Posted in Reviews on March 25th, 2019 by JJ Koczan
Day Six. Not that there wasn’t a bit of a crunch along the way, but I definitely think this Quarterly Review was aided by the fact that I dug so much of what I was writing about on a personal-taste level. You get through it one way or the other, but it just makes it more fun. Today is the last day and then it’s back to something approaching normal tomorrow, but of course before this thing is rounded out I want to thank you as always for taking the time and for reading if you did. It means a tremendous amount to me to put words out and have people see them, so thank you for your part in that.
This could’ve easily gone seven or eight or 10 days if scheduling had permitted, but here’s as good a place to leave it. The next one will probably be the first week of July or thereabouts, so keep an eye out.
Quarterly Review #51-60:
Bellrope, You Must Relax
How much noise can your brain take? I don’t mean noise like start-stop riffs and dudes shouting. I mean actual, abrasive, amelodic noise. Bellrope, with ex-members of the underrated Black Shape of Nexus start their Exile on Mainstream-delivered debut album, You Must Relax, with three minutes of chaff-separation they’re calling “Hollywood 2001/Rollrost.” It’s downright caustic. Fortunately, what follows on the four subsequent extended tracks devotes itself to lumbering post-sludge that’s at least accessible by comparison. “Old Overholt” is the only other inclusion under 10 minutes as the tracks are arranged shortest to longest with the 17:57 “CBD/Hereinunder” concluding. The thickened tones brought to bear throughout “Old Overholt” and the blend of screams and growls that accompany are more indicative of what follows on the centerpiece title-track and the penultimate “TD2000,” but the German four-piece still manage to sound plenty fucked throughout. Just not painfully so. There’s something threatening about the use of the word “must” in the album’s title. The songs realize that threat.
Here be dragons. Though its core tonality is still within the bounds of heavy rock, Wiltshire, UK, four-piece bring a far more atmospheric and progressive style to fruition on their second album, The Call of the Void, than it might at first appear. With post-rock float to the guitar of Bill Denton, keyboard textures from Clive Noyes, and fluid rhythms carried through changes in volume and ambience from bassist Christ Sutton and drummer Blazej Gradziel, the PsyKA Records outfit present a cerebral seven tracks/47 minutes of immersive and seemingly conceptual work, with opener “Jormungandr” establishing the context in which each song that follows is named for a different culture’s dragon, whether it’s the Hittite “Illuyanka,” Japan’s “Yamata No Orochi” or the Persian “Azi Dahakar.” Cracked Machine use this theme to tie pieces together, and they push farther out as the record unfolds late with “Typhon” and “Vritra” a closing pair of marked scope. The shortest cut, the earlier 5:14 “Kirimu,” has probably the most straightforward push, but Cracked Machine demonstrate an ability to adapt to the needs of whatever idea they’re working to convey.
Taking cues from psychedelia almost as much as jangly West Coast noise and punk, Tacoma, Washington’s The Sky Giants offer the 10-track sophomore outing The Shifting of Phaseworld, which finds a balance in songs like “Dream Receiver” between progressive heavy rock and its rawer foundations. The trio of guitarist/vocalist Jake Frye, bassist Jessie Avery and drummer/vocalist/engineer/graphic artist Peter Tietjen are comfortable tipping from one side to the other between and within songs, starting off with the shove of “Technicolor Kaleidoscope” and getting mathy on the later “Half Machine” ahead of the chunkier-riffed “Rhyme and the Flame,” which somehow touches on classic punk even as it hones a wash of distortion that that has to cut through. Closing each side with a longer track in the rolling, airy “Solid State” (6:53) and the frenetic ending of “Simian” (7:38), The Sky Giants stake out a sonic terrain very much their own throughout The Shifting of Phaseworld and only seem to expand their territory as they go.
Topped off by the ace screams of vocalist Adam Szczygiel, who taps his inner Devin Townsend circa Strapping Young Lad on “High Confessor” and “Re-Animator,” Sacred Monster‘s debut album, Worship the Weird would seem to cull together elements of Orange Goblin and Bongzilla for a kind of classic-metal-aware sludge rock, the riffs of Robert Nubel not at all shy about digging into aggressive vibes to go with the layers of growls and throatrippers and the occasional King Diamond-esque falsetto, as on “Waverly Hills,” as bassist Guillermo Moreno and drummer Ted Nubel bolster that feel with tight turns and duly driven bottom end. I’ll take “Face of My Father” as a highlight, if only for the excruciating sound of Szczygiel‘s screech, but the swing in closer “Maze of Dreams” has an appeal of its own, and as a Twilight Zone and a Shatner fan, “Nightmare at 20,000 Feet” offers its own charm.
Shades of grunge and skate-fuzz fuckall pervade the Sabbathian grooves of High n’ Heavy‘s second album, Warrior Queen, as guitarist John Steele works some doomly keys into second cut “Shield Maiden” and vocalist Kris Fortin moves in and out of throaty shouts on side B’s “Lydia.” They thrash out in the noisy “Catapult” and Nick Perrone‘s drums seem to bounce even in the longer-winded “Lands Afar” and closer “Smell of Decay / Wings and Claw,” on which Mike Dudley‘s rumble backs classically metallic shred in the lead guitar after offering likewise support to the piano in the early going of “Join the Day.” Released through Electric Valley Records, the eight-song/36-minute LP comes across as raw but not without purpose in that, and its blend of tonal thickness and the blend of thrust and nod does well to ensure High n’ Heavy remain unpredictable while also living up to the standard of their moniker. There’s potential here that’s worth further exploration on the part of the band.
Houston, Texas, four-piece make a quick case for the attention of Ripple Music on their sophomore outing, Immortal Portal, which is slickly-but-not-too-slickly produced and sharply-but-not-too-sharply executed, a professional sensibility in “Black Horse Pike” and the subsequent “The Palm Reader” — which manages to be influenced melodically by Uncle Acid without sounding just like them — ahead of the ’80s metallurgy of “Heart of a Sinner” and the reference-packed “1970.” “We All Die in the End” gives an uptempo swing to the opening salvo ahead of the more brooding “Between the Dark and the Light,” but Warlung hold firm to clearly-presented melodies and riff-led rhythms no matter where they seem to go in mood or otherwise. That ties the drift of the later “Heavy Echoes” to the earlier material and makes the harmony-laced “No Son of Mine” and the organ-ic proggy sprawling finale “Coal Minors” all the more effective in reaching beyond where the album started, so that the listener winds up in a different landscape than they started, still grounded, but changed nonetheless.
Rogue Conjurer, Of the Goddess / Crystal Mountain Lives
Originally released digitally by the Baltimore-based unit in 2017, the two-songer Of the Goddess / Crystal Mountain Lives sees pressing as an ultra-limited tape via Damien Records and finds the three-piece of guitarist/bassist/vocalist Tonie Joy, drummer Colin Seven and organist Donny Van Zandt — since replaced by Trevor Shipley — honing a psychedelic take on doomly riffs and groove. “Crystal Mountain Lives” has a more distinct nod to its central progression, with a wah-drenched break and greater overall largesse of fuzz, but “Of the Goddess” brings an effective almost shoegazing sense to its downer spirit. The first track is also longer, so it has more time to move from that initial impression to its own payoff, but either way you go, Rogue Conjurer bring out their dead ably on the tape, showing influences from heavy psych and beyond as “Of the Goddess” winds its way to its close and “Crystal Mountain Lives” begins its fade-in all over again. No pretense, but a broad range that would allow for some if they wanted.
Athens heavy rockers Monovine wear their grunge influence proudly on their third full-length, D.Y.E, issued late in 2018 digitally with an early 2019 vinyl release. It’s writ large in the Nirvana-ism of the slurring “Mellow” at the outset and remains a factor through the melodies of “Void” and the later punkery of “Messed Up” or “Ring a Bell,” as well as the toying-with-pop “Me (Raphe Nuclei)” and “Your Figure Smells,” but where Monovine succeed in making that influence their own is by filtering it through a fuzzier presentation. The guitar and bass tones keep a modern heavy feel, and as the drums roll and crash through songs like “For a Sun” and “Why Don’t You Shoot Me in the Head,” that makes a difference in the overall impression the album leaves. Still, there’s little question as to their central point of inspiration, and they bring it out in homage and as a fairly honed mode of expression on closer “Haunt,” which teases an explosion in its melancholy strum and then… well, don’t let me spoil it.
A festering 42 minutes of lurching agonies, Un and Coltsblood‘s split taps the best of modern death-doom’s emotionalism and bent toward extremity. Billed as a “tribute to grief: the final act of love,” it brings just two tracks, one per band, as Coltsblood open with “Snows of the Winter Realm” and Un follow with “Every Fear Illuminated.” Both bands proffer a terrifyingly weighted plod and offset it with a spacious ambience, whether it’s Un departing their grueling nod after about six and a half minutes only to build back up over the next six and grow more ferocious until devolving into noise and slamming crashes ahead of an outro of echoing, needs-a-tune-sounding piano, or Coltsblood fostering their own tonal brutalism and casting their lot with death and black metal while a current of airy guitar seems to mourn the song even as it plays out. Each cut is a monument built to loss, and their purpose in conveying that theme is both what unites them and what makes their work so ultimately consuming, as grief is.
The blend of drifting guitar and psychedelic wash on opener “El Canto de las Ballenas” earns La Grande Armée‘s self-titled debut three-song EP immediate favor, and the patient execution they bring to the subsequent “Tripa Intergaláctica” and “Normandía,” particularly the latter, only furthers that appeal. The Chilean trio keep a decidedly natural feel to the exploratory-seeming work, and if this is them finding their sound, they seem happy to do it by losing themselves in their jams. All the better someone thought to press record, since although there’s clearly some trajectory behind the progression of songs — i.e., they know at least to a degree where they want to end up — the process of getting there comes across as spontaneous. Guitar pans channels as bass and drums hold down languid flow, and even in the more active midsection of “Tripa Intergaláctica,” La Grande Armée there’s a sense that it’s more about the space being created than the construction under way. In any case, wherever they want to head next, they would seem to have the means of travel at their disposal.
Posted in Whathaveyou on January 22nd, 2019 by JJ Koczan
Somehow, when Germany’s Black Shape of Nexus went the way of… well, of bands breaking up, it just didn’t quite seem like the end. Some creativity you just can’t kill. And sure enough, with Bellrope members of Black Shape of Nexus find a new outlet backed by the familiar source of Exile on Mainstream. They’ll play the label’s upcoming showcases in Leipzig and at Roadburn in the Netherlands this April, and they’re on my list of must-catch bands at the latter, considering I never had the fortune of seeing the prior band. Bonus points to the band for calling their debut album You Must Relax when surely there’s plenty of onslaught to behold. To that end, they’re streaming the track “Old Overholt” now, which features members of labelmates Treedeon, who also just happen to be brutally underrated.
Feb. 22 is the release date, as the PR wire confirms:
BELLROPE: Exile On Mainstream To Release You Must Relax Debut LP By German Volume Abusers Featuring Black Shape Of Nexus Alumni; Track Streaming
Exile On Mainstream confirms the February release of You Must Relax, the debut album by Germany’s high-volume doom dealers, BELLROPE, the band which has ascended from the ashes of Black Shape Of Nexus. Raised on a diet of doom, noise, and crust punk, thriving in the international DIY/squat communities, BELLROPE is a band who dubs their sound as, “the total absence of tonal sanity.” The album’s thundering lead single “Old Overholt,” featuring Yvonne Ducksworth and Arne Heesch of labelmates Treedeon, is now streaming, and preorders for the record are now available.
Driven by a rabid sense of urgency, and with a simple goal in mind — “Amp hauling and amp abusing” — BELLROPE’s sonic maelstrom traverses many different plains of heavy, oft recognizable, but never bound to one formula. Case in point being the visceral album opener; more than a palette cleanser, this is sensory overload, total tonal (in)sanity. Elsewhere, the stomping second track, “Old Overholt,” replete with blood curdling bellows, pays tribute to the iconic rye whiskey, whilst the morose dueling vocals of Arne Heesch and Yvonnne Ducksworth of labelmates Treedeon, and sonic samples on “TD 200,” carry that colossal track to a climatic end, leading into the album closer “CBD/Hereinunder,” a heavy combination of chugging guitars and psych-like leads locking into a repetitive, almost entrancing groove.
Exile On Mainstream label owner Andreas Kohl remarks, “In utter contradiction to your usual heavy rock bands with an esoteric twist and the common (non)sense of interweaving ritualistic riff-mongery with some heritage-purveying focus to ancient rites, rituals, and ideologies, BELLROPE is a hurricane of fresh air, well needed and even more welcome. There will be no antlers, mandalas, fur or badly drawn symbols on stage when they are coming after you. BELLROPE doesn’t need to charge their sonic urgency with ideology.”
BELLROPE’s You Must Relax debut album will see release through Exile On Mainstream February 22nd on CD, LP, and digital formats. Fans of Celestial-era ISIS, early-Cult Of Luna, Old Man Gloom, and of course Black Shape Of Nexus must hear this. Find preorders at the label webshop HERE.
You Must Relax Track Listing: 1. Hollywood 2001/ Rollrost 2. Old Overholt 3. You Must Relax 4. TD200 5. CBD/ Hereinunder
BELLROPE is booking live performances in support of You Must Relax, including a run through Germany in early February. This will be followed by performances at the Exile On Mainstream 20th Anniversary Parties this year, April 4th through 7th at UT Connewitz in Leipzig, Germany, and on April 13th at Roadburn Festival in Tilburg, Netherlands. Watch for more widespread tour news to be released in the weeks ahead.
