Posted in Features on December 20th, 2018 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.
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It just wouldn’t be a year if it wasn’t completely overwhelming, right?
2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.
But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.
I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.
Thanks in advance for reading. Here we go:
[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]
Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.
The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.
Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.
There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universewas in every way a worthy successor.
It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.
Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.
I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.
It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.
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22. Spaceslug, Eye the Tide
Released by BSFD Records and Oak Island Records. Reviewed June 29.
Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.
Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.
Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.
The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.
The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.
“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.
No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike Dean, Woody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.
It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.
It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.
After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.
The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.
You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.
Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.
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10. Gozu, Equilibrium
Released by Blacklight Media / Metal Blade Records. Reviewed April 4.
Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.
The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.
Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.
Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.
Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.
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5. YOB, Our Raw Heart
Released by Relapse Records. Reviewed June 7.
Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.
I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.
They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.
In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.
Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.
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The Next 20
Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.
31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney
Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.
Honorable Mention
This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:
Alms, Act One
Ape Machine, Darker Seas
Belzebong, Light the Dankness
Black Moon Circle, Psychedelic Spacelord
Blackwater Holylight, Blackwater Holylight
Bong, Thought and Existence
Carpet, About Rooms and Elephants
Churchburn, None Shall Live… The Hymns of Misery
Deadbird, III: The Forest Within the Tree
Dead Meadow, The Nothing They Need
Death Alley, Superbia
Drug Cult, Drug Cult
Dunbarrow, II
Electric Citizen, Helltown
Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
Evoken, Hypnagogia
Funeral Horse, Psalms for the Mourning
Fuzz Evil, High on You
Graven, Heirs of Discord
Graveyard, Peace
Green Dragon, Green Dragon
Green Druid, Ashen Blood
Here Lies Man, You Will Know Nothing
High Priestess, High Priestess
Horehound, Holocene
IAH, II
JIRM, Surge ex Monumentis
Killer Boogie, Acid Cream
Lonely Kamel, Death’s Head Hawkmoth
MaidaVale, Madness is Too Pure
Moab, Trough
Mountain Dust, Seven Storms
Mouth, Floating
Mr. Plow, Maintain Radio Silence
T.G. Olson, Earthen Pyramid
Onségen Ensemble, Duel
Orango, Evergreen
Owl, Nights in Distortion
Pushy, Hard Wish
Rifflord, 7 Cremation Ground/Meditation
River Cult, Halcyon Daze
Rotor, Sechs
Somali Yacht Club, The Sea
Sumac, Love in Shadow
Sundrifter, Visitations
Svvamp, Svvamp II
Thou, Magus
Thunder Horse, Thunder Horse
Weedpecker, III
Special Note
Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:
Alice in Chains, Rainier Fog
Judas Priest, Firepower
Best Short Release of the Year
Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:
Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:
All Them Witches, Lost and Found
Alunah, Amber & Gold
Canyon, Mk II
Demon Head, The Resistence
Destroyer of Light, Hopeless
Ecstatic Vision, Under the Influence
Godmaker & Somnuri, Split
Holy Mushroom, Blood and Soul
King Buffalo, Repeater
Minsk & Zatokrev, Split
Sleep, Leagues Beneath
Stonus, Lunar Eclipse
Sundecay, Gale
Looking Forward
A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:
Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.
Okay, That’s It
Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.
Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.
So thanks.
If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.
And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.
Fires glowing in the distance as a lone ship sails troubled waters by moonlight, a single figure visible in the glow — you might say the Luciana Nedelea cover art of Foehammer‘s Australopithecus Records-delivered debut full-length, Second Sight, is appropriate for the album itself. The Virginian outfit might’ve also gone with someone peeling their face off or a fire burning away an ancient forest, but if the idea is conveying a sense of warning or foreboding, they got there anyhow. And fair enough. Foehammer‘s 2015 self-titled EP (review here) was unbridled in its rumbling devastation, and Second Sight — which is actually their third release, if you count a prior 2014 demo — either builds on the accomplishments of its predecessor or slow-motion-wrecking-ball smashes them to pieces, depending on how you want to look at it.
