmic Skull Everybodys Going to Die

Released by Septaphonic Records. Reviewed Dec. 10.

I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.

28. Devil to Pay, Forever, Never or Whenever

devil to pay forever never or whenever

Released by Ripple Music. Reviewed Nov. 4.

With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.

27. Howling Giant, The Space Between Worlds

howling giant the space between worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.

26. Saint Vitus, Saint Vitus

saint vitus saint vitus

Released by Season of Mist. Reviewed March 19.

I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?

25. Ealdor Bealu, Spirit of the Lonely Places

ealdor bealu spirit of the lonely places

Self-released. Reviewed July 10.

Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.

24. Yatra, Death Ritual

yatra death ritual

Released through Grimoire Records. Discussed Nov. 13, 2018..

Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.

23. Ecstatic Vision, For the Masses

ecstatic vision for the masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.

22. Beastwars, IV

beastwars iv

Released by Destroy Records. Reviewed June 27.

But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.

21. Eternal Black, Slow Burn Suicide

eternal black slow burn suicide

Self-released. Reviewed June 7.

With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.

20. Candlemass, The Door to Doom

candlemass the door to doom

Released by Napalm Records. Reviewed Feb. 22.

It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan Längquist that made the album as a whole as powerful as it was. Pairing Längquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had Längquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.

19. Nebula, Holy Shit

nebula holy shit

Released by Heavy Psych Sounds. Reviewed June 13.

Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.

18. Valley of the Sun, Old Gods

valley of the sun old gods

Released by Fuzzorama Records. Reviewed May 21.

This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.

17. Kadavar, For the Dead Travel Fast

Kadavar For the Dead Travel Fast

Released by Nuclear Blast. Reviewed Oct. 28.

In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge à la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.

16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

mammoth weed wizard bastard yn ol i annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.

15. Magic Circle, Departed Souls

magic circle departed souls

Released by 20 Buck Spin. Reviewed April 3.

They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.

14. Spaceslug, Reign of the Orion

Spaceslug Reign of the Orion cover

Released by BSFD Records. Reviewed Nov. 22.

Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.

13. Green Lung, Woodland Rites

green lung woodland rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.

12. Lo-Pan, Subtle

lo-pan subtle

Released by Aqualamb Records. Reviewed May 9.

My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.

11. Roadsaw, Tinnitus the Night

roadsaw tinnitus the night

Released by Ripple Music. Reviewed June 12.

While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.

10. Worshipper, Light in the Wire

worshipper light in the wire

Released by Tee Pee Records. Reviewed April 24.

I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.

9. Solace, The Brink

solace the brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.

8. Brume, Rabbits

brume rabbits

Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.

Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.

7. Mars Red Sky, The Task Eternal

mars red sky the task eternal

Released by Listenable Records. Reviewed Sept. 20.

This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.

6. Kings Destroy, Fantasma Nera

Kings Destroy Fantasma Nera

Released by Svart Records. Reviewed March 15.

Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” on its own is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.

5. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.

4. Blackwater Holylight, Veils of Winter

blackwater holylight veils of winter

Released by RidingEasy Records. Reviewed Sept. 26.

Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.

3. Slomatics, Canyons

Slomatics Canyons

Released by Black Bow Records. Reviewed May 15.

Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.

2. Year of the Cobra, Ash and Dust

year of the cobra ash and dust

Released by Prophecy Productions. Reviewed Oct. 24.

My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.

2019 Album of the Year

1. Monolord, No Comfort

monolord no comfort

Released by Relapse Records. Reviewed Sept. 12.

Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s Vænir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.

The Top 50 Albums of 2019: Honorable Mention

You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.

Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:

Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, Híbrido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.

Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?

Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.

The Top 20 Debut Albums of 2019

green lung woodland rites

1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles

Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the Sün, Burning Gloom, Temple of the Fuzz Witch.

Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to

The Top 20 Short Releases of 2019

geezer spiral fires

1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake

Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.

Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.

Postwax

I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:

  • Elder, The Gold and Silver Sessions
  • Daxma, Ruins Upon Ruins
  • Besvärjelsen, Frost
  • Big Scenic Nowhere, Dying on the Mountain
  • Domkraft, Slow Fidelity
  • Lowrider, Refractions

And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.

Looking Ahead to 2020

A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:

1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.