BELLROPE Tour Dates: 2/06/2019 Lükaz – Lünen, DE w/ Eisenvater 2/07/2019 Zukunft am Ostkreuz – Berlin, DE w/ Eisenvater 2/08/2019 Rosenkeller – Jena, DE w/ Eisenvater 2/09/2019 JuHa West – Stuttgart, DE w/ Eisenvater, Arsen 4/06/2019 UT Connewitz – Leipzig, DE @ 20 Years Exile On Mainstream 4/13/2019 Roadburn Festival – Tilburg, NL @ 20 Years Exile On Mainstream
Posted in Whathaveyou on January 9th, 2019 by JJ Koczan
German singer-songwriter Conny Ochs is no stranger to a place between genres, and he would seem to be acknowledging that with Doom Folk, which has been unveiled as the title of his upcoming long-player to be released next month on Exile on Mainstream. Ochs, also known for his collaborative work alongside Scott “Wino” Weinrich in the duo Wino & Conny Ochs, is the kind of performer with whom it’s really easy to be on a first-name basis as a listener. “Oh, there’s a new Conny out,” and so on. His work is intimate and personal, but as Doom Folk shows, he’s branching out as well in terms of arrangements, giving a more complete feel that’s a departure from some of his earlier guy-and-guitar fare while still tied to that work obviously through his stellar and always heartfelt vocals. Still, that organ on “Hammer to Fit” is a nice touch.
Ochs will play Roadburn in April as part of Exile on Mainstream‘s 20th anniversary showcase. Info on that and album details follow here, all courtesy of the PR wire:
CONNY OCHS: German Rock Icon To Release Fourth Solo LP, Doom Folk, Via Exile On Mainstream On February 8th; Trailer + Preorders Posted
German songwriter, rock ‘n’ roll vagabond, and seasoned performer, CONNY OCHS, will release his fourth solo album, Doom Folk, through his trusted allies at Exile On Mainstream on February 15th. Preorders for the album as well as a trailer have been posted, and several new videos are on the verge of release preceding the album’s street date.
CONNY OCHS believes that the best stories are always the ones yet to be told. He seeks to envision signs of the world that are concealed to most others, and to explore them in a more detailed and higher density. On his new album, Doom Folk, Conny follows different pathways to those which he has forged before, channeling his observations into narratives driven by two powerful forces, fervor, and vulnerability.
OCHS’ previous albums Raw Love Songs (2011), Black Happy (2013), and Future Fables (2016), illustrate his evolution from a blues/folk troubadour to an accomplished singer/songwriter. In his early days, he traversed the globe as a cliché of the lonesome rider, armed with a rugged dreadnought guitar. Doom Folk closes a bracket around it’s three predecessors as well as the two records CONNY OCHS recorded with Scott “Wino” Weinrich (Heavy Kingdom in 2012 and Freedom Conspiracy in 2015), which were also driven by a stripped-down attitude in musicality. While the inspiration is still clearly apparent, the bittersweet hymns of dark melancholy across Doom Folk feel new, refreshed, diverse, and with a slight touch of urgency.
CONNY OCHS has also expanded his musical repertoire to include, bass, drums, percussion, and organs which all find their way into the sounds of Doom Folk, adding tonal urgency, distortion and volume. The album opener “Dark Tower” ignites a surge of emotion, paying tribute to the tragic death of Chris Cornell. “Hammer To Fit” cultivates a sense of hope and optimism while the guitar shimmers in engaging clarity across the tundra, recalling American stalwarts Howe Gelb or Rainer Ptacek. OCHS pays further homage to American songwriting with his eclectic and uncompromising country track “Gun In The Cradle.” While “Drunken Monkey” is a rare pop song amidst his otherwise more familiar flair and radiance counterbalanced by the darkness of the almost-anthemic “Waiting For The Pain” and the shadowy blues of “All Too Bright”, which recalls the morbid prurience of Nick Cave.
Melancholy, insanity, attrition, and hope, are nestled into OCHS’ loud/quiet dichotomy, which is carried forward by clean tones, nuanced instrumentation, and beautiful, authentic singing, before erupting into distortion and dissonance. With twelve anthems packed into thirty-eight minutes, fans of William Elliot Whitmore, Steve Von Till, Wino, Scott Kelly, Woodie Guthrie, make sure to check out CONNY OCHS’ Doom Folk.
Doom Folk will see release on LP, CD, and digital formats through Exile On Mainstream on February 15th. Find preorders and view the album trailer RIGHT HERE.
Doom Folk Track Listing: 1. Dark Tower 2. Crash And Burn 3. Hammer To Fit 4. King Of The Dead 5. Drunken Monkey 6. Moon 7. It’s All Too Bright 8. Crawling 9. Gun In The Cradle 10. Oracle 11. New Ruins 12. Sweet Delusion
OCHS is booking live performances in support of Doom Folk, including the Exile On Mainstream 20th Anniversary Parties this year, April 4th through 7th at UT Connewitz in Leipzig, Germany, and on April 13th at Roadburn Festival in Tilburg, Netherlands. The Leipzig show will feature a full band while Roadburn will be blessed with a intimate, solo show. Watch for more widespread tour news to be released in the weeks ahead.
CONNY OCHS Tour Dates: 4/04/2019 Objekt 5 – Halle/Saale, DE 4/07/2019 UT Connewitz – Leipzig, DE @ 20 Years Exile On Mainstream 4/13/2019 Roadburn Festival – Tilburg, NL @ 20 Years Exile On Mainstream
I’m not 100 percent sure Confusion Master guitarist/vocalist Stephan Kurth isn’t embracing the absurd himself when he says that the band’s album cut ‘In the Shadow of the Bong’ is inspired by Albert Camus. I guess the Rostock-based four-piece wouldn’t exactly be Confusion Master if all their intentions came through clearly, but if he is being sincere, working off what Kierkegaard did almost a century earlier, Camus had three ways he thought it was possible for humans to escape the absurd: suicide, religion and acceptance. You can either off yourself, in which case the absurd doesn’t matter, buy into one or another deity, which gives you a convenient answer to all the questions in the universe, or just know that the absurd is there and there’s no getting away from it while alive. It would seem Confusion Master have chosen the latter.
So be it. Their debut album, Awaken, with it Cthulhu-y cover art, is out now via respected German purveyor Exile on Mainstream, and it offers an unmanageable 59 minutes of rumbling modern doom, finding a space among the Windhands, Monolords and Electric Wizards of the world without really sounding like either of them. Topped with samples from Full Metal Jacket, Twin Peaks and others, there’s a ’90s sludge sensibility to be sure, but Confusion Master — Kurth on guitar/vocals, Gunnar Arndt on guitar, Mathias Klein on bass and Stephan Gottwald on drums — bring an effects-drenched spaciousness to their sound as well, a song like the 11-minute “Goner Colony” seeming to reach outward in a similar way to Sons of Otis while remaining no less tonally weighted than they were on the 10-minute-plus opening duo “Witch Pollution” and its feedback-drenched compatriot “Northern Midnight Ghoul.”
These three tracks, comprising more than half of Awaken‘s notably — you’ll note it’s already been noted as notable — significant runtime, form a decent crux of the album’s overall impression, and they tell a tale of doom by doomers, players obviously aware of the tenets of style and looking to cast their own niche from them. As much as “Witch Pollution, “Northern Midnight Ghoul” and “Goner Colony” are obvious focal points, “Reaper’s Fist,” “In the Shadow of the Bong” and the closing duo “False Dawn” and the finale “Awaken” — which all run between six and eight minutes, save for the closer, which is just under five — have a major role to play as well. They not only keep Confusion Master from being bogged down in the repetition of longform doom, but the title-track cut out into an almost post-rock ambient sphere, “False Dawn” toys with pace shifts and “In the Shadow of the Bong,” well, aside from winning the battle of track names, is a wah-soaked slab of psychedelic doom miseries that summarizes a lot of the atmosphere of the album as a whole.
Maybe that’s why they chose it for their new video, which takes performance footage and runs it through a ringer of swirling chaos effects. There’s some old film footage I think from War of the Worlds tucked in there as well, so keep an eye out.
Confusion Master play the release show for Awakentomorrow night in Rostock alongside countrymen labelmates Treedeon, and head to Japan later this month with Guevnna. You’ll find those dates and more info under the Camus-invoking quote from Kurth, which of course is under the video itself, which of course is right under the next line of text.
Please enjoy:
Confusion Master, “In the Shadow of the Bong” official video premiere
Stephan Kurth on “In the Shadow of the Bong”:
“In the Shadow of the Bong” draws inspiration from the three antidotes to the absurdity of life according to Albert Camus. Conditions must be fulfilled to be translated in consequences such as revolt, freedom and passion. Camus’ call to a greater degree of understanding among people and greater sincerity building on mankind becoming ultimately frank and free to allow communication inspired this song. This all we wrapped up in a Cavity-/Iron Monkey-inspired riffage. Enjoy!
In support of Awaken, CONFUSION MASTER will tour across Europe and beyond in the fall (dates to be announced), A hometown record release show is scheduled for next week’s May 5th with fellow labelmates Treedeon. This will be followed by a run of tour dates in Japan with Guevnna scheduled for May 21st through 26th, with shows in Tokyo, Fujisawa, Gifu, Nagano, Niigata, and Tokyo. Stand by for additional dates to be announced.
5/05/2018 Plattnfischn Record Fair – Rostock, DE *Awaken release show w/ Treedeon 5/21/2018 Ruby Room – Tokyo, JP 5/22/2018 Gigs Shonan – Fujisawa, JP 5/23/2018 Casper – Gifu, JP 5/24/2018 The Venue – Nagano, JP 5/25/2018 Golden Pigs – Niigata, JP 5/26/2018 Moonstep – Tokyo, JP
CONFUSION MASTER: Mathias Klein – bass Stephan Gottwald – drums Gunnar Arndt – guitars/effects Stephan Kurth – guitars/effects/vocals
Posted in Whathaveyou on January 29th, 2016 by JJ Koczan
German atmospheric sludgers Black Shape of Nexus release their new album, Carrier, on March 18 via Exile on Mainstream. They’ve been out and about for shows this week and reportedly have more to come, but the album brings particular interest in following up 2012’s Negative Black (streamed here), which brought their sound to its bluntest point to-date, allowing for maximum impact regardless of volume in any given stretch. Though it was quite heavy.
I’d expect no less of the new one, and the newly-unveiled “Facepunch Transport Layer” seems to bear that out. I’ve been waiting to hear this one for a while now, and from what the band says about it, it wasn’t easy in the making, but I continue to look forward to the bleak crunch to come.
The PR wire had this to say about it:
BLACK SHAPE OF NEXUS: German Sludge Unit Announces March Release Info For Carrier LP
Mannheim, Germany’s most damaging sludge/doom metal troupe returns with album number four, their most putrid yet. Carrier transfers the contagion classified as BLACK SHAPE OF NEXUS into the population with more than fifty minutes of purely sadistic aural punishment through six massive tracks, including a Hellhammer cover. This aggressive pollutant has been magnified in its attack by the hand of mastering engineer Rashad Becker at Dubplates & Mastering in Berlin, rendering it incredibly deadly. Thrill-seekers who prefer the more slow-motion apocalyptic attacks of Grief, Grime, Corrupted, Ufomammut, Graves At Sea, Burning Witch, labelmates Obelyskkh and the like should undoubtedly prioritize Carrier.
Carrier will see its traumatizing release through Exile On Mainstream on March 18th, 2016. Details for all formats of the record and preorders have been issued; the CD and massive 2xLP available stateside via Earsplit Distro HERE, and internationally, Exile On Mainstream has the CD HERE, the vinyl HERE, and the digital at iTunes HERE.
Upon the completion of Carrier late in 2015, BLACK SHAPE OF NEXUS vocalist Malte Seidel issued, “Carrier is the result of a band being in a constant state of deterioration. Doing a record is a very unpleasant and harmful process for us. Creating Negative Black already was a nightmare, but with Carrier the understanding of the term nightmare needs to be expanded. This is not being said to play the ‘tension and dissent create great art’ card. This album is not art. This album is not musicianship. This album is simply the album that we were able to do under the current circumstances while sometimes asking ourselves if a split-up would not be the better option.”
Carrier Track Listing: 1. I Can’t Play It 2. Lift Yourself 3. Sand Mountain 4. Facepunch Transport Layer 5. Sachsenheim 6. Triumph Of Death
BLACK SHAPE OF NEXUS is playing three shows this Thursday, Friday, and Saturday, January 28th through 30th, in Berlin, Hamburg and Dresden, respectively. These live actions will see the band flanked by labelmates Treedeon. Stand by for additional shows to be announced in the weeks ahead.
BLACK SHAPE OF NEXUS Live: 1/28/2016 Cassiopeia – Berlin, DE w/ Treedeon 1/29/2016 Hafenklang – Hamburg, DE w/ Treedeon 1/30/2016 Beatpol – Dresden, DE w/ Treedeon
Posted in Features on January 25th, 2016 by JJ Koczan
If 135-plus releases sounds like a lot, you’re right, it is. I must be out of my god damn mind. To put it to scale though, last year, I did a feature every couple of months called the Quarterly Review that throughout the course of 2015 resulted in no fewer than 200 separate album writeups. 135 is a lot, but it’s not everything. It’s still January. It couldn’t possibly be everything.