Their violence is wrought in the traditional death-doom heightened language: in opener “Black Númenórean,” the sailor with the tattered sails is “in Carn Dûm [let’s assume that’s pronounced “Doom” — ed.] amongst his kinsmen and his thralls” as he tells of a coming war, and the three-piece of bassist/vocalist Jay Cardinell (ex-Durga Temple/Gradius), guitarist Joe Cox (ex-Gradius) and drummer Ben “Vang” Blanton (ex-VOG) — who seems since to be out of the band since the album was made and replaced by Ben Price (also At the Graves) — don’t limit the dark prophecy just to the opener. Likewise, 16-minute closer “The Seer” gives itself to bleak visions of things to come. And the accompanying guitar, bass and drums could hardly be more evocative of that sentiment either. Anyone who heard the self-titled and lived to tell the tale can indeed speak to the level of tonal onslaught Foehammer hurled forth like they were loading bricks to hand-build an endtime temple, and Second Sight keeps the lurk ‘n’ lurch vision of überdoom central to the proceedings. In four songs and 46 minutes, they cast a pall over the spirit that extends even beyond the maddeningly thick tones and slow rumbling to a tension that seems to cry out for release all the while and is flatly denied.
Basically, they just let the pressure build in your bones until you want to send them an email begging mercy. “Dear sirs; Please. I only have one skull and I need it to keep my brain from falling out of my ear,” and so on. I’m sure they’d get back and be really polite about it, but that certainly doesn’t stop Second Sight‘s visceral bludgeoning, and if all of this sounds like hyperbole, so do the tracks themselves. Hyperbolic doom. Extreme extremity. They offer no letup when it comes to the excruciating pace of “Black Númenórean” (10:15) or “Recurring Grave” (7:54), “Axis Mundi” (11:17) and “The Seer” (16:41) which follow, and though it doesn’t necessarily seem to be a concept record in the sense of telling a single story — that is, there’s no wizard journeying across a barren tundra in search of craft beer or whatever it is people write concept albums about these days — there’s no question the songs tie together in flow and are united in their focus on brutality. Moments like the quiet intro to “Axis Mundi” after the blunt force of “Recurring Grave” bolster the darkened atmosphere overall, and as Foehammer roll out the overwhelming back-to-back lumber of the album’s two longest tracks in “Axis Mundi” and “The Seer,” one can almost feel the sound waves vibrating in their stomach, regardless of the actual volume.
Cox takes an echoing solo at the end of the former, but even that feels viscous in its tone, and by the time Foehammer get that far, the die is well cast as regards overarching ambience. As much as Cardinell and Cox both deserve praise for bringing such consuming low-end to bear, likewise the job of engineer/mixer Kevin Bernsten at Developing Nations in Baltimore, and the mastering of James Plotkin deserve to be highlighted, because for as much of Second Sight feels willfully given over to noise, feedback, and sustained low-tone wash, there’s no actual lack of clarity either in sound or in purpose. Foehammer capture every bit of their specific kind of aural cruelty in its full bloom, and while even in its post-midpoint stretch of minimalism, one wouldn’t necessarily call “The Seer” clean, its sound 100 percent matches the band’s intention toward the outermost reaches of the imagination’s nightmarish manifestations.
That means conjuring a breadth that might seem contradictory to some of the more claustrophobic effects of such tonal thickness or the unremitting gurgles from Cardinell on vocals that render the lyrics largely decipherable without a cheat sheet, but it’s not. If Foehammer are world-building, they’re just creating a space to tear down. But that doesn’t mean the space never existed. To wit, from the ultra-slow unfolding of “Black Númenórean” onward through the throat-singing chants in “The Seer,” Second Sight seems to carry the listener ever downward. Its movement varies some in tempo, but the ambience is central to the mission, and that is never compromised regardless of the cosmic moments of flourish that at times remind of YOB at their heaviest. In hearing it, I have to remind myself it’s the band’s first long-player. They’ve been around five years, and even the EP seemed to arrive with a sense that Foehammer knew what they were doing, but Second Sight is on another level entirely. It’s not just that Cox, Cardinell and Blanton manage to stay within such grueling tempos or that they bring such a sense of max-volume execution to what’s still a headphone-worthy offering, but that every step they take, even unto the last noisy fade of the closer, holds meaning.