Thank You

Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.

I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.

More to come.

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Elder Announce New Drummer & New Album Recording

Posted in Whathaveyou on December 2nd, 2019 by JJ Koczan

Progressive heavy rock forerunners Elder will enter the studio this week to begin recording their fifth full-length and first with their new drummer, Georg Edert, who steps into the role formerly occupied by founding member Matt Couto. Though Elder in recent years added Mike Risberg on guitar and keys and have worked with a select few other players here and there, this is to my knowledge the first major lineup change since the initial trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and Couto was established in 2006.

The potential here for a shift in the band’s dynamic, therefore, is significant, but Elder have never been ones to shy away from change, and if the showings I’ve seen thus far for 2017’s Reflections of a Floating World (review here), 2015’s Lore (review here) and 2011’s Dead Roots Stirring (review here) in the Top 20 of the 2010s end-of-decade poll are anything to go by, their listenership is more than willing to go along with them wherever their path might lead. I would’ve been interested to hear where their next album went anyhow after Reflections — I was expecting some shift of approach  — but with Edert aboard, the intrigue level is that much higher.

On a side note for Elder fans, Stickman Records is giving away test pressings to those who donate to charities this season. Details are here.

Behold 2020’s most anticipated album:

elder

Elder changes lineup and heads to studio in December

It’s been a busy few weeks for Elder, who recently announced a lineup change as well as plans to begin work on their new record, as of yet untitled. With the departure of drummer and founding member Matthew Couto, the band is charting new waters in their 12 year spell of continuity, but has found a replacement in Georg Edert (who now also drums for the Elder side project Gold and Silver).

Having reestablished the band’s lineup, they will enter the studio next week to begin work on their fifth full-length album! From the band:

“Georg is a friend of ours from years back – met while playing on tour in Europe – and in the past year he’s been playing together with Nick and Mike to revive their old project Gold & Silver (also planning more music next year!). His drumming approach is informed by a host of styles new to the band, providing fresh and exciting impulses into our creative process while finishing work on album 5. We look forward to introducing our listeners to the new lineup at our shows in 2020!

“On that note, we are happy to announce that we will be headed off to the studio next week to begin recording said album 5. Without revealing too much, it’s easily the most ambitious musical journey we’ve ever conceived, and the writing process has been long, tedious, and ultimately rewarding. The cycle begins anew! – and we’re ready to get cracking on the recording sessions.”

Oh, and the band has been announced for Hellfest 2020 as well, with more festival announcements sure to follow.

Elder is:
Nicholas DiSalvo: guitar/vocals
Jack Donovan: bass
Mike Risberg: keys/guitar
Georg Edert: drums

http://facebook.com/elderofficial
https://www.instagram.com/elderband/
http://stickman-records.com
http://armageddonshop.com

Elder, Reflections of a Floating World (2017)

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Psycho Las Vegas 2020 Announces Ulver, Mayhem, Elder, Ty Segall, Windhand, Kaelan Mikla, Mephistofeles and Blonde Redhead to Play

Posted in Whathaveyou on November 13th, 2019 by JJ Koczan

psycho las vegas 2020 logo

Psycho Las Vegas 2020 has begun the process of unveiling its lineup, and already it’s all-over-the-place in that precariously well-named kind of way. That is, Psycho, and, well, yeah. Familiar faces Elder and Windhand return, and Ulver, Blonde Redhead, Mayhem, Kaelan MiklaMephistofeles and Ty Segall and the Freedom Band will join on as well for a varied and already kinda overwhelming aesthetic reach that should be perfectly suited to the festival’s gonna-blow-minds mission and generally hallucinatory vibes. Like a mirage all the more so for the blurred vision of those in attendance. There’s a difference between drinking in the heat and drinking in heat. At Psycho, they do both.

Also they get stoned.

I got asked the other day if I was planning to write another book anytime soon. I said I wasn’t, but that’s not entirely true. I’d like to fly out to Psycho Las Vegas 2020, maybe a day early, eat a bunch of mushrooms in some stupidly-deluxe hotel room and gonzo my way through 20,000-odd words over the course of the four-day fest experience and then publish that in paperback. It would not be a common photos-and-words review. It might not be a review at all. But it would be something, and I think it would be fun to do, and an experience befitting the atmosphere for the fest itself. I haven’t made that pitch yet to Psycho. I’m not sure if they’d go for it.