The basic fact of the matter is there’s so much out there right now that anyone claiming to even hint at totality of coverage is either clueless or lying. I don’t come close to catching it all. I do the best I can to do as much as I can. I know you’ve heard this all before.
Over the last seven or eight months, I’ve been keeping track of albums, EPs, singles, etc., slated for 2016 release. Some of these are independent, some through labels, some names familiar, some names new. I’ve tried to mix it up as much as possible, and I reserve the right to add to the list over the next couple days anything anyone might suggest in the comments. Last year’s list turned out to be a resource I used throughout the entire time, so, fingers crossed, I’ll be doing the same this go around. Thanks in advance for your participation in making it more complete by leaving a comment.
Ordered Alphabetically by Artist
1. Alunah, TBA
The Birmingham doom-rollers seem to be on this list every year, but I have it on good authority — namely, Alunah posted about it on the social medias — that they’re writing and entering the studio with an eye toward a late-2016 release for the follow-up to their 2014’s excellent Awakening the Forest (review here), their third full-length and debut on Napalm Records. Alunah on Thee Facebooks, at Napalm Records.
2. Ancient Warlocks, II
I don’t even know how many pressings STB Records has been through of Ancient Warlocks‘ self-titled debut (review here), but the follow-up has been finished since September and is reportedly due sometime this Spring. Primo fuzz is expected from the dual-guitar Seattle outfit. Ancient Warlocks on Thee Facebooks, STB Records.
3. Asteroid, III
Since their late-2015 reunion (announced here), Swedish trio Asteroid have been added to the lineup for Desertfest in Berlin and just this past week re-signed to Fuzzorama Records — which also released their last full-length, 2010’s II (review here) — for an upcoming release they’ve appropriately-enough dubbed III. Much more to come. Asteroid on Thee Facebooks, Fuzzorama Records.
4. Atavismo, TBA
Not much more to go on here than the band alluding to a forthcoming LP being put together, but frankly, I was so enthralled with the Spanish group’s late-2014 debut, Desintegración (review here), that that’s enough to make me excited at the prospect of a next installment from them. Keeping my hopes up it gets here before December. Atavismo on Thee Facebooks, on Bandcamp.
5. Banquet, Jupiter Rose
Picked up last fall by Heavy Psych Sounds as part of a torrent of signings from the label, San Francisco’s Banquet make their debut next month with Jupiter Rose, following their 2015 single, Run to You / Mother Road, which was released by Who Can You Trust? Records and boasts soulful West Coast heavy ’10s thrust. Banquet on Thee Facebooks, Heavy Psych Sounds.
6. Beelzefuzz, Beelzefuzz II: The Righteous Bloom
When I starting keeping notes for this list, this album was pegged as the debut from Beelzefuzz-offshoot Righteous Bloom, but word came down in December that band had reassumed its former moniker and that Beelzefuzz II: The Righteous Bloom would be issued in the early part of 2016 via The Church Within as the follow-up their 2013 self-titled debut (review here). Whatever name the progressive doomers release it under, I can’t wait to hear it. Beelzefuzz on Thee Facebooks, The Church Within Records.
7. Bellringer, TBA
There hasn’t been any sort of official announcement of a debut LP from the Mark Deutrom-led Bellringer, but over the course of the last year, the Austin-based former Melvins/Clown Alley bassist has unveiled a number of singles (posted here), and if he keeps it up long enough, he’ll get to an album one way or another. As a fan of creative weirdo heavy rock, I’m looking forward. Bellringer on Thee Facebooks, on Bandcamp.
8. Blaak Heat Shujaa, TBA
As of this past April, L.A. desert psych rockers Blaak Heat Shujaa (aka Blaak Heat) were in pre-production for their third full-length and second for Tee Pee Records behind 2013’s expansive The Edge of an Era (review here). The album may or may not be done, but whenever it arrives, it’ll do so with extra interest due to the inclusion of Tom Davis (ex-Nebula) on bass. Blaak Heat Shujaa on Thee Facebooks, Tee Pee Records.
9. Black Black Black, TBA
I feel like Brooklyn post-hardcore heavy rockers Black Black Black caught a bum rap because of their name, but the band’s blend of melody and intensity was not to be ignored on account of moniker or anything else. No solid release date yet, but last I heard, Aqualamb Records, which issued the artbook version of their 2012 self-titled debut (review here) would have a sophomore album released in similar style in the first half of this year. Black Black Black on Thee Facebooks, Aqualamb Records.
10. Black Cobra, Imperium Simulacra
You’ll note several records on this list have a release date of Feb. 26, and it would seem only fair to put Black Cobra‘s fifth outing and first for Season of Mist, Imperium Simulacra (review here), at the head of the bunch even if it didn’t wind up there by alphabetical happenstance. Not by any means the San Francisco duo’s rawest outing, but definitely their most stylistically expansive, and with plenty of their trademark destructive gallop to boot. One you probably don’t need me to tell you that you should hear. Black Cobra on Thee Facebooks, Season of Mist.
11. Black Cowgirl, TBA
Last time Pennsylvania heavy rockers Black Cowgirl were heard from, they said one simple thing: “2016.” That was October. Well, it’s 2016 now, and if we’re talking new releases, an LP from them would just about be their debut. Their 2012 self-titled (discussed here) on Kozmik Artifactz paired newer songs with material from their 2010 demo (discussed here), so a straight-up album feels due. Maybe this is the year. Black Cowgirl on Thee Facebooks, on Bandcamp.
12. Black Rainbows, Stellar Prophecy
If this one’s fresh in mind, that’s because it was just announced last week that Rome trio Black Rainbows would release their new album, Stellar Prophecy in April on Heavy Psych Sounds. It’s a quick turnaround for them from 2015’s Hawkdope (review here), but as that album was a marked step forward in their sound, I’m even more eager to hear where they go next. Black Rainbows on Thee Facebooks, Heavy Psych Sounds.
13. Black Shape of Nexus, Carrier
It’s an establish Spring release date for the new Black Shape of Nexus, whose brand of sludge crosses a threshold of thoughtfulness without falling into post-metal cliche. The German outfit’s last record, 2012’s Negative Black (streamed here), was plenty punishing, and I’d expect only creative progression on Carrier, though wouldn’t dare guess at the form in will take. Black Shape of Nexus on Thee Facebooks, Exile on Mainstream.
14. Blood Ceremony, Lord of Misrule
Toronto’s Blood Ceremony enter into their recently-announced fourth full-length, Lord of Misrule in something of a stately position. Since 2013’s The Eldritch Dark, their influence has only spread further across North America and beyond, so the question as the new LP makes its way out via Rise Above on March 25 is how they can stand out from the crowd formed at least partly in their wake. Blood Ceremony on Thee Facebooks, Rise Above Records.
15. Boris with Merzbow, Gensho
So you get your Boris record, then you get your Merzbow record, then you play both at the same time, and that’s your collaborative release. The intermittent pairings from Boris with Merzbow have always been unflinchingly creative and bold in their experimentalism, and going by the teaser posted last week, Gensho will be no different when it arrives March 18 on Relapse. Expect who the hell knows what. Boris on Thee Facebooks, Merzbow website, at Relapse Records.
16. Borracho, TBA
In mid-2015, Washington D.C.’s Borracho took part in a Ripple Music split with Geezer called The Second Coming of Heavy – Chapter One (review here). A bolt title, but it found them continuing to refine their sound as a power trio following 2013’s sophomore LP, Oculus (review here). No solid word of something due as yet, but a recent update from the band said they’d be hitting the studio next month. Borracho on Thee Facebooks, on Bandcamp.
17. Brimstone Coven, Black Magic
Out this week on Metal Blade, Brimstone Coven‘s debut album follows a well-received self-titled EP compilation (track stream here) that came out last year, and should prove interesting to see how the West Virginian doomers have grown since that material was recorded in 2013, just a year after they formed. I can’t claim to have heard it yet, but it seems like one that the doom converted should be all over. Brimstone Coven on Thee Facebooks, at Metal Blade Records.
18. Causa Sui, Return to Sky
Danish heavy psych instrumentalists Causa Sui posted an album teaser late last week for Return to Sky, and though it only showcased two tracks, it showed their tonal warmth intact and their will to explore as vibrant as ever. To be released through their own El Paraiso Records, my only hope is they don’t get saddled with pressing delays in the Spring, because really, the sooner it gets here, the better off we’ll all be. Causa Sui on Thee Facebooks, El Paraiso Records.
19. La Chinga, Freewheelin’
An awaited follow-up and Small Stone debut brings Freewheelin’ (review here) from Vancouver heavy rockers La Chinga on March 20. The new album reignites the hard-driving, classic-minded methods of their 2013 self-titled (discussed here), but refines the songwriting as well to affect a more memorable impression. The beginning of a big return year for Small Stone. La Chinga on Thee Faceboks, Small Stone on Bandcamp.
20. Church of Misery, …And Then There Were None
Unquestionably one of the most anticipated albums of the year. And Then There Were None brings Church of Misery founder Tatsu Mikami to the US from his native Japan and finds him teamed up with members of Blood Farmers, Earthride and Repulsion in a completely revamped lineup from that which appeared on 2013’s Thy Kingdom Scum (review here). Rise Aboverecently announced a March 4 release. Church of Misery on Thee Facebooks, Rise Above Records.
21. Cities of Mars, TBA
Swedish trio Cities of Mars caught attention with the big riffs and steady swing of their debut single (review here), and announced back in October that they’d have a new EP out in March via Suicide Records. Still somewhat in their formative stages, they’ve presented a sci-fi thematic and it will be interesting to see if they stick with it or move toward something else. Cities of Mars on Thee Facebooks, Suicide Records.
22. Cloud Catcher, TBA
The progressive Denver newcomers are set to hit the studio in Spring to record their sophomore LP and the follow-up to 2015’s Enlightened Beyond Existence (discussed here), so it might be summer or even fall by the time it gets issued, depending on timing of the recording, what label picks them up, etc., but it’s one to keep an eye out for anyway. They’ve shown a willingness to hit the road as well, and I wouldn’t be surprised if they did so again sometime after their Spring tour in Feb./March. Cloud Catcher on Thee Facebooks, on Bandcamp.
23. Comacozer, Astra Planeta
When Sydney trio Comacozer signed with HeadSpin Records last July, it was announced they’d be recording in October for a debut full-length to be titled Astra Planeta that would be due this Spring on the label. That process has been delayed somewhat, but there’s still no reason to think they can’t get the record out this year. Their 2015 EP, Deloun Sessions, found them pushing more into tense, moody atmospherics, and it was a shift that suited them well. Comacozer on Thee Facebooks, HeadSpin Records.
24. Conan, Revengeance
Out this week on Napalm Records, the third album from UK destroyers Conan, Revengeance (review here), finds the trio revamped around founding guitarist/vocalist Jon Davis, with longtime producer Chris Fielding adding a striking, effective counterpoint on bass and vocals and drummer Rich Lewis adding to the tectonic roll on drums. Happy to report, it still sounds like Conan, only perhaps even deadlier. Conan on Thee Facebooks, at Napalm Records.
25. Conclave, TBA
I don’t think Massachusetts four-piece Conclave — whose members trace their pedigree back to outfits like Warhorse and Grief — are ready to make the name of their full-length debut public yet, so I’m not going to say it, but I’ve heard the album and it’s full-on death-doom punishment that should bring a satisfied grin to even the most discerning of purists. Their debut EP, Breaking Ground (review here), was grim and brutal in kind, and the album only pushes further into the dark. Conclave on Thee Facebooks, on Bandcamp.
26. Corrosion of Conformity, TBA
Since the North Carolinian legends first announced they were reuniting with guitarist/vocalist Pepper Keenan, the question has been whether or not a new album would surface. Last October, they signed to Nuclear Blast while on tour with Clutch and The Shrine (review here), and followed that tour with a headlining run in December. I expect we’ll hear from them a lot in 2016 as they record the first outing with this full four-piece since 2000, and that’s just fine by me. Corrosion of Conformity on Thee Facebooks, Nuclear Blast.
27. Cough, TBA
Richmond doomers Cough entered the studio last August to begin tracking their first full-length since 2010’s Ritual Abuse (review here). I haven’t seen any announcement as to when it will be released, but it was finished in September, and we’ll see if it winds up coming out through Relapse, which would be expected, or if part of the delay has been in finding it a new home. That’s sub-speculation, mind you. I’m figuring on release news any minute now. Will let you know how that goes.Cough on Thee Facebooks, Relapse Records.
28. Curse the Son, Isolator
I was very glad I got to see Connecticut’s Curse the Son this past fall (review here), both because I dig what they do and because it gave me a sneak peak at the songs that will show up on their new album, Isolator, when it surfaces in March via Snake Charmer Coalition. Expect big, tone-led vibes a la 2012’s Psychache (review here), but with some new edge thanks to the addition of bassist/backing vocalist Brendan Keefe alongside guitarist/vocalist Ron Vanacore and drummer Michael Petrucci. Curse the Son on Thee Facebooks, Snake Charmer Coalition.
29. Dali’s Llama, Dying in the Sun
Perpetually underrated CA desert rockers Dali’s Llama will release their new album, Dying in the Sun, early this year. I’m not precisely sure when, but sooner or later it will come out, and when it does, I have full faith it will be a stirring reminder of just how overlooked the band continues to be as they’re now well past their 20th anniversary. The upcoming full-length was mastered as of December, so look out for an update hopefully sooner than later. Dali’s Llama on Thee Facebooks, Dali’s Llama Records.