As they seem to dig deeper and deeper into “Axis Mundi” after “Recurring Grave” — which if I’m not mistaken is actually the speediest inclusion at a pace of “really quite slow” — Foehammer are in complete control of the churn they wield. I know that no matter how big or menacing it sounds it’s still just guitar, bass and drums, but for something where the aesthetic is so much a part of the statement being made, there’s an underlying current of songwriting that provides the assurance Second Sight won’t simply deconstruct itself along with whatever else should happen to be in its plodding path. No doubt in my mind it’s one of the best debut albums of 2018, but even such a designation would seem to minimize the achievements in these tracks. Among the best albums of the year, period, and still hopefully only the beginning of the horrors Foehammer will ultimately realize.
Posted in Whathaveyou on March 20th, 2017 by JJ Koczan
Stop me if I’ve said this before, but Shadow Woods Metal Fest 2017 has be as close to an absolute no-brainer as I’ve ever seen in terms of attendance. I mean, so you’re gonna go out to the woods and listen to a bunch of meticulously curated doom and folk and black metal and psych for a weekend, camp out and top the whole thing off with a Panopticon set under starlight? Jesus. How much more could you really ask of a live event than that?
Cheers to Mary Spiro on a job incredibly done with this lineup. I don’t even know what else to say about it other than it’s pretty unreal and there’s nothing else like it happening that I know of in the US or maybe even anywhere else. Seriously. Who’s pulling bands from both coasts and Europe across genres like this for an outdoor event the vibe of which you can already feel just from the press release? Who’s got Castle on the same bill with West Virginian folk black metal?
It’s not all my bag, but I tip my hat:
Shadow Woods Metal Fest 2017 – Official Lineup Announcement
SHADOW WOODS METAL FEST, the Mid-Atlantic’s only open-air camping heavy metal gathering, is pleased to announce the complete lineup for the 2017 festival, which runs from Thursday, September 14th through Sunday, September 17th at White Hall, Maryland’s Camp Hidden Valley. For the third year, the festival will host 39 of the undergrounds leading bands, representing all genres and subgenres of heavy metal.
Over three days, the four stages of SHADOW WOODS METAL FEST will come to life inside the woodsy landscape of Camp Hidden Valley. “Every year has been special, but I am just particularly stoked about what we have curated”, says Mary Spiro, organizer of Shadow Woods Productions LLC. “I am extremely honored to present the lineup this year because I think it reflects the best of the underground metal scene as well as some of the personal favorites of the festival organizers. Several of these bands, I have been trying to host at the fest since the first year and I am happy to finally have them play.”
Beginning on Thursday night, the Pavilion stage will light up and set the tone to the weekend with all-acoustic and intimate performances with Texas dark-folk maudit AMIGO THE DEVIL, Portland’s dark-folk soloist AERIAL RUIN and West Virginia’s Appalachian folk duo, NECHOCHWEN. Friday includes exclusive performances by Oregon’s haunting black metal band UADA and Georgia’s tortured blackened death quartet WITHERED.
On Saturday, as darkness falls over the Woodland Stage, atmospheric blackened folk giants PANTOPICON will play an exclusive, 70-minute set under the backdrop of the stars. Brooklyn black metal titans WOE, Rhode Island sludgy-doom foursome CHURCHBURN, mysterious blackened grind band DEAD IN THE MANGER (one of two east coast shows), and San Francisco extreme death quintet VASTUM (one of two east coast shows), will all deliver exclusive performances to SHADOW WOODS METAL FEST.
SHADOW WOODS METAL FEST is proud to be sponsored this year by Moxie Bookkeeping and Tridroid Records and to receive promotional support from Grime Studios, Leftover Pizza Productions, and Perfect World Productions.