Anyway, here’s the lineup announcement. Private bathrooms for the win:

PSYCHO LAS VEGAS 2020: First Round Of Artists Announced Including Ty Segall & The Freedom Band, Mayhem, Ulver, Windhand, Blonde Redhead, And More; Tickets On Sale Now!

America’s rock n’ roll bacchanal, PSYCHO LAS VEGAS, will return to Mandalay Bay Resort & Casino for a second consecutive year August 14th through August 16th 2020. Set to commence with a pre-party at Daylight Beach Club on August 13th, PSYCHO LAS VEGAS remains the premier rock festival destination offering fans one of the most unique and immersive festival formats in the world.

Now approaching its fifth year in the swirling neon decadence of Las Vegas, the resort-wide takeover will utilize four stages including the world-class Mandalay Bay Events Center, the iconic House Of Blues, Mandalay Bay Beach, and Rhythm & Riffs Lounge located at the center of the casino floor. With its signature mix of grit, grime, and grandeur, PSYCHO LAS VEGAS 2020 will continue to redefine America’s conception of what a music festival can be.

The curators of the event are pleased to unveil the first round of artists to grace the PSYCHO stages with California garage rock icons Ty Segall & The Freedom Band, New York alternative noise rock veterans Blonde Redhead, Virginia doom metal unit Windhand, and Massachusetts psyche metallers Elder (scheduled to play the pre-party), as well as Norwegian black metal legends Mayhem, long-running Norwegian dark ambient collective Ulver, Icelandic synth punk trio Kaelan Mikla, and Argentinian dark electric “mausoleum music” makers Mephistofeles.

Tickets for PSYCHO LAS VEGAS as well as the PSYCHO SWIM pre-party, which requires a separate ticket from the main festival pass, are on sale now!

PSYCHO LAS VEGAS offers several pricing tiers and payment plans starting with a $20 deposit. 3-Day GA Weekender passes start at $199 (excluding tax and fees). Limited VIP 3-Day High Roller passes – which sell out annually – are available for $499 (excluding tax and fees) and include:

— VIP access for all three days of the festival + entry to the Thursday pre-party
— VIP hotel and festival check-in at Mandalay Bay
— Dedicated lines for expedited entry to all stages of the festival
— Private viewing areas, seating, restrooms and bars at three stages of the festival
— Limited edition and exclusive merch item for 2020 High Rollers only

Tickets for all PSYCHO LAS VEGAS events can be purchased at VivaPsycho.com or AXS.com.

Meticulously curated, PSYCHO LAS VEGAS has gained worldwide recognition for consistently delivering lineups that grow increasingly diverse and eclectic with each passing year, the magnitude of which have yet to be seen in North America. From post-rock, to black metal, to world music and even electronica, PSYCHO’s wide-ranging allure has expanded ceaselessly since its inception, bringing together musicians and artists from seemingly immiscible corners of the musical world.

https://www.facebook.com/events/3255628101138593/
http://www.vivapsycho.com
http://www.facebook.com/psychoLasVegas
http://www.instagram.com/psycholasvegas

Elder, Live at Psycho Smokeout 2019

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Friday Full-Length: Elder, Dead Roots Stirring

Posted in Bootleg Theater on May 10th, 2019 by JJ Koczan

So yes, I’ve been thinking about what are some of the best heavy records of the decade. We’re almost halfway into 2019, it’s time for a bit of reflection on what the heavy ’10s have wrought. I’ll probably do a poll at some point in the next couple months instead of my own list — frankly, I’m more curious what everyone else thinks — but I have to imagine Elder‘s 2011 second album for MeteorCity, Dead Roots Stirring (review here), belongs somewhere in that discussion. I don’t think it’s album of the decade, or even the greatest achievement Elder have had in the last 10 years, but it was an important moment for the Massachusetts then-trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, when they began to really show who they were becoming as a band and how their songwriting process was beginning to realize a more progressive vision. Their prior 2008 self-titled debut (discussed here) made its impression via riffs and grooving largesse. Dead Roots Stirring, at the time, was an entirely different level of achievement for Elder, and it set them on the path toward not only emerging as a touring band, but becoming an essential voice of progressive heavy rock and an influence for others to follow.