30. Darsombra, TBA
Drone/noise/visual two-piece Darsombra toured across the US in 2015 across 109 different cities. That is no easy feat, and I can’t even imagine how an experience like that might play into the writing from Brian Daniloski and Ann Everton on the band’s next full-length, which, when they finished the last leg of that massive and ambitious run, they said was in the works. I’d like to find out, though, as Darsombra continue to aspire to inner peace through cosmic noisemaking. Darsombra on Thee Facebooks, on Bandcamp.
31. Dead Feathers, Dead Feathers 10″
Expected out Feb. 19 via HeviSike Records, the self-titled debut EP from Chicago heavy psych rockers Dead Feathers has been subject to some considerable pressing delays. The band was signed last Spring initially for an Aug. 2015 release that has continued to be pushed back, presumably as a result of so much interest in pressing vinyl at the moment. Still, the tracks have been streaming for a while now, so anyone looking to quench their thirst can do so readily on their Bandcamp. Dead Feathers on Thee Facebooks, HeviSike Records.
32. Deadsmoke, Deadsmoke
As announced a couple weeks ago, Duna Jam veterans Deadsmoke will issue their self-titled debut via Heavy Psych Sounds on March 25. The Italian sludgers have plans to tour Europe in May as well, and should they happen to pop on a late-spring or summer festival or two along the way, I wouldn’t necessarily be surprised. Heavy Psych Sounds‘ spree continues. Deadsmoke on Thee Facebooks, Heavy Psych Sounds.
33. Deamon’s Child, Scherben Müssen Sein
The German title of Deamon’s Child‘s second album, Scherben Müssen Sein, translates to “shards must be.” I’m not sure what it means, but I am sure that the trio’s 2014 self-titled debut (review here) was an intriguing and offbeat brand of noise rock-plus, so I’ve no problem getting down with the idea of another outing from them, though given their breadth I wouldn’t necessarily expect the second LP to be a carbon copy of the first. Deamon’s Child on Thee Facebooks, on Bandcamp.
34. Deathkings, All that is Beautiful
Hailing from what I’ll assume is the darkest underbelly of Los Angeles, Deathkings issue their sophomore LP, All that is Beautiful, on March 18 as the follow-up to a 2015 split with Boston’s Rozamov (review here). I’ve got a track stream slated for this week from these guys, so I’ll save more for that, but suffice it to say that it’s surprising music so grueling can come from a place where it never rains. Deathkings on Thee Facebooks, on Bandcamp.
35. Devil to Pay, A Bend Through Space and Time
Indianapolis heavy rockers Devil to Pay and their label, Ripple Music, have set a tentative “Summer” release date for the band’s fifth album, A Bend Through Space and Time, but as the recently unveiled “Your Inner Lemmy” showcased, the songwriting that has long served as their chief appeal is ready to roll on the new collection. That song surfaced early as a timely tribute to Lemmy Kilmister of Motörhead, so it might be a while before more solid details come down the wire, but whenever it shows, it’ll be welcome. Devil to Pay on Thee Facebooks, Ripple Music.
36. Dream Death, Dissemination
A second post-reunion album is always a tricky prospect. A band wants to continue to acknowledge what they were when they started out, progress from their last outing, and get over that hump of songs that may or may not have been written years prior and onto something fresh. How will Pennsylvania’s Dream Death tackle this issue on their forthcoming Dissemination, due out March 4 via Rise Above? Probably by being heavy as hell and sounding completely fucking miserable. Just a guess. More info here. Dream Death on Thee Facebooks, Rise Above Records.
37. Droids Attack, Sci-Fi or Die
Another Feb. 26 release, Sci-Fi or Die, the fourth long-player from Madison, Wisconsin’s Droids Attack, has been in the works for at least the last three years. I’ll be hosting a full-stream of it sometime between now and the release (which I’m stoked for), so keep an eye out for that, but these guys have deserved more attention for a while now one way or another, and the follow-up to 2010’s Must Destroy! (review here) might be the record that gets it for them. Droids Attack on Thee Facebooks, Droids Attack website.
38. Drug Honkey, TBA
Various announcements have floated around over the last year and a half or more from Chicago death-churners Drug Honkey, and I’m not sure at this point whether their next release will be an EP of or a complete album or what. Their last full-length was 2012’s Ghost in the Fire (review here), which was inhumane in its onslaught, abrasive in loud or quiet parts, and swirled out an otherworldly sense of terror. So yeah, something to look forward to in a new one. Drug Honkey on Thee Facebooks, Transcending Obscurity on Bandcamp.
39. Duel, Fears of the Dead
In addition to boasting a cover that has immediately made my list of the year’s best, look for hard-driving heavy rock swing on Duel‘s debut LP, Fears of the Dead, due out Feb. 12 on Heavy Psych Sounds. The Austin, Texas, four-piece have newly announced European tour dates that will start March 9 and run through April 2, and I’ve little doubt their brash ways will find favor among the beer-soaked good-timers abroad. Over here, I’m just looking forward to hearing the album. Duel on Thee Facebooks, Heavy Psych Sounds.
40. Egypt, Endless Flight
We know it’s awesome. It was streamed here last month in its entirety. The real question with Egypt‘s sophomore outing is whether it’s a 2015 or a 2016 release. Vinyl’s still forthcoming last I heard, but the CD hit in December. What counts? For what it’s worth, I’m clearly thinking of it as a 2016 outing, but whatever format you might prefer, think of this as a note to remind you that you should check out. Because it’s awesome. We knew that. Egypt on Thee Facebooks, Egypt on Bandcamp.
41. Eight Bells, Landless
Out Feb. 12 on respected purveyor Battleground Records with tapes through Tartarus, Landless casts a severe and progressive glance at the scope of atmospheric heavy and offers an individualized take developed even from what the Portland, Oregon, trio brought to their 2013 debut, The Captain’s Daughter. Doom, black metal and a stately sort of psychedelia intertwine over the album’s span, and it seems all the more likely the band will turn heads with their approach on tour with Voivod (dates here) starting Feb. 6. Eight Bells on Thee Facebooks, Battleground Records.
42. Electric Citizen, Higher Time
Before Electric Citizen posted the new track “Evil” in a RidingEasy Records sampler last month, word on the street was the Ohio heavy ’10s rockers were looking to add a full-time keyboardist. That search doesn’t seem to have panned out, but their Higher Time is hotly anticipated anyway as the answer to their 2014 debut, Sateen (review here), which showed the Sabbath worshipers how Sabbath worship is done. Electric Citizen on Thee Facebooks, RidingEasy Records.
43. Elephant Tree, TBA
Full disclosure: I know way more about Elephant Tree‘s upcoming Magnetic Eye Records debut LP than I’m putting in this post. Like that it rules. And why! Stick around. Later this week, I’ll have a track premiere from the album up with a review, but the follow-up to their 2014 debut EP, Theia (review here), has already made it into my best-of-2016 consideration and my best-debuts-of-2016 consideration, and I know it’s only January, but right now it’s the one to beat in the latter category. More to come. Elephant Tree on Thee Facebooks, Magnetic Eye Records.
44. Elevators to the Grateful Sky, Cape Yawn
Sicilian four-piece Elevators to the Grateful Sky signed to HeviSike Recordslast month, and while a March 11 release date for the band’s second album, Cape Yawn seems like a quick turnaround, until I hear otherwise it’s what I’m going with. The band released their debut, Cloud Eye, on Transubstans in 2013, but should fit well with HeviSike‘s growing and diverse roster, being growing and sonically diverse themselves. Elevators to the Grateful Sky on Thee Facebooks, HeviSike Records.
45. Faith in Jane, TBA
I have it on zero authority that Maryland heavy rockers Faith in Jane are working on a new release — I know they jammed with Wino earlier this month, and that’s cool — but having had the chance to see the trio play last September at Vultures of Volume II (review here), I’m including them on this list anyway just because they’re one to watch out for. Deep blues vibes roughing up some of the West Coast’s ’70s fetishizing; way heavy and way swinging. Not technical, but intricate, and thoroughly grooved. Lots of potential there.Faith in Jane on Thee Facebooks, on Bandcamp.
46. Fatso Jetson, TBA
They’re due, right? Sure, the last couple years have brought splits with Farflung (review here), Herba Mate (review here) and Yawning Man, but we’re coming up on six years since Archaic Volumes (review here) was released in 2010, and I’m dying to hear what a new Fatso Jetson album would sound like with Mario Lalli and son Dino, who’s joined the band in the interim, going head-to-head on guitar. Whenever it’s ready, so am I. Fatso Jetson on Thee Facebooks, Fatso Jetson website.
47. Fever Dog, TBA
Could be later in the hear, could be in 2017 that it shows up, but the next offering from Californian desert psych rockers Fever Dog is reportedly now in the writing stage, and given the effectiveness with which 2014’s Second Wind (review here) demonstrated their willingness to mess around with structure and sound alike, their third outing should find them at an important stage in their development. Still young and significantly underrated. Fever Dog on Thee Facebooks, on Bandcamp.
48. The Flying Eyes, Poison the Well / 1969 7″
It’s another year for me and you. Another year with nothin’ to do. Baltimore’s The Flying Eyes are covering The Stooges‘ “1969” (baby) on their new single from H42 Records, mashing it up with “Poison the Well” from their 2011 second album, Done so Wrong (review here). Might be a stopgap on the way to whatever’s next, but should be an interesting listen anyway. The Flying Eyes on Thee Facebooks, H42 Records.
49. Foehammer, TBA
Virginia soul-bashers Foehammer released my favorite EP of 2015 in the form of their Grimoire/Australopithecus self-titled (review here), and I’m eager to know how they’ll expand on the outright brutality of that offering over the course of a full-length, or if they will at all. Entirely possible they’ll just kill, kill, kill the whole way through, and that’s also something I’d like to see them pull off. Either way they go, count me in. Foehammer on Thee Facebooks, Grimoire Records, Australopithecus Records.
50. Fog Cult, The Dying Sun
Initially self-released by the band last year, The Dying Sun is the second full-length by Bethlehem, Pennsylvania, weedian rockers Fog Cult, and it’s set for a vinyl issue via Black Farm Records sometime this year. Not much fixing what isn’t broken about large-scale nod riffs and sludge vibing, but a track like “Altars of the Night” manages to evoke early Alice in Chains-type harmonies without falling into post-Creed cliche, and that in itself is something remarkable. Streaming in full now on their Bandcamp. Fog Cult on Thee Facebooks, Black Farm Records.
51. Foghound, The World Unseen
Might be May before it shows up, but The World Unseen will serve as Maryland heavy rockers Foghound‘s debut on Ripple Music. It’s their second offering behind 2013’s Quick, Dirty and High (review here) and a meaner, leaner take on their sound. The turns are tighter and the groove is more aggressive, but they still sound like they’re having a complete blast. More to come this Spring. Foghound on Thee Facebooks, Ripple Music.
52. Fuzz Evil, TBA
They’ll be playing the Borderland Fuzz Fiesta next month, which I’m proud to say I’ll be attending, and I hope to have a better picture of the debut album by Fuzz Evil‘s arrival date by the end of that if not before. The Arizona band, which shares brothers Wayne and Joseph Rudell with Powered Wig Machine, offered up a split with Chiefs in late 2014 (streamed here) and has piecemealed a track or two since, but the full-length was sent off to mastering in November, so it seems like it’s just a matter of time before it shows up. Fuzz Evil on Thee Facebooks, Fuzz Evil on Bandcamp.
53. John Garcia, TBA
Among the several Garcia-related releases that 2016 might have on offer — he appears no fewer than in three separate entries on this list — the former Kyuss, Slo Born, Unida, Vista Chino, Hermano, etc., vocalist has announced intentions toward a follow-up for his 2014 Napalm Records self-titled solo debut (review here) and an acoustic record, the second of which he reportedly began recording this month. The more the merrier, quite frankly. John Garcia on Thee Facebooks, Napalm Records.
54. Geezer, TBA
According to The Obelisk’s deep-running investigative team — by which I mean I looked at their Thee Facebooks page — New York heavy blues trio Geezer are heading into the studio in a couple weeks to record their next full-length. In 2015, the band offered up the already-noted split with Borracho, The Second Coming of Heavy – Chapter One (review here), via Ripple Music, and they’ve set about refining their chemistry on-stage as they hone their fluid mix of languid vibes and smoked-out shuffle. Looking forward to this one. Geezer on Thee Facebooks, STB Records.
55. Goatess, Purgatory Under New Management
First announced here with a track stream in November, the second album from Chritus Linderson-fronted doomers Goatess, titled Purgatory Under New Management, is due out this March of Svart, which also released the Swedish outfit’s 2013 self-titled debut (review here). I haven’t heard much about it since that track stream, so it may or may not be pushed back, but whatever, I’m just glad they did a second record either way. It’ll be out when it’s out. Goatess on Thee Facebooks, Svart Records.
56. The Golden Grass, TBA
Bring on the good vibes. The sophomore LP from sweet ’70s-style rockers The Golden Grass will be the band’s first for Listenable Records after releasing their self-titled debut (review here) via Svart in 2014. They finished mixing earlier this month, so once it’s mastered it seems like it’s really up to the label’s schedule as to when it will be out. Spring or summer would be my guess, which suits the warmth of their harmonies just fine. The Golden Grass on Thee Facebooks, Listenable Records.