SHADOW WOODS METAL FEST 2017 Complete Lineup (in alpha order): Aerial Ruin – Portland, OR (Ritual folk) All Hell – Asheville, NC (Crusty black metal) Amigo the Devil – Spicewood, TX (Dark folk) ** Bearstorm – Richmond, VA (Blackened southern death-prog) Black Table – NY/NJ (Progressive black metal) Castle – San Francisco, CA (Heavy doom metal) Churchburn – Pawtucket, RI (Blackened sludge) ** Cut the Architect’s Hand – Richmond, VA (Death metal) Dark Water Transit – Baltimore, MD (Instrumental heavy rock) Dead in the Manger – coast to coast – (Blackened grind) ** Dee Calhoun – Frederick, MD (Acoustic; vocalist of Iron Man) Earthling – Richmond, VA (Thrash metal) Elagabalus – Baltimore, MD (Experimental metal 2-piece) Erlkonig – Baltimore, MD (Blackened death metal) Fiakra – Freehold, NJ (LARPower metal) Foehammer – Annandale, VA (Sludge) Green Elder/Paul Ravenwood – Johnson City, TN – (Nature folk) Heavy Temple – Philadelphia, PA (Psychedelic-doomed rock) Hexis – Copenhagen, Denmark (Hardcore/black metal) Human Bodies – Boston, MA (Crusty blackened hardcore) Immaculate Deception – Baltimore, MD (Death metal) Infera Bruo – Boston, MA (Black metal) Kyoty – Dover, NH – (Instrumental post metal) Mome – Portland, ME (Power psych rock) Nechochwen “unplugged” – Wheeling, WV (Appalachian acoustic folk metal) ** Night Raids – Philadelphia, PA (Thrash/grind) Panopticon – KY/MN (Black folk metal) ** Percussor – PA/DE (Old school death metal) Seasick Gladiator – Washington, DC (Experimental doom prog) Sloth Herder – PA/VA/MD (Sludge grind) Take to the Woods/Jo Cosgrove – Baltimore, MD (Dark folk) The Owls Are Not What They Seem – York, PA (Ritual noise) Toke – Cape Fear, NC (Stoner doom) Uada – Portland, OR (Black metal) ** Vastum – San Francisco, CA (Death metal) ** Withered -Atlanta, GA (Black/death metal) ** Woe – Brooklyn, NY (Black metal) ** Worthless- NY/NJ (Black metal) ** ZUD – Portland, ME (Black and blues metal) ** EXCLUSIVE PERFORMANCES
SHADOW WOODS METAL FEST DETAILS Location: Camp Hidden Valley White Hall, Maryland
Ticket Link: http://shadowwoodsmetalfest2017.bpt.me Price: $175 Full weekend package (Thursday evening-Sunday morning) including all musical events and camping Cabins: $20 bed (shared cabin)
Shadow Woods Metal Fest is 21+ Food & beverage vendors: Various food, beverage, and alcohol vendors will be on site with both vegan, vegetarian, and omnivore selections. No outside alcohol is permitted. Marketplace vendors: Multiple record labels, distros, and artisans will be located in the Hall. For more information on becoming a vendor, contact shadow.woods.llc@gmail.com
PROMOTIONAL ARTWORK: Brian Sheehan PROMOTIONAL VIDEO: Mary Spiro
Posted in Whathaveyou on February 17th, 2017 by JJ Koczan
True to what’s been their mission all along, the lineup thus far unveiled for Shadow Woods Metal Fest 3 offers diversity, extremity of various stripes, and an immediate sense of vibe that feels once again perfectly suited to its outdoor, campground setting in White Hall, Maryland. From Aerial Ruin‘s dark folk to the deathly push of Percussor, to the New England psychedelia of MoMe — previously unknown to me, which seems like dereliction of duty on my part — and beyond with familiar faces like Virginian doomcrushers Foehammer, an acoustic set from Dee Calhoun of Iron Man, North Carolinian sludgers Toke and Philadelphia’s Heavy Temple, it’s got enough intrigue even among the names already announced to have one checking the calendar, and as earlybird tickets go on sale today, they’re only likely to build from here. Kudos, as ever, to Mary Spiro on putting it together.
What info is out is below, as well as the link to where you can get your tickets. If you can do that, you probably should:
Shadow Woods Metal Fest 3
September 14 – September 17
Camp Hidden Valley
White Hall, Maryland 21611
The best weekend of your life is back for a third year with an even more diverse lineup than ever. Nearly 40 bands over three days of camping in the woods. See below for important details!