That’s hindsight, so I’ll stress that when it came out, no one knew that was going to happen. Elder had played some outside of their native Boston and gained a reputation for blowing much older bands off the stage, but I can remember vividly putting on Dead Roots Stirring for the first time, making my way through “Gemini” and the 12-minute title-track that follows it, and being fairly blindsided by the leap in their sound. Now, that’s just what they do, right? Every album is a considerable step forward from the one before it. They’ve done it four times. But Dead Roots Stirring was the first leap, and I still feel the impact of that when I listen to the record. The turn to acoustics in the intro to the instrumental “III” and the graceful build-up from there; the way they embraced not only the longer-form work of the debut, but shifted that to tell a story with the music as well as the lyrics. Elder‘s songwriting process has long since defied conventional logic. That is, they’ve never really been a verse-chorus-verse-chorus band. It’s always, “We’ll take this part and put it next to this part and sometimes we’ll maybe repeat a part and it’ll be awesome because Matt half-times the drums or something.” And why the hell should that work? Aside from Couto half-timing the drums, because I’m sorry, but that’s always going to be great. But seriously, Elder manage to turn a part played once into a hook, and one can hear that throughout Dead Roots Stirring, on “Dead Roots Stirring” itself, certainly, so elder dead roots stirringthat when a riff does come back around, its effect is all the more highlighted. It’s dumbfounding. It shouldn’t work. Other bands do it, and it just sounds like part-mashing. Elder do it and it’s brilliant.

I won’t take away from the opening salvo of which that title-track is part. “Gemini” into “Dead Roots Stirring” is probably one of the strongest one-two punches a heavy rock record has offered in the last 10 years — and yes, I mean that — but “III,” “The End” and “Knot” showed even more how far their reach had expanded in the three years since their debut. Already noted was the poise of “III,” which not only served its individual function, but fed into the overarching flow of the entire album as its centerpiece, leading to the tumbling fuzzout of “The End,” which was probably the most guitar-led of an album that’s still very much guitar-led. Peppered throughout with leads and backed by a solid groove, the song moved through a long instrumental passage at its end to cap with undulating volume swells and give a direct transition into close “Knot,” which was just a few second shy of the title-cut’s 12 minutes. The finale showed rare swagger on the part of the band, much bolstered by Donovan‘s bass, and swung its way into a overload wash of noise at the end, something Elder‘s cleaner tones on subsequent work would never really allow them to do again. I recall hearing a lot of Colour Haze in Dead Roots Stirring at the time, and I hear some less now, but there’s no question Elder were already pulling from more than just the conventional heavy-rock-riffout playbook even eight years ago. This was something special. Still is.

And of course, Elder have continued to build on it to a point where they’ll be back on tour in Europe starting next week (click here to pop out tour banner). I was fortunate enough to see them two weeks ago headlining the inaugural Desertfest NYC (review here), and they were every bit the headlining act, professional in their delivery but still clearly passionate about what they do and with the kind of draw to anchor a festival lineup. Their last two albums, 2015’s landmark Lore (review here) and 2017’s Reflections of a Floating World (review here), have pushed them further along the progressive path, growing increasingly clearheaded in their purposes as they step forward from what Dead Roots Stirring and its 2012 companion EP, Spires Burn/Release (review here), accomplished, and their profile has only grown to match. The last album was doubly notable for being the point where they added a fourth member in guitarist/keyboardist Mike Risberg, and allowed themselves a little more room to explore different textures touching on psychedelia and jamming in ways they never had before. They’re slated to release a new EP along those lines called The Gold and Silver Sessions of instrumental work — kind of a one-off — but it will be interesting to hear when they embark on a fifth full-length if and how that plays into their sound.

Because if Elder‘s output over the last 11 years been anything, it’s been a narrative thread of progress, with each offering using the one before it as a springboard to new modes of expression. I won’t guess where their next record will take them in terms of sound, but I’ll be glad to find out when the time comes, just as I was that first time I put on Dead Roots Stirring years ago.

As always, I hope you enjoy.