57. Gozu, Revival
After issuing two albums through Small Stone in 2010’s Locust Season (review here) and 2013’s The Fury of a Patient Man (review here), Boston four-piece Gozu have aligned themselves to Ripple Music for the release of Revival, their LP overall. Recorded this past fall, it is easily the band’s tightest and most aggressive outing to-date, but their soulful, melodic core remains, and it is all the more identifiable as their own for that. More to come. Gozu on Thee Facebooks, Ripple Music.
58. Graves at Sea, TBA
I know I’ve used the phrase “More to come” several times already in this post — like right now, in the last entry — but while the full-length debut from reactivated West Coast sludge-doomers Graves at Sea was announced as being completed and ready for release by Relapseback in October, legitimately, more info on that prospect is coming up, so keep an eye out. That’s all I’m at liberty to say at the moment. I may have already said too much. Graves at Sea on Thee Facebooks, Relapse Records.
59. Greenleaf, Rise Above the Meadow
Oh fuck yes. How good is the new Greenleaf? So good. You know how 2014’s Trails and Passes (review here) kind of reset the band and gave a more stripped-down, stage-ready take? Rise Above the Meadow takes that, pushes it forward exponentially, adds some Dozer-style edge to the mix and presents it all with ferocious energy more common to bands on their second album rather than their sixth. Out Feb. 26. Will be a top 10 record in December, no question. Greenleaf on Thee Facebooks, Napalm Records.
60. Heavy Temple, TBA
There have been many changes in Philadelphia trio Heavy Temple since they offered up their self-titled debut EP (review here), or at least a couple involving the lineup of the band. Either way, it’s a revamped trio that last summer discussed a second extended-player for 2016. So far as I know, record label is still to be determined so far as I know — the first EP came out on Ván, which is an immediate endorsement — but they’ve been gaining traction in Philly and they seem to have ambitions beyond that city’s limits, so I can’t imagine someone won’t get on board with it, if they haven’t yet. Heavy Temple on Thee Facebooks, on Bandcamp.
61. Hermano, TBA
In addition to taking part in Hellfest 2016 in Clisson, France, this June, Hermano have put out word of an impending full-length to be released at some point this year. The John Garcia-fronted outfit also featuring bassist Dandy Brown (who will also play the Borderland Fuzz Fiesta solo) last released an album in 2007, which was Into the Exam Room, a striking, mature, engaging heavy rocker that not only showcased Garcia‘s vocals in creative arrangements, but them memorable songs to top and a variety of moods in which to work. Even nine years later, that record was enough to make me look forward to a follow-up. John Garcia on Thee Facebooks, Borderland Fuzz Fiesta.
62. Hexvessel, When We are Death
Out this week as their first release for Century Media, Hexvessel‘s When We are Death pushes beyond the confines of psychedelic folk rock (not that there were so many, particularly as regards their prior output) and into more solidified rock territory, an edge of gothic theatricality making itself felt alongside a stylistically amorphous late-’60s cultistry that doesn’t want to be defined nearly so much as to enthrall. I’ll have a review up one of these days soon, but I feel like I’m still getting to know the record, and that may be a permanent condition. Hexvessel on Thee Facebooks, Century Media.
63. High Priest of Saturn, Son of Earth and Sky
Here is yet another of Feb. 26’s many releases. I haven’t heard it yet, but given the traditionalism of the Norwegian outfit’s first LP and the fact that there are only five tracks on Son of Earth and Sky, it seems fair to expect High Priest of Saturn are letting their material flesh out a bit on their sophomore offering through Svart. Announced just a couple weeks ago, it’s been in the can since 2014, so it may not be all that long before a follow-up makes an appearance as well. High Priest of Saturn on Thee Facebooks, Svart Records.
64. Hijo de la Tormenta, El Manto de la Especie
I dug Argentinian heavy psych trio Hijo de la Tormenta‘s 2014 self-titled debut (review here), and last year, they followed it up with a quick live two-songer called En Vivo en Buenos Aires that found their sound no less engaging on stage than on record. The upcoming El Manto de la Especie was recently announced here, and should hopefully be together and out sometime in the first half of this year. Hijo de la Tormenta on Thee Facebooks, on Bandcamp.
65. Hollow Leg, Crown
Floridian sludgers Hollow Leg also appeared on this list last January, but the difference is not only has their third album been recorded, but it’s been given a solid March 4 release date by Argonauta Records. So I feel a good deal more comfortable saying it’s definitely going to be out, since it exists, has artwork, tracks, a teaser and all that kind of thing. Hollow Leg on Thee Facebooks, Argonauta Records.
66. Holy Grove, Holy Grove
There’s been a buzz around the Pacific Northwest’s fertile ground over the last couple years for Portland, Oregon’s Holy Grove, and on March 18, the soul-rock four-piece will make their full-length debut via Heavy Psych Sounds. The only other release from them I know about to-date is 2014’s Live at Joonior’s (review here), a two-track sampler, so for a lot of listeners outside the band’s regional homebase, this will really be their first experience hearing them. Holy Grove on Thee Facebooks, Heavy Psych Sounds.
67. Holy Serpent, TBA
The hot tip is look for it in August on RidingEasy. Melbourne, Australia’s Holy Serpent shroom-doomed their self-titled debut (review here) last year, and they’ll be going for a fast turnaround on the follow-up in 2016. No audio, info or art or anything like that yet, but I’m told it’ll be late summer, so that’s what I’m going on. Holy Serpent on Thee Facebooks, RidingEasy Records.
68. Inter Arma, TBA
So far, both Inter Arma and Relapse Records have been pretty tight-lipped on specifics when it comes to the Virginian genre-melders’ second LP for the label (third overall), but we know it was recorded by Mikey Allred, that it’s done and due out this summer, and that they’re starting their touring cycle for it even before it comes out. That’s not nothing. Given the laudatory response to 2014’s single-song EP The Cavern, I’d expect this one to get considerable attention both in the pre-release hype and the post-release exclamatory stages. Inter Arma on Thee Facebooks, Relapse Records.
69. Joy, Ride Along!
Announced just last week, Ride Along! will be West Coast jammers Joy‘s second album out through Tee Pee, following the psych spellcasting of 2014’s Under the Spell of… (review here). A few notable guests show up, but I’m looking for the band to distinguish themselves further this time around, find their niche within the post-Earthless sphere of instrumental Cali heavy. They showed some genuine personality on the last one, hope they keep it up. Out April 29. Joy on Thee Facebooks, Tee Pee Records.
70. King Dead, Woe and Judgment
Brooding atmospheres, a kind of post-metallic anxiety and moments of outright physical exertion are spread across Woe and Judgment (review here), the first LP from Pennsylvanian trio King Dead. The band released the album digitally last year on the sly in order to self-finance a vinyl pressing, and after succeeding in that endeavor, they’ll have the record out officially in April or thereabouts. King Dead on Thee Facebooks, on Bandcamp.
71. Lightsabres, TBA
Swedish one-man outfit Lightsabres began its association with HeviSike Records with a tape release for 2014’s sophomore album Spitting Blood (review here). The genre-spanning garage psych project linked up with STB for 2015’s Beheaded, but returns to HeviSike for the follow-up fourth long-player, which is due out March 4 with preorders starting this week. Lightsabres on Thee Facebooks, HeviSike Records.
72. The Linus Pauling Quartet, Ampalanche
Unlike most offerings on this list, Ampalanche by Texas noise rock weirdos the Linus Pauling Quartet is actually out now. Vincebus Eruptum released the vinyl on Jan. 15. It’ll be out digitally in April as well though, and there’s a big ol’ zip file on my desktop waiting to be reviewed — several, actually but bear with me — so sometime between now and then expect to hear more about the album, which is the band’s first full-length since 2012’s Bag of Hammers (review here), despite a slew of singles between. Linus Pauling Quartet on Thee Facebooks, Vincebus Eruptum Recordings.
73. Lo-Pan, TBA
I don’t know what Lo-Pan‘s secret plan is, but I know they were in the studio last week, so whether it’s a new album, a single, an EP, split or whatever, they’ve got something going. It would be a relatively quick turnaround from 2014’s Colossus (review here), but they’ve since added guitarist Adrian Zambrano (also Brujas del Sol) to the lineup, so a burst of creativity isn’t necessarily out of the question. Whatever they’re up to, they’ll be on the road as ever this year, touring with Black Cobra and Bongzilla this spring. Lo-Pan on Thee Facebooks, Small Stone Records.
74. Lord, Awake
As of last September, chaotic Virginian five-piece Lord were mastering their Awake album with an eye on a 2016 release. I’ve been keeping a relatively close eye, and I haven’t heard anything about a meteor crashing into the final tapes (or hard drive) or anything, so I’m just going to assume and hope that it gets out this year. Lord‘s last full-length, Chief (review here), came out in 2011 and they also issued the Alive in Golgotha EP (review here) in 2014. Lord on Thee Faceboks, Heavy Hound Records.
75. Lord Fowl, TBA
More wishful thinking than nailed-down guarantee, perhaps, but Connecticut’s Lord Fowl are due to give an answer to their 2012 Small Stone debut and second album overall, Moon Queen (review here). Last I spoke to the band was the middle of last year and they were writing, but in October, they entered the studio to begin the recording process, so hopefully that means it’ll be out sooner than later. Lord Fowl on Thee Facebooks, Small Stone Records.
76. Low Flying Hawks, Kofuku
Not exactly out of nowhere — apparently out of Los Angeles, or somewhere thereabouts — but Low Flying Hawks‘ forthcoming Magnetic Eye debut, Kofuku, did seem to show up as a sudden blip on the radar. Notable for working with such Melvins-related characters as producer Toshi Kasai, drummer Dale Crover, and bassist Trevor Dunn, the band effectively blends moody post-rock atmospheres with weighted, hypnotic grunge, keeping things dark as seen in their recent video for “Ruins.” Low Flying Hawks on Thee Facebooks, Magnetic Eye Records.
77. Mantar, Ode to the Flame
I’ll admit to being somewhat surprised when Germany’s Mantar signed to Nuclear Blast late last year. Their sound is so raw, so unabashedly extreme in its intent on their 2014 debut, Death by Burning (review here) — which was released by Brutal Panda and Svart both — and something tells me that with a title like Ode to the Flame, their second LP won’t offer much letup in intensity, but having seen the band live (review here), they are unmistakably a force. Mantar on Thee Facebooks, Nuclear Blast Records.
78. Mars Red Sky, Apex III (Praise for the Burning Soul)
The third album from Bordeaux-based heavy psych rockers Mars Red Sky feels like a logical step forward from 2014’s Stranded in Arcadia (review here), but it is very definitely a step forward, in its atmospheric complexity, in the depths of its arrangements and the breadth of its tones. Songs like “Mindreader” and “Under the Hood” exemplify how much the band has progressed since their 2011 self-titled debut (review here), and though it comes preceded by the newly-released Providence EP (review here), that’s really just the beginning of the story about to be told. Mars Red Sky on Thee Facebooks, Listenable Records.
79. Merchant, Suzerain
Finished recording as of Jan. 11, Suzerain will serve as the debut full-length from aggro tone-bearers Merchant, who announced their coming with a 10-minute single called Seismic (review here). Their principal task will be to distinguish themselves from the pack of Melbourne’s crowded heavy underground, but I’m looking forward to finding out how they go about it and where their apparent potential will take them. Merchant on Thee Facebooks, on Bandcamp.
80. Merlin, Electric Children
Kansas City doom rockers Merlin gave a taste of Electric Children back in November with a track premiere for “Bad Trip” and the album itself will see release on March 11 through 4One8 Records on CD. Vinyl will be through Poisoned Mind, who also issued the band’s Christkiller LP (review here) in 2014. To say they have a flair for the dramatic might be understating it, but Merlin do well to keep a reliable core of songwriting underneath. Merlin on Thee Facebooks, 4One8 Records, Poisoned Mind Records.
81. Mondo Drag, The Occultation of Light
Ready for release on — you guessed it — Feb. 26, The Occultation of Light is the third full-length from psych-prog traditionalists Mondo Drag, second via RidingEasy, and it gives a more updated take on their sound than did last year’s self-titled (review here), which was recorded in 2012 with a different lineup. They seem poised to really establish themselves with this record, which was announced in November, and from where I sit, the record is strong enough to do it. Mondo Drag on Thee Facebooks, RidingEasy Records.
82. Mondo Generator, TBA
Nick Oliveri oversaw some lineup changes last fall for Mondo Generator, but to go with that and their European tour, it was announced that the band was working — as a trio now — on their fifth full-length for an eventual 2016 release. That’s not to say it’s showing up tomorrow, but if they were writing in the fall, it doesn’t seem outside the realm of possibility that they could have something out before the year is done. Oliveri‘s last release was the 2014 solo album, Leave Me Alone (streamed here). Mondo Generator on Thee Facebooks, Mondo Generator webstore.
83. Monkey3, TBA
For Swiss instrumentalists Monkey3‘s Nov. 2015 European tour, the band specifically noted they would be playing out new material as a “preview.” I don’t know if that means their next album is recorded or if they were trying stuff out on stage before they went into the studio, but, now signed to Napalm, the band will hopefully in 2016 have a follow-up out for 2013’s The 5th Sun, which was their fourth long-player. Monkey3 on Thee Facebooks, Napalm Records.