Schedule: Several acoustic sets on Thursday evening in the Pavilion only. Full production with three alternating stages Friday and Saturday only from noon til approximately midnight each night. No performances on Sunday (as per usual).
BANDS ANNOUNCED SO FAR (MORE TBA) Aerial Ruin – Portland, OR (ritual folk) Amigo the Devil – Spicewood, TX (murderfolk; TWO EXCLUSIVE and DIFFERENT SETS). Castle (San Francisco) Dee Calhoun (Frederick, MD) Bearstorm – Richmond, VA (blackened southern deathprog) Black Table (NY/NJ) Elagabalus – Baltimore, MD (experimental metal 2-piece) Foehammer (Northern Virginia) Green Elder /Paul Ravenwood (Johnson City, TN) Heavy Temple (Philadelphia) Hexis (Copenhagen, Denmark) Human Bodies (Boston) blacked hardcore Mome (Portland, ME) psych rock Panopticon – exclusive performance (KY/MN) Percussor – Philadelphia/Wilmington (old school death metal) Seasick Gladiator – Washington, DC (experimental doom prog) The Owls Are Not What They Seem (York, PA) Toke (Cape Fear, NC) Vastum – one of two East Coast performances (San Francisco) ZUD – black and blues rock and roll (Portland, ME)
IMPORTANT THINGS TO REMEMBER: ** Earlybird tickets (which are full Thursday – Sunday passes at a discount over the regular price and include non reserved camping) go on sale at Noon Friday, Feb 17. ** There are NO RESERVED CAMPING AREAS; it is camp where you may in designated areas. ** Cabin bed tickets will be on sale FRIDAY. (The cabins are NOT private; they are bunkhouse summer camp style.) ** We remain at our previous location in White Hall, MD. ** An updated FAQ will appear soon on our website. www.shadowwoodsmetalfest.com ** Once you buy your ticket you will be able to join a private SWMF FB group. READ THE EMAIL THAT CONFIRMS YOUR TICKET PURCHASE FOR DETAILS. ** You may choose how your tickets are delivered to you: WILL CALL (name at the door only); print at home; or physical tickets that will be mailed to you. ** THE EVENT IS 21 and up! ** The event is NOT BYOB. Do not bring outside alcohol. Beer and wine will be for sale. ** Food vendors will be on site ** Marketplace vendors will be in the HALL as usual. If you are interested in vending email Shadow.Woods.LLC@gmail.com with information and links about what you want to sell. ** Thursday night (Sept 14) will feature an acoustic only stage where several groups will perform in an intimate setting. ** On Friday and Saturday (September 15 and 16), the fest will be in full production with three stages running from noon to midnight each day. ** There are NO BANDS on Sunday. That’s the day you pack up and go home.
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 Features on December 29th, 2015 by JJ Koczan
Please note: This list is not culled in any way from the Readers Poll, which is ongoing. If you haven’t yet contributed your favorites of 2015 to that, please do.
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What’s a short release? Anything that’s not a full-length. I’ve done this list in the past and given a small list — The Top 20 EPs, Splits, Demos and Singles, or whatever — but “Short Releases” seemed more concise, and believe it or not, that’s something I shoot for.
Essentially, what we’re taking a look at here is everything else a band might put out in a given year. No question that albums are where the greatest impact is made over the longer term, but from landmark 7″s to EPs that provide crucial experiments or serve notice of bands solidifying their sound or marking pivotal first impressions, the shorter offerings have tremendous value, and it’s worth considering them on their own merit, rather than in comparison to LPs directly.
I know for a fact that there are releases I’ve missed here. Particularly among the Bandcamp-only demos, there’s just so much out there that for any one person to keep up with all of it is even more impossible than it’s ever been before. Before you berate me immediately with, “Hey you forgot X Band!” and start throwing tomatoes at your computer or mobile device screen, please keep in mind The Obelisk is run by a single individual and there are only so many hours in the day. As always, I do the best I can.