Oh, my aching head. Whenever I get a real-deal toothache, I think of that scene in Cast Away where Tom Hanks goes DIY-dentist on his mouth with an ice skate. Something on the stage left side of my mouth has been giving me similar impulses all week, and I’d be lying if I said it wasn’t a distraction from writing. Last night I was up a few times overnight from the combined pain of the toothache plus the inevitable jaw clenching I do in my sleep because, well, unresolved trauma, I guess? I don’t know. Anyway, it hurt like a bastard to the point that 2AM found me downstairs digging the tube of Orajel out of the couch cushion to numb it up. Good fun.

So yes, this week, as American democracy develops yet-more cracks in its imitation-Roman marble and the UN says like a million species are dying because humans exist, I’ve been busy thinking about my hurty tooth. Is it the worst thing that’s every happened to anyone in the existence of mankind? Yes. It is. Sorry. It’s the worst.

It’s been two weeks since I properly closed out a week. Whoops. Two weeks ago was Desertfest NYC. That was fun. Last week was the New England Stoner and Doom Fest, and though I didn’t end up going — family matters; it happens — I didn’t really pull the plug on it until Friday afternoon, and as I was already in the car and driving, just didn’t have the opportunity to put something together. I only mention it because it was noted in a comment. If you’ve been aching for a Friday Full-Length, I thought Elder would probably do the job nicely. I hope that’s the case.

This past weekend was The Obelisk Show on Gimme Radio. The 15th episode. I’ve been talking this week to the program director, Brian Turner, about swapping out for a weekday shift, since apparently the Thursday replays have been going well. I think that’s pretty nifty. I didn’t really imagine doing the radio thing would last this long. I thought it would be a couple episodes, the audience would be like, “This isn’t Dave Mustaine — screw you!” and I’d get summarily shitcanned. Not to say it couldn’t still happen, but it hasn’t yet. I’ll keep you posted when the next episode is going to go live, but it looks like maybe Friday the 24th at 1PM Eastern? We’ll see if that’s final. I need to email Brian back, which I’ll do as soon as I finish writing this.

Neat either way, though, and twice as encouraging, because basically with that show I’m trying to play so much new stuff. I don’t know. It feels good to do a thing and have it be well received. That’s all. Give me my moment. I know it won’t last.

Next week is packed. I’ve been getting to the point where people hit me up for coverage and stuff and I’ve had to issue flat turn-downs. Not because I don’t want to cover whatever it is, just because everything’s already slated. It’s madness, I tell you.

Here are the notes, subject to change blah blah:

MON 05/13 LAMP OF THE UNIVERSE REVIEW
TUE 05/14 ETHEREAL RIFFIAN VID PREMIERE; LANGFINGER LIVE ALBUM TRACK PREMIERE
WED 05/15 SLOMATICS PREMIERE
THU 05/16 KALEIDOBOLT TRACK PREMIERE
FRI 05/17 VALLEY OF THE SUN ALBUM STREAM

There might also be another video premiere on Monday if I can properly coordinate it in time. If not, maybe later in the week? I don’t know. This week was oddly light on news, but I’ve already got stuff slated for Monday — friggin’ Truckfighters are putting together a festival in Stockholm; thanks guys, I was gonna do that! — so that’s good. I feel better when I’m playing catchup.

But seriously, new Slomatics, Kaleidobolt, Valley of the Sun and Langfinger next week? All premieres? And a new Ethereal Riffian video? Even if nothing else happens, that’s a pretty badass week right there. I’m stoked to be doing a Slomatics premiere. Their new album frickin’ fantastic. Likewise Valley of the Sun. Two year-end-listers for sure.

Alright, this post has gone on long enough and I won’t delude myself into thinking anyone’s still reading, but if you are, thanks for doing so. I hope you have a great and safe weekend, and I hope you check out the forum, radio stream and merch over at Dropout.

The Obelisk Forum

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Live Review: Desertfest NYC Night Three, 04.28.19

Posted in Reviews on April 29th, 2019 by JJ Koczan

Elder (Photo by JJ Koczan)

The final day of a festival is always bittersweet, in any context. This being the first Desertfest NYC, it was a time to step back and take stock of the event, the crowd, the proceedings, what worked well, what could be tweaked in the future, and in what ways generally it could grow — because if the Desertfests in Berlin, London and Antwerp are any indication of intent, growth is the idea.