84. Monobrow, TBA
Last time Ottawa’s Monobrow mentioned their new LP was Nov. 24. They said, “new album slowly coming together.” So there you go. They reportedly took more time after a Dec. 5 show with Public Animal to work on it, but there’s been no solid word of a release date or even recording date as yet. It’s in progress. Their 2015 single, A Handwritten Letter from the Moon (review here), presented a less bombastic feel than, say, 2014’s Big Sky, Black Horse (review here). We’ll see which impulse ultimately wins out in their sound. Monobrow on Thee Facebooks, on Bandcamp.
85. Mos Generator, TBA
Among the safest bets one might place this year is that Washington’s Mos Generator will release something, but the band, led of course by workaholic guitarist/vocalist Tony Reed, premiered an acoustic take on Easy Evil” back in September that was to be included on an unplugged release through H42 Records, and their last album, Electric Mountain Majesty (review here), came out in 2014, so I wouldn’t be surprised if in addition to continuing to road-dog across the US and likely beyond, they didn’t also find time to punch out a new studio LP. Mos Generator on Thee Facebooks, Listenable Records.
86. Mothership, Live over Freak Valley
True, Mothership released Live over Freak Valley on Jan. 15. You got me. The reason I’ve still got them on this list, however, is because I’m wondering if the Texas heavy rockers might keep the momentum they’ve got on their side after their recent tour with C.O.C., Saviours and Brant Bjork going by jumping back in the studio and belting out a follow-up to 2014’s Mothership II (review here). Even if it’s later in the year, crazier things have happened. Mothership on Thee Facebooks, Ripple Music.
87. Mountain God, TBA
Early last year, bleak Brooklyn atmosludge extremists Mountain God offered their single-song EP, Forest of the Lost (review here), which followed their prior 2013 demo tape, Experimentation on the Unwilling (review here). They’ve been writing all the while, and it seems likely they’ll manage a release of some sort this year as well. Whether that’s their debut full-length, which I’m hoping creeps as much as it shrieks — or at least a little — or something else, I don’t know. Mountain God on Thee Facebooks, on Bandcamp.
88. Mountain Tamer, Mountain Tamer
These West Coast stoner rockers were picked up by Argonauta Recordslast month after their Mtn Tmr Demo (review here) offered psychedelia-via-neo-grunge thrills and classic-minded swing. More to come on this self-titled debut from the Santa Cruz trio, which will be out on Feb. 12. Mountain Tamer on Thee Facebooks, Argonauta Records.
89. Naxatras, II
Sold out in numerous CD and cassette editions following its release in April, the live-recorded self-titled debut from Greek heavy psych rockers Naxatras continued to earn praise throughout the rest of last year. The Thessaloniki-based trio will reportedly release a single as a 10″ before their second long-player surfaces, but both have been recorded and seem like they’re ready to roll out as soon as they’re pressed. I wouldn’t mind if they did a CD re-press of the first album either, but no word on that as of yet. Naxatras on Thee Facebooks, on Bandcamp.
90. Neurosis, TBA
It’s done, it’s in the can, it’s mastered, and it pains me that a new Neurosis album exists somewhere on this planet and I haven’t heard it yet. It’s a downright tragedy. The post-metal progenitors also recently announced a deluxe anniversary boxed set of all their albums to-date (not including the new one) called Strength and Vision, but as ever, their eyes are forward even as they’re celebrating their 30 years as a band. But seriously, if I don’t hear that record soon, I’m gonna cry. Actual tears. Neurosis on Thee Facebooks, Neurot Recordings.
91. Om, TBA
The Al Cisneros-led trio Om were recently in the studio, and while I can’t say for certain it was for a new album to follow-up 2012’s brilliant Advaitic Songs (review here), I sure as hell hope so. Om are another band who were on last year’s list too, so take this for what it is, but I think it’s safe to say Advaitic Songs is one of the strongest albums of the decade so far, and a subsequent outing feels due. Om on Thee Facebooks, Drag City.
92. Oranssi Pazuzu, Värähtelijä
Effective, trance-inducing psychedelic black metal isn’t easily done, and when someone does it as well as Oranssi Pazuzu on Värähtelijä or as Deathspell Omega on Fas – Ite Maledicti, in Ignem Aeternum, it tends to get noticed by a very specific subset of the heavy metal literati. No doubt the same has been and will continue to be the case for the Finnish blackened hypnotists leading up to the Feb. 26 Svart/20 Buck Spin release of Värähtelijä, their fourth album, but the hype is legitimate, and the record crosses vast expanses over the course of an encompassing 69 minutes. Sometimes it’s hard to argue with consensus. Oranssi Pazuzu on Thee Facebooks, 20 Buck Spin, Svart Records.
93. Pale Divine, TBA
Pennsylvanian doomers Pale Divine take their time. Nothing wrong with that, and anyway, it’s only been four years since their last album, Painted Windows Black (review here), came out a full five after 2007’s Cemetery Earth, so, you know, no rush. In 2016, however, they’re coming closer to marking 20 years since the release of their first demo, 1997’s Crimson Tears, which in many ways established the course of their sound, so if a new full-length were to happen this or next year, it would seem only appropriate. Would also be their first since adding Ron McGinnis (Admiral Browning, Bailjack, etc.) on bass several years ago now. Pale Divine on Thee Facebooks, Shadow Kingdom Records.
94. Picaporters, TBA
Buenos Aires-based trio Picaporters posted a new track called “War is Over” on their Bandcamp a while back that will feature on their upcoming album, which is listed on that page as being released on Aug. 1, 2016. Last I heard it was due to be ready in January, so I’m not actually sure when the follow-up to their 2013 debut, Elefantes (review here), will actually be out, but the doomers have leaked a couple songs from it at this point and it sounds right on. Best I can say is keep an eye out. Picaporters on Thee Facebooks, on Bandcamp.
95. Iggy Pop, Post Pop Depression
The immortal badassery of Iggy Pop notwithstanding, his Post Pop Depression probably wouldn’t be in this site’s field of vision were it not for the involvement of Queens of the Stone Age frontman Joshua Homme as guitarist and songwriting collaborator. Announced to much fanfare on The Late Show with Stephen Colbert as being released March 18, the record is intended as a sequel to the Pop/David Bowie collaboration Lust for Life, and since Homme does a pretty mean Bowie I’m sure it’ll be just fine. I thought it was hilarious that the first song released from the album was called “Gardenia.” Iggy Pop website, Queens of the Stone Age on Thee Facebooks.
96. Psychedelic Witchcraft, The Vision
Though they’re still in the process as well of overseeing reissues of their 2015 Black Magic Man EP (review here) — the latest is vinyl through Taxi Driver Records with a bonus Sam Gopal cover that follows a CD through Twin Earth Records — Italian cult rockers Psychedelic Witchcraft have signed to Soulseller Records for the release of their debut long-player, The Vision. It’s due in Spring and can be reasonably expected to generate much fanfare, at least if the response to the prior EP is anything to go by. Psychedelic Witchcraft on Thee Facebooks, Soulseller Records.
97. Radio Moscow, TBA Live Album
Freshly returned from a South American tour, Radio Moscow will head to Australia for a run next month with Kings Destroy and Holy Serpent before they get around to issuing the double-live album they recorded last month in Los Angeles. And then after that, they’ll probably go tour somewhere else, because that’s how they do. The live record arrives at a particularly choice moment, though, since the material from their fourth LP, 2014’s Magical Dirt (review here) translates particularly well to the stage. Also they’re one of the best live bands in the world. That helps too. Radio Moscow on Thee Facebooks, Alive Naturalsound.
98. Red Fang, TBA
I’m twofold intrigued at the recently-announced prospect of Red Fang‘s fourth full-length. Maybe even threefold. First, automatic interest on the basis of their prior work. They’ve certainly earned that. Second, though it would be a mistake to call 2013’s Whales and Leeches (review here) anything other than a marked success, it was put together in a hurry and it sounded like it, so I’m wondering if they’ll be able to stretch out this process more. Third, it’s Ross Robinson producing, and given the commercial breadth of his work across genres, I’m eager to hear what he brings to a genuine heavy rock band. Could be a whole new take on the sound, one way or another. Red Fang on Thee Facebooks, Relapse Records.
99. Rozamov, TBA
Now veterans of Psycho California and tours across the US, having opened for Slayer in their hometown and spread their darkened gospel along the Eastern Seaboard, don’t you think it’s time Boston’s Rozamov put out an album? I know I do. I was in the studio with them for a check-in last August, and what I heard in progress sounded utterly punishing as a follow-up to their split with Deathkings (review here), and that holds true on the five tracks of the finished product as well, but it’s high time it came out. Side note, they recently announced the arrival of new drummer Tranxidis. Pretty sure that’s more recent than the recording though. Rozamov on Thee Facebooks, Rozamov on Bandcamp.
100. Salem’s Pot, TBA
Bizarro riff worshipers Salem’s Pot will have a new full-length out, reportedly, in June 2016. It will be their sophomore LP behind 2014’s …Lurar ut dig på prärien (discussed here), which garnered praise for its atmosphere and riff-rolling methods alike, stoner for stoners and all that. I was fortunate enough to catch the band’s set last year at Roadburn (review here), and they offered thrills in bulk, unabashedly basking in pill-popper groove but keeping a spirit of underlying violence in the material as well, as much drug as droog. A new 7″ titled The Vampire Strikes Back is also due Feb. 15. Salem’s Pot on Thee Facebooks, RidingEasy Records.
101. Samavayo, TBA
Not certain of the timing on the new full-length from Samavayo, who will also play Desertfest Berlin this April, but their 2015 Setalight Records split 10″ with The Grand Astoria (review here) was much-dug around these parts and efficiently presented a diverse take from the Berlin natives, between instrumental stretch-out and more traditional hooks and structure. Their last full-length, Soul Invictus, came out in 2012 as the third in a series of three albums each year (it was their fourth overall), so maybe they needed to catch their breath. Samavayo on Thee Facebooks, Setalight Records.
102. Serpents of Secrecy, TBA
This West Virginia/Virginia/Maryland collaboration between former members of Sixty Watt Shaman — drummer Chuck Dukehart and bassist Rev. Jim Forrester (both also of Foghound) — and King Giant guitarist Todd Ingram did right last summer in picking Ontario-based vocalist Al “Yeti” Bones as the singer for their debut record. Maybe not so much geographically, but no question Bones (formerly of Mister Bones and The Mighty Nimbus) has all the burl their riffs could ask for, and I haven’t heard the album yet, but I’m sure they’re asking for plenty. Serpents of Secrecy on Thee Facebooks, their website.
103. Sinister Haze, Laid Low in the Dust of Death
After issuing their Betrayed by Time EP (review here) via Heavy Slab Records last year, Virginian doombringers Sinister Haze have signed on with STB to issue their debut full-length, Laid Low in the Dust of Death. The trio played Psycho California this May, touring out and back, and also had a two-song self-titled cassette out in 2015 that they took with them on the road, but no word as to whether any of that material will make it onto the album. In fact, no word on if the album is an album. I’m just kind of going by what STB says they have coming up in the next few months. Presumably more info will surface before the release arrives. Sinister Haze on Thee Facebooks, STB Records.
104. -(16)-, TBA
Blunt as ever, Los Angeles/San Diego sludge metallers -(16)- pulled no punches on Dec. 31 when they rang in the New Year by saying, “We will be releasing a new album in 2016.” They finished recording in December, and I’m relatively sure that whatever the new album is called, it’ll be released by Relapse — using the logic of, if you were the label, why wouldn’t you want to put out a new -(16)- album? — but other than that, there’s no info. They said it’s coming this year. Seems like they’d be the ones to know. -(16)- on Thee Facebooks, Relapse Records.
105. Skuggsjá, A Piece for Mind and Mirror
If you know, then you know. I was pleasantly surprised that the Skuggsjá collaboration between Enslaved‘s Ivar Bjørnson and Wardruna‘s Einar Selvik was doing anything at all, let alone putting out a studio release of their commissioned work for the 200th anniversary of Norway’s constitution. A Piece for Mind and Mirror was recently given a March 11 release date through Season of Mist, and while it may be a few who latch on to the combined vision of Bjørnson and Selvik, that’s going to be a lucky few indeed. Skuggsjá on Thee Facebooks, Season of Mist.
106. Slabdragger, Rise of the Dawncrusher
If I’m not mistaken — and to be sure, I probably am — this is the last release on this list coming out on Feb. 26. Slabdragger‘s sophomore LP, Rise of the Dawncrusher is being delivered via Holy Roar, and it comes some six years after their debut, Regress. I remember being at Desertfest in London circa 2012-2013 and hearing people talk up Slabdragger as having significant boot-to-ass potential. Listening to Rise of the Dawncrusher, it’s pretty easy to hear what might’ve given them that impression. Slabdragger on Thee Facebooks, Holy Roar Records.
107. Slomatics, TBA
Yes. Bring on new Slomatics. The sooner the better, the louder the better. The riff-bashing Belfast trio signed to Jon Davis of Conan‘s Black Bow Recordslast November, and quickly set about reissuing their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, and that’s super, but as someone who caught on relatively late to the glories of the band’s 2014 album, Estron (review here), there’s no way I’m letting the next one get by me. Slomatics on Thee Facebooks, Black Bow Records.
108. Snowy Dunes, Atlantis
Stockholm heavy rockers Snowy Dunes left a resonant impression with their 2015 self-titled debut, and on Jan. 13, they unveiled a completely improvised 19-minute track called “Atlantis, Part I” digitally as a precursor to their second LP, Atlantis, which is reportedly set to release next month as they head out on tour with countrymen riffers Skraeckoedlan. The extended piece is impressive in building on the boogie rock of the debut, but how much its atmosphere will ultimately play into the record itself remains to be seen. In any case, a good band who don’t seem like they’ll be under the radar of Europe’s heavy rock scene for much longer. Snowy Dunes on Thee Facebooks, on Bandcamp.