Here we go:
The Obelisk Presents: The Top 20 Short Releases of 2015
1. Foehammer, Foehammer EP
2. Mos Generator & Stubb, The Theory of Light and Matter Split
3. Sun Voyager, Lazy Daze EP
4. All Them Witches, A Sweet Release
5. Geezer & Borracho, The Second Coming of Heavy: Chapter 1 Split
6. Fatso Jetson & Farflung, Split
7. Eggnogg & Borracho, Sludgy Erna Bastard Split 7″
8. Shroud Eater, Face the Master EP
9. Bedroom Rehab Corporation, Fortunate Some EP
10. Stars that Move, Demo Songs
11. Wight, Helicopter Mama 7″
12. Thera Roya, Unraveling EP
13. Shatner, EP
14. Cities of Mars, Cyclopean Ritual EP
15. Pyramidal & Domo, Jams from the Sun Split
16. Sandrider & Kinski, Split
17. Mount Hush, Low and Behold! EP
18. Godhunter & Amigo the Devil, The Outer Dark Split
19. Groan, Highrospliffics EP
20. Rozamov & Deathkings, Split
Honorable Mention
The Sunburst EP by Valley continues to resonate, as do splits from Goya & Wounded Giant and King Buffalo & Lé Betre. plus Derelics‘ Introducing, Time Rift‘s demo, the Carpet 7″, Watchtower‘s EP, Eternal Black‘s debut demo, Dorre‘s half-hour single One Collapsed at the Altar, and Mount Desert‘s two-songer all deserve serious consideration, as well I’m sure as many others.
Notes
It’s something of a break in routine for me to put any kind of debut in a top spot (other, of course, than on the list of debuts), but Foehammer simply would not be denied. The Virginia trio’s three-song EP release on Grimoire Records (LP on Australopithecus Records), it was a self-titled that seemed to be telling you the name of the band twice as if in a warning against forgetting it. And that warning was one to heed. Foehammer‘s first outing brought the Doom Capitol region to new heights of extremity, and while at over half-an-hour long it could’ve just as easily have been called a full-length, part of the overarching threat is what the band will bring to bear when they actually get around to their first LP.
A good number of splits included here, with Mos Generator and Stubb‘s The Theory of Light and Matter (HeviSike Records), Geezer and Borracho‘s The Second Coming of Heavy: Chapter 1 (launching a series for Ripple Music), Fatso Jetson and Farflung‘s joint release (on Heavy Psych Sounds) and Eggnogg and Borracho‘s Sludgy Erna Bastard (on Palaver Records) all cracking the top 10. No coincidence that Washington D.C. heavy riffers Borracho show up twice in that mix. As Pyramidal and Domo‘s blissful Jams from the Sun, Sandrider and Kinski‘s one-two, Godhunter and Amigo the Devil‘s Battleground Records collaboration and Rozamov and Deathkings‘ joint single feature between #11-20, a total of eight out of the full included 20 releases here are splits. Last year it was only five.
Whether that means the form is growing in an attempt to capture fickle social-media-age attention spans while cutting individual vinyl pressing costs, I couldn’t say — likely a combination of the two and more besides — but it’s noteworthy that a split is more than just a toss-off, between-albums castaway at this point, something for songs to later be included on rare-tracks comps. One could easily say the same of EPs as a whole. To that end, Sun Voyager‘s Lazy Daze was a brutal tease for the NY psychgaze outfit’s first album, hopefully out in 2016. And while All Them Witches‘ A Sweet Release was over 50 minutes long — longer, actually, than their Dying Surfer Meets His Maker LP, which was also issued this year — they considered it an EP/live collection, and that indeed proved how it worked best, immersive though its stretch remained.
Shroud Eater and Bedroom Rehab Corporation both turned in impressive outings that showed marked progression from their last time out, while Shatner‘s first batch of tracks tipped off a songwriting process well-honed and Stars that Move, Cities of Mars, Thera Roya and Mount Hush — I’d put Mount Desert in this category as well — had compelling outings that, like Foehammer at the top, showed much potential at work in formative sounds. Not to be forgotten, Wight‘s Helicopter Mama 7″ gave listeners a heads up on the funkified stylistic turn their upcoming full-length, Love is Not Only What You Know, will take even further, and UK stoner miscreants Groan proved once and for all that, along with logic and reason, a constantly changing lineup can’t hold back their good times.
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Like I said — like I always say — if I left something out, let me know about it in the comments. Really let me have it. Call me a jerk. It’s cool. I can take it.