So what about it? The venue worked. The Well is a cool spot, and you almost feel like you’re getting away with something out on that back patio. The tent for the main stage worked. The food worked. The free iced coffee cans from Stumptown Roasters certainly worked for me, if we’re defining “worked” as “kept me upright.” The sound worked. The lights worked for the most part. And the location worked. I got street parking both days, no problem. Mark it a win based on that alone.

The second stage room was intentionally smaller and got to be a squeeze, and with the way the door was, you were either in or out — there was no peaking through to see the band onstage. Not that that’s the ideal way of seeing live music, but it’s better than nothing. It was easy enough to get there early, but I heard people noting it just the same. And it was cold. Yesterday more so than the day before. The sun teased a couple times but wasn’t out for more than about 20 minutes at any point, and then it was night, so it got colder. Rain held off, which was a relief, but there was definitely a flux of people going inside for a bit to get warm before going back out to be in front of the main stage. April in New York. That’s a possibility.

But on the whole, given the crowd size and response, the fact that it ran so well from front to back, and the general spirit of those playing and attending comingling and having a good time, I wouldn’t call it anything but a success. Desertfest is a brand, and they were feeling out a new, tough market in New York, but they pulled it off. I was given a t-shirt and I’ll wear it proudly. I hope they do another.

But holy crap was I tired.

Really, just a mess. Doing a festival is one thing. Doing it not completely removed from the rest of one’s life is quite something else, and I could feel myself showing signs of wear and tear especially early in the day before what little adrenaline my deeply flawed body could produce got to work and got me through. That coffee didn’t hurt either. You’ve made a customer for life, Stumptown. I mean that. I don’t usually even drink iced coffee.

Felt like an earlier start than it was at 3:15PM:

Unearthly Trance

Unearthly Trance (Photo by JJ Koczan)

As sadly will happen, Fatso Jetson canceled their trip east to open the third and final day of Desertfest NYC 2019, and I guess it was something of a scramble, but the fest kind of wound up with the opposite. If Fatso Jetson are desert rock, Unearthly Trance are dystopian-expanse-of-concrete-under-a-dark-grey-sky metal. Local heroes from Brooklyn, their 2017 comebacker full-length, Stalking the Ghost (review here), was followed last year by a split with Relapse labelmates Primitive Man (review here), and the few years they spent apart clearly did not dull their impact or atmospheric breadth. Playing in the tent with the sun outside, they were still unremitting in their darkness, and their slow, churning sonic gruel was served up cold to the early crowd, which was perhaps still bleary-eyed from the night before but primed to get bleary-eyed all over again, in no small part to keep warm. That’s a thing, right? Whatever. Unearthly Trance were loud as fuck and bleaker than they were loud. They’ve always been more of an export than a NY-scene band, at least since about 15 years ago, but they gave Brooklyn a showing of some of its best homegrown, and so could’ve hardly been more fitting for that spot.

Sun Voyager

Sun Voyager (Photo by JJ Koczan)

That’s a good band. They’ve got their kinks and quirks to work out — don’t we all — but the second they realize how much power they actually command from the stage, it’s all over. They’ve got newly-announced tour dates in June that begin in Denver at Electric Funeral Festival and will see them bum around the Midwest for a while, and that’s only going to help. More of that. But already their presence is significant. I haven’t seen them since they released Seismic Vibes (review here), which was a debut I was anticipating to an almost embarrassing degree, so they were an absolute must for my weekend, and hearing them do “Open Road” and “God is Dead,” two of the most potent hooks from among the many boogie-driven brainmelters on the record was more than welcome. They would close with the Budgie cover they just issued digitally, “Crash Course in Brain Surgery,” but their energy was infectious and as I stood there and watched I imagined what it might’ve been like to see Nebula 20-plus years ago when they were just really starting to hit it. It couldn’t have been much different. Sun Voyager are awash in potential now and starting to put the work in to pay that off. I will continue to hope they get there.