109. Soon, Vol. I
I’ll readily admit my ignorance when it comes to indie rock, so I haven’t heard of The Love Language, Bitter Resolve or Grohg, which are the bands from whose lineups the ungooglable Soon draw, but after checking out a couple demos when the March 4 release of Vol. Iwas announced, I dug the sound anyway. Someone else might have a completely different context for hearing it, but to me it just sounds like interesting, wide-ranging excursions into sonic heft. It’s pretty rare something like that isn’t going to find welcome, as far as I’m concerned. Soon on Thee Facebooks, Temple of Torturous.
110. Spidergawd, III
For the last two years, Norwegian four-piece Spidergawd have been churning out high-grade heavy rock and roll with a vitality that few could come close to matching. 2015’s Spidergawd II (review here) fleshed out elements of psychedelia from their 2014 self-titled debut (review here), and with Spidergawd III, the approach continues to be refined and honed to an even finer point on hooks like “El Corason del Sol” and “The Funeral.” Reportedly out now, so go get it. Spidergawd on Thee Facebooks, Stickman Records, Crispin Glover Records.
111. Spirit Caravan, TBA
By now I’m sure they’ve played “Be the Night” (live video here) at more than just the Vultures of Volume II fest, which was where I saw it, but either way, the first new material from a reunited Spirit Caravan — also kind of a The Obsessed hybrid with Ed Gulli on drums — reignites the collaboration between bassist/vocalist Dave Sherman and guitarist/vocalist Scott “Wino” Weinrich, who since they got back together in 2014 have been reminding audiences of just how vital that one-two punch of tone is to what heavy rock has become over the last decade and a half, in Maryland and beyond. Hope they get a record together, hope it gets out in 2016. Spirit Caravan on Thee Facebooks, Tone Deaf Touring.
112. Spiritual Beggars, Sunrise to Sundown
Back to business for Swedish heavy rockers Spiritual Beggars. The Michael Amott-led troupe recently revealed that they will offer their ninth long-player, Sunrise to Sundown on March 18 (March 25 North America) through InsideOut Music. Turns out they’ll also have a 7″ out concurrently via H42 Records, and they’re set to tour in Europe beginning the week after the album comes out, hitting Desertfest Berlin and more. This will be their third album with vocalist Apollo Papathanasio, but for me, the band is even more about the blend of Amott‘s guitar and the keys of Per Wiberg (ex-Opeth, Candlemass). Doesn’t get much more classic than that. Spiritual Beggars on Thee Facebooks, InsideOut Music.
113. Stone Machine Electric, TBA
The recently-released jammer EP, The Amazing Terror (review here), was intended as a precursor to the next full-length from Stone Machine Electric, which is reportedly now in the process of being recorded. On Jan. 11, they also asked their audience if they’d get behind a crowdfunding campaign to support a vinyl release, so it might be a while before the album actually shows up, but given the response they received, it seems fair to expect a pressing on wax. Stone Machine Electric on Thee Facebooks, on Bandcamp.
114. Suma, The Order of Things
2016 makes it 15 years since Swedish aural devastators Suma got their start, and it’s been six years since their last album, Ashes, was released, but that album continues to gain a following, having been snagged for a re-release on Argonauta Records just a couple weeks ago. The Malmö four-piece were on the US West Coast this month to record The Order of Things with the venerable Billy Anderson — who also helmed Ashes and 2006’s Let the Churches Burn — and they managed to sneak in a couple shows playing with, among others, Brothers of the Sonic Cloth. Now that is a fucking bill. Suma on Thee Facebooks, Suma on Bandcamp.
115. Summoner, TBA
Been a quick three years since Boston neo-prog heavy riffers Summoner released their second album, Atlantian (discussed here), and pushed ahead of the already sprawling, richly arranged approach of their 2012 debut, Phoenix. Well, I saw the band last month, and I’m happy to report they haven’t fallen apart or anything in the interim. I have it on good authority — by which I mean they told me — that they’ll be recording later this year, and while that may or may not mean a 2017 release, I thought it better to serve early notice of their impending third LP. So heads up on that. Summoner on Thee Facebooks, Magnetic Eye Records.
116. Sunnata, Zorya
Announced just after the New Year for an April arrival, Zorya will serve as the second album from Warsaw-based Sunnata, who delivered their debut in 2014 with Climbing the Colossus. I haven’t heard it yet, but the band effectively blended heavy rock groove with progressive ideals on the first outing, and I see no reason to expect anything but a step forward along the same lines this time around. I’ll take it. Sunnata on Thee Facebooks, on Bandcamp.
117. Sun Voyager, TBA
Time for Sun Voyager to do this thing. The New York heavy psych rockers put out one of 2015’s best short releases in their Lazy Daze tape (review here), but after putting themselves on the hook last month in announcing their first album release, it’s time to make that a reality. Like a reality I can listen to. And groove out on. Because that would be awesome. They were also working on a split single with The Mad Doctors for King Pizza, and that’s all well and good so long as it doesn’t delay the full-length. Sun Voyager on Thee Facebooks, King Pizza Records.
118. Swans, TBA
Sometimes it’s too easy to be greedy. Since getting back together at the start of the decade, Swans have released three albums — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’s To be Kind (review here) — as well as older LP reissues, limited-edition live recording, and so on. They’ve toured the world over and have a fourth post-reunion album due out this year, but even so, when Michael Gira said last summer that the next Swans would be the last Swans for the time being — he didn’t even say forever — it was hard not to feel sad. Enjoy yourself, it’s later than you think. Swans on Thee Facebooks, Young God Records.
119. Teacher, TBA
It took Seattle duo Teacher about 49 seconds to get me interested in hearing their forthcoming debut LP. Really less than that, because by the time the vocals kicked in on the recently-posted teaser clip, I was already on board. Whenever it comes out, the album will be released by Devil’s Child Records, which is quickly making a name for itself in the Pacific Northwest with offerings by Mos Generator/Sower and Year of the Cobra. No release date yet, but it sounds like the band are sneaking into a niche of natural, unpretentious swing, and I hope that’s exactly how the record goes. Teacher on Thee Facebooks, Devil’s Child Records.
120. Ulver, ATGCLVLSSCAP
Ulver‘s good-luck-making-a-word-of-this-acronym new album ATGCLVLSSCAP came out last week. Doesn’t mean it wasn’t one of 2016’s most anticipated. Really, anytime this Norwegian post-genre leviathan breathes, it’s an event, and as ATGCLVLSSCAP draws on live-recorded improvisations and explorations, but I’m not sure it’s proper to call it a live record in the is-everybody-having-a-good-time-tonight sense of the phrase. Info is plentiful and descriptive, but vague on the actual nuts and bolts of the makings, and that’s likely not an accident. Mystery is part of the fun. Is everybody having a good time tonight? Ulver on Thee Facebooks, House of Mythology Records.
121. Uzala, TBA
I know, I know. Uzala just put out Live at Roadburn MMXV (review here). Hell, I know that. And that vinyl is reportedly coming soon, but I’ve got the Boise trio on this list because I’m holding out for a studio follow-up to 2013’s Tales of Blood and Fire. I’m not saying it has to happen immediately, or really at all. I’m just saying I’d greatly prefer it if it did. That last album still gets fairly regular plays around here, so it only seems reasonable to call it haunting, and the live record had two new songs on it, so maybe there’s more in progress. Uzala on Thee Facebooks, on Bandcamp.
122. VA, Brown Acid: The Second Trip
How could RidingEasy Records not do a second Brown Acid compilation of lost heavy ’70s freakout and heavy singles, how could they not call it Brown Acid: The Second Trip, and how could they not release it on April 20? The whole thing seems so inevitable it’s astounding. Look for forgotten cuts by Sonny Hugg, Buck, Glass Sun, Ash, the awesomely-monikered Iron Knowledge and a whole host of others you can pretend you knew about beforehand. RidingEasy Records website, on Thee Facebooks.
123. Venomous Maximus, TBA
Like several others on this list, Texas’ Venomous Maximus will take part in the Obelisk-presented Heavy Metal Parking Lot 3 at SXSW (info here). They’re no strangers to awesome bills, having toured this past fall alongside High on Fire to support the release of their second album, Firewalker (review here), which was released on Shadow Kingdom. Looking back on my notes, I’m not sure where I heard they had a new release in the offing, but it would be awesome to see them recapture the momentum they had coming out of their first album, 2012’s raging Beg upon the Light (review here), and a quick turnaround certainly wouldn’t hurt that. Venomous Maximus on Thee Facebooks, Shadow Kingdom Records.
124. Vista Chino, TBA
Maybe most of all the entries posted today, this one is wishful thinking. I saw a couple months back that Vista Chino — the John Garcia and Brant Bjork post-Kyuss Lives! incarnation that wound up with Mike Dean of C.O.C. on bass in a lineup rounded out by guitarist Bruno Fevery — were confirmed for Hellfest in France this summer, and couldn’t help but think about the possibility of a follow-up to their 2013 debut, Peace (review here). Doesn’t seem likely with everyone working on their respective projects, but I’m still hoping those guys get back in the studio someday. Cool they’re playing out at all, if nothing else. Vista Chino on Thee Facebooks, Napalm Records.
125. Vodun, Possession
Preorders are up now for the debut album from London ritual-psych purveyors Vodun, and the Possession vinyl will also mark the first physical offering from Riff Rock Records, the new label spearheaded by Groan bassist Leigh Jones. Clearly someone who knows how to make an entry, Jones brought Vodun on board and issued a digital single last year for “Minos Army” (video here), the band tearing through influences in the metallic, heavy, Afrobeat, psychedelic and beyond. I haven’t heard the full-length yet, but it’s out March 25 and I feel safe guaranteeing that nothing else in 2016 will sound quite like it. Vodun on Thee Facebooks, Riff Rock Records.
126. Vokonis, TBA
After releasing an impressive demo last year called Temple (review here) under the moniker Creedsmen Arise, Swedish riffers Vokonis swapped out bassist, swapped out monikers, signed to respected purveyorOzium Records and set a February entry to hit the studio and record their debut album. They’ve gotten a good response so far, but I think we’re only seeing the beginning of what they can do. Look for more throughout the year. Vokonis on Thee Facebooks, Ozium Records.
127. Wight, Love is Not Only What You Know
German trio-turned-foursome Wight make a bold shift with their upcoming third full-length, Love is Not Only What You Know, digging deep into full-on psychedelic funk on tracks like “Kelele,” “The Love for Life Leads to Reincarnation,” and the opener “Helicopter Mama,” which came out last year as a 7″ single (review here) to herald the change in direction from their jammy 2012 LP, Through the Woods into Deep Water (review here). It’s a fine line to walk, but Wight do right by dancing all over it instead. They’ve also got a limited tape, Live in Athens, due March 7, on which a good portion of the new album is played. Wight on Thee Facebooks, Wight on Bandcamp.
128. Witchskull, The Vast Electric Dark
Word came out last month that Canberra three-piece Witchskull had inked a deal with STB Records. The Aussie band check in with a particularly classically metallic take on heavy rock and doom, as evidenced by their 2015 debut full-length, The Vast Electric Dark, which will serve as their debut vinyl on the NJ-based imprint. Haven’t heard a solid release date for it yet, but “early 2016” was the ballpark figure given, so I guess anytime between now and summer would be a possibility. Witchskull on Thee Facebooks, STB Records.
129. Wo Fat, Midnight Cometh
If Wo Fat‘s Midnight Cometh is not near the top of your most wanted list, you are fucking up. Unless you’re going alphabetically with your list, as I am with mine, in which case their position at #129 makes sense. In whatever organizational method, the coming sixth long-player from these Texan fuzz forerunners deserves the utmost consideration. Their first for Ripple Music after two on Small Stone (info here), Midnight Cometh boasts all the riffy jamming and heavy grooves we’ve come to love from the three-piece, but refines the vocal approach markedly, giving the band even more of a sense of command of the material. Sure to be a highlight of the year. Expect it this summer. Wo Fat on Thee Facebooks, Ripple Music.
130. Worm Ouroboros, TBA
Sorry to say I missed out completely on Worm Ouroboros‘ second album, Come the Thaw, when it was released by Profound Lore in 2012. I’d dug their 2010 self-titled debut (review here), but the next one, yeah, just kind of got by me. Never too late, you might say, and I’d have to agree. Maybe I can sneak in a purchase before the band are finished in the studio for their third record, which they were set to begin recording this month. In any case, will do my best to see that the same doesn’t happen with the new LP as happened with the last one. Hence putting them on this list. What, you thought it was for you? Worm Ouroboros on Thee Facebooks, Profound Lore Records.
131. The Wounded Kings, Visions in Bone
Always fascinating, always changing, UK progressive doomers The Wounded Kings have managed to deliver high-quality material seemingly no matter who is in the lineup. For the forthcoming Visions in Bone, founding guitarist Steve Mills reunites with former/founding vocalist George Birch, who hasn’t been in the band since their 2010 second album, The Shadow over Atlantis (review here). Haven’t seen an official release date yet, but they’re touring in March to support the record, so one might reason a Spring arrival. Not saying I’ve heard it, but the record kills. The Wounded Kings on Thee Facebooks, Candlelight Records.