Please note: I can, in no way, take it.
Still, if I left something/someone out, I hope you’ll let me know. And please don’t forget that if you haven’t yet, you can still contribute your list of 2015 favorites to the year-end poll until Dec. 31. EPs, LPs, whatever, however many, it doesn’t matter. All entries are welcome there.
I said back in March that I was going to try to make the Quarterly Review a regular feature around here, and once it was put out there, the only thing to do was to live up to it. Over the last several — like, five — weeks, I’ve been compiling lists of albums to be included, and throughout the next five days, we’re going to make our way through that list. From bigger names to first demos and across a wide swath of heavy styles, there’s a lot of stuff to come, and I hope within all of it you’re able to find something that hits home or speaks to you in a special way.
No sense in delaying. Hold nose, dive in.
Quarterly Review #1-10:
Foehammer, Foehammer
Relatively newcomer trio Foehammer specialize in grueling, slow-motion punishment. Their self-titled debut EP follows a well-received 2014 demo and is three tracks/34 minutes released by Grimoire and Australopithecus Records of doomed extremity, the Virginian three-piece of guitarist Joe Cox (ex-Gradius), bassist/vocalist Jay Cardinell (ex-Gradius, ex-Durga Temple) and drummer Ben “Vang” Blanton (ex-Vog, also of The Oracle) not new to the Doom Capitol-area underground by any stretch and seeming to pool all their experience to maximize the impact of this extended material. Neither “Final Grail,” “Stormcrow” nor 14-minute closer “Jotnar” is without a sense of looming atmosphere, but Foehammer at this point are light only on drama, and the lower, sludgier and more crushing they go, the more righteous the EP is for it. Stunningly heavy and landing with a suitable shockwave, it is hopefully the beginning of a long, feedback-drenched tenure in death-doom, and if the EP is over half an hour, the prospect of a follow-up debut full-length seems overwhelming. Easily one of the year’s best short releases.
It’s not like they were lying when they decided to call a song “Shroom Doom.” Melbourne double-guitar four-piece made their self-titled debut as Holy Serpent last year, and the five-track full-length was picked up for release on RidingEasy Records no doubt for its two-front worship of Uncle Acid’s slither and jangle – especially prevalent on the eponymous opener and closer “The Wind” – and the now-classic stonerism of Sleep. That blend comes together best of all on the aforementioned finale, but neither will I take away from the north-of-10-minute righteousness of “The Plague” preceding, with its slow roll and malevolent vibe that, somehow, still sounds like a party. Comprised of guitarist/vocalist Scott Penberthy, guitarist Nick Donoughue, bassist Michael Macfie and drummer Keith Ratnan, the real test for Holy Serpent will be their second or third album – i.e., how they develop the psychedelic nodes of centerpiece “Fools Gold” along with the rest of their sound – but listening to these tracks, it’s easy to let the future worry about itself.
There are a variety of influences at work across Wicked Inquisition’s self-titled debut long-player, from the Sabbath references of its eponymous closer to the earlier thrashery of “In Shackles” and “Sun Flight,” but the core of the Minneapolis four-piece resides in a guitar-led brand of metal, whatever else they decide to build around it. Guitarist/vocalist Nate Towle, guitarist Ben Stevens, bassist Jordan Anderson and drummer Jack McKoskey align tightly around the riffs of “M.A.D.” in all-business fashion. Shades of Candlemass show up in some of the slower material, “M.A.D.” included as well as with “Crimson Odyssey,” but the start-stops of “Tomorrow Always Knows” ensure the audience is clued in that there’s more going on than just classic doom, though a Trouble influence seems to hover over the proceedings as well, waiting to be more fully explored as the band moves forward.
Clocking in at an hour flat, Sydney all-caps riffers AVER construct their second album, Nadir, largely out of familiar elements, but wind up with a blend of their own. Fuzz is prevalent in the extended nod of opener “The Devil’s Medicine” (9:46) which bookends with the longest track, finisher “Waves” (9:48), though it’s not exactly like the four-piece are shy about writing longer songs in between. The production, while clear enough, lends its focus more toward the low end, which could be pulling in another direction from the impact of some of Nadir’s psychedelia on “Rising Sun” second half solo, but neither will I take anything away from Jed’s bass tone, which could carry this hour of material were it asked. The vocals of guitarist Burdt have a distinct Acid Bathian feel, post-grunge, and that contrasts a more laid back vibe even on the acoustic-centered “Promised Lands,” but neither he, Jed, guitarist Luke or drummer Chris feel out of place here, and I’m not inclined to complain.