Ruby the Hatchet

Ruby the Hatchet (Photo by JJ Koczan)

Forerunners of Philadelphia’s burgeoning heavy psychedelic movement, Ruby the Hatchet brought presence and the chops to back it up in kind to their set outside on the main stage. The Tee Pee rollers were fresh off Grim Reefer Fest in Baltimore on April 20 and were on the West Coast earlier this year supporting 2017’s Planetary Space Child LP (review here), and I’ve seen them live a few times at this point, so to find them locked in wasn’t really a surprise as such. The difference was just what they were able to do in being so locked in. It was a classic heavy rock show. Frontwoman Jillian Taylor led the way through the show, with Johnny “Scarps” Scarperia setting the foundation in riffs somewhere between psychedelic rock and proto-doom, Lake Muir‘s bass and Owen Stewart’s drums pushing the groove forward and the keys — it was quite a setup — of Sean Hur adding texture beyond what one finds in the standard boogie rock of the heavy ’10s. Their next album will say a lot for what the ultimate story of Ruby the Hatchet will be, but their live show left nothing to question about who they are as a band, and the Uriah Heep cover for a finale was a particularly nice choice. Hail heavy prog.

ASG

ASG (Photo by JJ Koczan)

I’ve never been a huge fan of North Carolinian four-piece ASG. Not for lack of respect for the work they do, the time they’ve put in touring, the quality of their records, and so on. Sometimes it just doesn’t click, and I’ll readily acknowledge that’s me and not the band, who obviously weren’t hurting for proponents as they packed out the tent outside at The Well, the chilly air getting chillier and the vibe getting its collective buzz on. I grabbed a can of coffee — honestly, if it had been a bucket, I’d have grabbed that — and watched them for a while and tried to figure out the mental block was stopping me from getting on board. Their 2018 album, Survive Sunrise, was a pick in the Year-End Poll, and I’ve been writing about the band on and off since I saw them in 2011, but everybody else had me beat by far in terms of being into it. My loss, I’ve no doubt. It usually is with that kind of thing. Gave me a chance to go inside and get warm.

Duel

Duel (Photo by JJ Koczan)

Does Duel‘s reputation precede them yet? Maybe, given the fact that the room with the Desertfest NYC second stage was filling up 80 minutes before the Austin, Texas, four-piece were slated to go on. Part of that was wanting to keep warm, but the band were setting up their gear and looked surprised to see the expectant faces staring back at them. Fair enough. Duel have a pair of killer studio records under their collective belt for Heavy Psych Sounds in 2016’s Fears of the Dead (review here) and 2017’s Witchbanger (review here), and they’re about to unleash the third, Valley of Shadows (review here), on a speedy turnaround May 17 and do the bulk of their label’s impending West Coast package tour earlier next month as preparation for heading to Europe for a month on the road there. So yeah, Duel seemed to be in a good place as they came back on stage at their appointed time and destroyed that tiny room in a way that would’ve translated well to the stage outside, playing like a band taking their delivery to the next level and doing their best work to-date on all fronts. They were riotous and a pleasure to watch. It once again got slammed in the small second stage space as they rose to the occasion, and while everyone there may or may not have known what they were in for, they will next time. Duel are very quickly making themselves essential. A do-not-miss reputation won’t, and maybe doesn’t already, hurt.

Monolord

Monolord (Photo by JJ Koczan)

I’m not sure if Monolord‘s new album — which will also mark their jump from RidingEasy Records to Relapse — is done, or if they’re just already touring for it, but the Swedish trio might as well have been flashing a sign from the stage that said, “NOW IS THE HEADLINING PORTION OF THE EVENING.” Indeed, they and Elder who would follow made up the headliner spots and in the case of Monolord, their primeval riffing, ultra-grooving largesse, chemistry boomed like it was in a meth lab and still-just-dudes-who-like-to-play-loud stage presence was already a highlight of the weekend by the time the first song of their set was done. They’re on the road in the US only briefly this time, having done the Psycho Smokeout on the West Coast as well as this, but they’ll be back for sure after a summer spent in Europe. And I don’t know when they’re record’s coming out, but you’d be a fool not to hold a place on your best-of-the-year list for it whenever it actually happens, because if Monolord have proven anything to this point in their career, it’s consistent. Other bands play, Monolord kill. Make the t-shirt with the spoof logo and sell a million of them. You’re welcome.