132. Wretch, TBA
By the last update, The Gates of Slumber offshoot Wretch were starting to record their debut album in December. I don’t know whether that was a long-term process or a couple days in and out of the studio, but I’m betting that at some point in 2016 we’ll find out. Having had the opportunity to see the Indianapolis trio last fall at Vultures of Volume II (review here), I’m glad to report that the ultra-downer vibes that pervaded The Gates of Slumber’s final album, 2011’s The Wretch (review here), have found a new home and that frontman Karl Simon seemed as soulfully, Sabbathly miserable as ever. Wretch on Thee Facebooks.
133. Yawning Man, Live at Maximum Fest
The last couple years of these lists have featured Yawning Man, more specifically the perpetually-in-the-making next studio offering, Gravity is Good for You, but as that may or may not get out this year, it seemed fair to include them for the Go Down Records live outing, Live at Maximum Fest anyway. Put up for preorder in Nov., it was recorded back in 2013 and features the founding lineup of guitarist Gary Arce, bassist Mario Lalli and drummer Alfredo Hernandez; an allstar roster of desert rockers if ever there was one. Yawning Man on Thee Facebooks, Go Down Records.
134. Year of the Cobra, TBA
Somehow, I think it probably won’t be out until later in the year, but if you caught onto Seattle duo Year of the Cobra‘s 2015 EP, The Black Sun (review here) when it was released by Devil’s Child or DHU Records, then you’re probably already hip to the fact that the follow-up LP will be released by STB Records and is set to be recorded by a certain legendary West Coast producer of heavy who used to be based in the Bay Area but has since set up shop in Portland, Oregon. Not naming names or anything, but as you already know, it should rule. Year of the Cobra on Thee Facebooks, STB Records.
135. Young Hunter, TBA
I have been dying to hear the next full-length from Portland-by-way-of-Arizona mood rockers Young Hunter since long before I hosted the premiere of the track “Nothing Shakes the Void” (posted here) back in Oct., and I’m going to continue to be dying to hear it until I actually do, so there. Very, very much looking forward to it, hoping the stars align and whatever else needs to happen happens so it can get out in the early part of the year. We’ll see how it pans out, but last I heard they beat their crowdfunding goal to press it, so something should show up from that. Not soon enough, in any case. Young Hunter on Thee Facebooks, on Bandcamp.
136. Zaum, TBA
The mystical, Eastern-influenced doom trafficked longform by Canadian outfit Zaum has offered immersive vibes across the band’s debut LP, 2014’s Oracles (review here), and their 2015 split with Shooting Guns (review here) and that’s enough to make me look forward to their second album without reservations. The New Brunswick duo started out with a firm idea of what they wanted their sound to do, and I’m hoping they continue to follow that vision where it takes them on the next offering. Summer release expected. Zaum on Thee Facebooks, I Hate Records.
137. Zun, Burial Sunrise
First made public three years ago via the track “Come Through the Water” (posted here), which will also appear on the album, Zun began as a collaboration between guitarist Gary Arce of Yawning Man and vocalist Sera Timms of Ides of Gemini, the album Burial Sunrise also brings in John Garcia as a lead vocal contributor, Mario Lalli, Harper Hug and a host of others (detailed here) for an atmosphere of subdued desert rock that’s unmatched in recent memory, in the desert or out of it. I mean that. This one is essential. Out March 25. Zun on Thee Facebooks, Small Stone Records.
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What’s that you say, 137 releases isn’t enough? You want more? Okay.
Well, I’m pretty sure I just put up news about a new album from Iron Man vocalist Dee Calhoun due in Spring. That’s one. And fucking King Buffalo. Their record will be out not at all soon enough.
And while you’re hawkishly keeping an eye out for the stuff listed above, why not also watch for word from Bongzilla, whose reunion is now well underway, as well as The Body, who have a new collaborative release with Full of Hell coming out, Ice Dragon, who spent the better part of last year curiously silent, and All Them Witches, who probably won’t have a new LP out but are always putting together singles, jams and so on for those aching for a digital fix?
There is a “slim but real” chance of a new Clamfight record in the fall. I’ve heard murmurings indicating Elder are working on a follow-up to 2015’s glorious Lore, and since Baby Woodrose are playing Freak Valley, is it possible they could blow our minds with a new album as well? Conny Ochs has a new one on Exile on Mainstream, Mount Desert could easily follow-up their 2015 two-songer that made such a splash, and EYE — oh EYE! — I’ve been waiting for their new one since last year, so hopes are high it’s out soon. And I didn’t include them because the album already came out in Europe, but The Shrine make their Century Media debut with Rare Breed this week in North America.
Other names to watch for in no particular order or likelihood: Argus, Serpent Throne, Them Bulls, War Drum, Black Lung, Worshipper, The Exploding Eyes Orchestra, 3rd Eye Experience, Switchblade Jesus, Seedy Jeezus, Horsehunter, Bright Curse, It’s Not Night: It’s Space, Black Moon Circle, Bison Machine, Fogg, Electric Moon, Arc of Ascent, Beastwars, Thera Roya, Svartanatt (late Spring), Red Wizard (on STB), and Ripple Music‘s second chapter of The Second Coming of Heavy split series with Supervoid and Red Desert.
Still not enough? Check back soon. Just in the time I was putting this list together, I got emails about new releases from Nicklas Sørensen of Papir, Mr. Bison, Instant Boner, Duckhunters, Lord Summerisle and Sonic Mass — and others. Point is there’s always more to come.
Posted in Whathaveyou on December 29th, 2015 by JJ Koczan
Baltimore experimental duo Darsombra — not satisfied with the 109 different cities they played across the US earlier this year — are playing three gigs this week, sneaking two more dates in before 2016 hits and then kicking off the New Year in hometown style at The Crown. The two-piece of guitarist Brian Daniloski and synthesist/vocalist/visual artist Ann Everton had noted intent to make a new album after finishing that mammoth, three-leg run, and I see no reason that can’t pan out as noted, but it’s pretty telling of Darsombra as a project that basically wants to do as much as humanly possible all the time that they can’t get out of 2015 without playing just these last couple shows. I dig that. A lot.
Info and whatnot:
Transcendental audio/visual rock duo Darsombra have packed and prepared their shuttle for launch, readying themselves for journey to inner space. Brian Daniloski (a veteran of metal bands Meatjack and Trephine), pilots, navigates, and controls the sound of Darsombra, alternating between searing guitar riffs, leads, loops, mammoth vocal swells, and soundscapes. He takes one part metal, one part psychedelic rock, one part experimental, and dashes of prog, glam, and krautrock, to soundtrack the voyage. Filmmaker Ann Everton joins him on vocals, synthesizer, and percussion, as well as stewarding us along the way by projecting her kinetic, psychotropic videos specifically composed to the music, engulfing the audience within the trip.
Following releases on At A Loss, Public Guilt, Underradar and others, Darsombra worked with Exile On Mainstream for the release of Climax Community in 2012. The three tracks on the LP traverse forty-five minutes of the outfit’s unique, slow-building, organic transcendental rock. Recent tours in the U.S. and Europe have paired Darsombra with Wino, Jucifer, Thrones, Floor, and Stinking Lizaveta.
This week, Darsombra plays our last shows of 2015/first show of 2016:
Dec 29 – Asheville NC @ Static Age Records w/ Nate Hall Dec 30 – Norfolk VA @ Electroganic w/ Wandcarver, Clary Sage Jan 1 – Baltimore MD @ The Crown w/ Height, Gavin Riley Smoke Machine, Hemlock Ernst, EU1OGY, DJ Secret Weapon Dave
[Kristian Harting’s Summer of Crush is out today via Exile on Mainstream. Press play above to stream it in full.]
Almost on a per-song basis, Summer of Crush presents its audience with a lesson in how to capture scope within a solo performance. The album is the second for Copenhagen singer-songwriter Kristian Harting after 2014’s Float, which was also released via respected purveyors of the experimental Exile on Mainstream, and its 12 tracks/35 minutes are simultaneously intimate and grand. That’s rare enough, but Harting is a genuine solo act — he wrote, performed and recorded Summer of Crush entirely on its own, and given the breadth he shows, there’s no option in listening except to read purpose behind each of the turns in style or mood. Foot-pedaled synth and acoustic guitar intertwine with progressive folk without losing emotional resonance, and though a minute-long cut like “Cannibals” comes off minimal in its intent, it furthers the context of the record as a whole, which remains immersive, fluid and engaging, wherever Harting decides to go or is guided by a given track.
Songs feel built in the studio — “Ship of Fools” has percussion, layers synth, atmospheric guitar noise and a bassline — but Harting is never trying to trick his audience into thinking there’s a full band at work. Summer of Crush deftly retains its solo feel and is stronger for it, a solitary mood persistent across two sides constructed for vinyl but united by themes of travel, departure, movement. From the opening duo, “Traveller” [sic] and “Temporary Rooms,” Harting captures a moment as fleeting as the season from which the record takes its name, and as he careens from one piece into the next, it’s in the resolution of the final three tracks that he makes plain the directions he’s taking.
Hell, even the album’s cover brings a compass to mind, and with a heart at the center, it’s true to the nature of Summer of Crush as a whole. Its approach to beauty is unabashed, and as “Traveller” begins with soft acoustic pluck and deeper-mixed shaker, the nod toward complexity is subtle but by no means absent. Harting isn’t through the first song before a Morricone guitar echoes over top his acoustic, but “Temporary Rooms,” with a synth line that feels drawn from the teenage dramas of ’80s New Wave and an echoing low end guitar to match in the style of Angelo Badalamenti circa Twin Peaks — both set to an uptempo drum beat — is an immediate expansion. Harting himself is the unifying theme between the two songs, but he backs himself vocally on the second cut in a way the opener avoided, and sets forth a richness that “White Spirits” continues to build upon with an early drone-folk pulse that later gives way to full-on abrasive noise.
Miraculously, the chorus reemerges, unscathed from that momentary assault, and after a final moment of sweetness, “High High” taps coffeehouse lyrical cleverness and a more forward vocal presence, almost reminding of Michael Gira in Angels of Light during the verses, the second of which has an insistent kind of alarm sound deep under the melodic wash, just enough to be jarring until finally Harting hits the snooze button and lulls the listener back away from consciousness and toward the fuzzier, almost bouncing “I am You 2.” I don’t know if there was a first “I am You,” or if this is it — it wasn’t on Float — but the apparent sequel marries a wall of distorted guitar with a sweet sing-along, reveling in the contrast over a simple, programmed-sounding drum beat as “I am You 2” begins a section of shorter songs that moves forward through “Spirits Revisited,” an answer perhaps to “White Spirits” that gracefully blends noise, low-end synth and post-rock guitar airiness for a brief instrumental, and into “Cannibals,” which draws back the arrangement to a foundation of acoustic guitar and vocals. Like “Traveller” and “Temporary Rooms,” it is no accident that “Spirits Revisited” and “Cannibals” are paired up on the CD, though they’re also where the break in vinyl sides occurs.
There isn’t a single track on Summer of Crush that speaks to the entirety of the album — that is, no one-song summary of the overall scope — but “Ship of Fools” is a highlight anyway for its otherworldly echoing jangle, the intensity of its percussion, the way its synth line brings horns to mind and the edge of judgment in Harting‘s voice as he begins with the lines, “Eightballs of fine white powder/Snake oil and alchemy/Bottles of ancient poison/Portions of sweet honey,” before making a memorable hook out of “I know you know you know I know, you’re gambling/You know I know you know I know, we’re gambling” over a tense bassline and odd spurts of synth. Skillfully, Harting brings “Ship of Fools” to an apex of synthesized wash, and “Digging up Graves” takes hold with soft vocals, bass and far-off backing “ooohs,” but kicks at its midpoint into fuller-thrust bursting that, whether you call it post-punk or black metal, is brilliantly blown-out. Like a dream, it just happens and then is gone.
It cuts out and while one questions the reality of what they just heard, Harting is back to a soft verse like it was nothing, did you hear something? The quiet finish leads the way into the first piece of Summer of Crush‘s closing trio, which as noted, are where Harting notes his directions. Literally. “South North Passage,” “Soul Sister” and “East West Door” are the record’s final movement, and they feel linked in sound as much as the impression of the cardinal navigation with “Soul Sister” at the core, very much like the heart on the cover. “South North Passage” has vocals deep down — maybe recorded the same time as the guitar lead in the second half? — it but unfolds an atmospheric breadth behind a haunting central figure, while “Soul Sister” feels more straightforward from the start, at least within the context of Summer of Crush. Acoustic and dreamy electric guitars meet with keyboards, and a return-t0-earth vocal from Harting is presented in a synth-backed chorus. Near the end, the chorus of “I am You 2” gets a revisit, and as though just in case the album’s underlying symmetry wasn’t laid bare enough, Harting brings back the Morricone ramble in his guitar for “East West Door,” a soft programmed beat behind giving one last sense of motion as Summer of Crush marches to its finish.
Worth noting in summary that as Kristian Harting‘s second album makes its way through these varied realizations, it does so with little to no fullness of self. That is to say, while there’s going to be a certain amount of indulgence in the creative process — it’s a solo record; if there wasn’t, it wouldn’t exist — Summer of Crush is too busy actually being vibrant to revel in its vibrancy. Add to that the fact that it’s such a quick listen front-to-back and that even its longest cut is well under five minutes, and a listener could hardly accuse Harting of being pretentious. Rather, Summer of Crush arrives as the product of a genuinely open, individual creative process, and one that only seems geared toward growth. It is an even more satisfying experience on repeat visits.