Green Milk from the Planet Orange

Green Milk from the Planet Orange (Photo by JJ Koczan)

All three members of Tokyo’s Green Milk from the Planet Orange played seated. Or at least for the most part seated, since I don’t think any of them stayed sitting the entire time, up to and including the drummer, but the arrangement gave their set on the second stage a jazzy feel, with their mega-freaked-out astro-prog heavy grind enhancing that mood. A neon green bass was visible even on what all day was the dark side of the stage, and they likewise were a beacon of weirdness in an undulating sea of riffery. A band on their own wavelength aren’t always easy to listen to — and I’d imagine Green Milk from the Planet Orange‘s new record, which they had for sale outside in the merch area, is plenty frenetic — but the trio made the math add up in their sound and were fun even as they dared the crowd to keep up with them. Most couldn’t, frankly, but that’s the nature of the kind of progressivism a band like that taps into. It’s never been and it never will be for everyone. It was awesome to witness, however, and for the technical prowess and the weirdo vibes coming off the stage, they were a highlight unto themselves. You need that sore thumb band sometimes.

Elder

Elder (Photo by JJ Koczan)

Elder are arguably the most forward-thinking band in the current American heavy rock underground. By starting out young, they’ve become the spearhead of a generation of acts, and the work they’ve done throughout this decade is unmatched in its scope and the sheer will toward exploring new ideas. Plus it’s heavy. And plus, it rocks. I mean, there are a lot of krautrock bands out there. They’re in Europe. And the US has its fair share of heavy in various stripes, whether it’s desert rock or psych or doom metal or whatever the hell else we’re on this week, but what Elder tie together with their sound is a signature blend of influences that no one else can match, and their style of songwriting is inimitable. The way their parts interact with each other like Nick DiSalvo, Michael Risberg, Jack Donovan and Matt Couto have a musical conversation on stage. The way they’re able to build tension subtly and find just the right moment to swap out trajectories and head someplace else. It’s brilliant in the very real sense of luminosity. They are important, yes, because their influence will continue to spread, but they’re also incredible just to stand back and watch play. Every bit the headliner at this stage in their career, and I suspect they will remain that way for as long as they choose to do so. This is a special band doing special work on their own terms. Long may they reign.

Mick’s Jaguar

Mick's Jaguar (Photo by JJ Koczan)

I’m not going to pretend I had it in me to stand there for the entire Mick’s Jaguar set. I didn’t have it in me to stand there for the entire Elder set — I had to go sit inside for a couple minutes at one point or another — but I’d seen every band on all three days of Desertfest NY, so you’re damn right I stuck around and waited for them to go on. I love how New York’s version of party rock is still just a little mean. It’s the punk lineage, or at least the spirit of that culture, because even when a band like Mick’s Jaguar come out on the second stage and start tearing into songs from 2018’s Fame and Fortune (review here), there’s still a little edge of “fuck you” to the good time they’re having. Like they’re saying, “fuck you we’re fun.” And they were a blast. It was late and dark in the room, but a lot of people had gone home after Elder, so Mick’s Jaguar were kind of the pre-after-party for the after-party happening after the show. I knew vaguely what to expect going into the set, but as tired as I was and as much as I still had that hour drive home ahead of me, I knew staying for one more song was the right way to go, and hey, no regrets.

The actual after-party was being held at The Anchored Inn around the corner. I said goodbyes at the venue and farted my way over there for a couple minutes to see how the cool kids live. They live boozy. I tried not to put my backpack in anyone’s face, failed, and then once again took my leave. Maybe I hadn’t been ready after all for Desertfest NY to end. Maybe I was delaying that drive home.

Either way, the toll would be paid this morning. Got to bed before 1AM, but the alarm went off at 5:50AM to get up, pack the car and drive back to Massachusetts so The Patient Mrs. could go to work. It had been traffic all weekend, so I should’ve expected no different. Left at 7:30AM, got in at 1:30PM. Stops for diaper-change, gas, etc., but yeah. Still six hours for a trip that’s ideally not much over four.

That had me pretty much comatose for the afternoon, but I started this review during the baby’s nap and I’m finishing it now after he’s gone to bed. I’m falling asleep while I type and I still need to sort pictures, so I’ll leave it here, but before I go, heartfelt congratulations to Matte Vandeven and Reece Tee on a job well done, and thanks to them, Sarika, Jake and everyone else involved in the festival crew for having me along for it. I felt welcomed in a way that warmed my heart and set the tone for the entire experience. It was much, much appreciated. Here’s to the next one.

More pics after the jump:

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