Sweet, classic and very, very British folk pervades the gorgeously melodic and meticulously arranged Silence and Tears by London six-piece Galley Beggar, released on Rise Above. The eight-track/40-minute album packs neatly onto a vinyl release and has near-immediate psychedelic underpinnings in the wah of opener “Adam and Eve,” and side B’s “Geordie” has some heavier-derived groove, but it’s the beauty and lushness of the harmonies throughout (finding satisfying culmination in closer “Deliver Him”) that stand Galley Beggar’s third offering out from worshipers of a ‘60s and ‘70s era aesthetic. The highlight of Silence and Tears arrives early in nine-minute second cut “Pay My Body,” a wonderfully swaying, patient excursion that gives equal time to instrumental exploration and vocal accomplishment, but to a select few who let themselves be truly hypnotized and carried along its winding course, the album’s entire span will prove a treasure to be revisited for years to come and whose sunshiny imprint will remain vivid.
With inspiration reportedly from the 1977 demon-possession horror flick Alucarda, Las Vegas doomers Demon Lung return with A Dracula, their second offering via Candlelight Records after 2013’s The Hundredth Name, and as the movie begins with a birth, so too do we get “Behold, the Daughter” following the intro “Rursumque Alucarda,” later mirrored by a penultimate interlude of the same name. Billy Anderson produced, so it’s not exactly a surprise that the slow, undulating riffs and the periodic bouts of more upbeat chug, as on “Gypsy Curse,” come through nice and viscous, but vocalist Shanda brings an ethereal melodic sensibility, not quite cult rock, but on “Mark of Jubilee” presenting momentarily some similarly bleak atmospherics to those of the UK’s Undersmile, her voice seeming to command the guitars to solidify from their initial airiness and churn out an eerie apex, which closer “Raped by the Serpent” pushes further for a raging finale.
Spirit Division’s self-titled debut full-length follows a 2014 demo that also hosted three of the tracks – opener “Spirit Division,” “Through the Rounds” and “Mountain of Lies” – but is fuller-sounding in its post-grunge tonality and doomly chug than the earlier offering, guitarist/vocalist Stephen Hoffman, bassist/vocalist Chris Latta and drummer/vocalist David Glass finding a straightforward route through moody metallurgy and weighted riffage. Some Wino-style swing shows up on “Bloodletting,” and “Cloud of Souls” has a decidedly militaristic march to its progression, while the later “Red Sky” revels in classic doom that seems to want to be just a touch slower than it is, but what ultimately unites the material is the strong sense of purpose across the album’s span and Spirit Division’s care in the vocal arrangements. The production is somewhat dry, but Spirit Division walk the line between sludge rock and doom and seem comfortable in that sphere while also sparking a creative progression that seems well worth further pursuit.
I was all set to include a different Space Mushroom Fuzz album in this roundup, but then I saw that the project was coming to an end and Until Next Time was issued as the band’s final release. The deal all along with the band headed by guitarist/vocalist Adam Abrams (also Blue Aside) has been that you never really know what he’s going to do next. Fair enough. Abrams brings it down in suitably bizarre fashion, a keyboard and guitar line backing “Class Onion” in direct mockery of Beatlesian bounce, where “The DeLorean Takes Off!” before compiles five-plus minutes of experimental noise and “Follow that DeLorean” answers with another round after. Elsewhere, opener and longest cut (immediate points) “Here Comes Trouble” resonates with its central guitar line and unfolds to further oddity with a quiet but gruff vocal, while “The Rescue” vibes like something Ween would’ve conjured after huffing roach spray (or whatever was handy) and closer “Back in ‘55” moves from progressive soloing to froggy singing and weirdo jangle. All in all a strange and fitting end to the band.
Santa Cruz trio Mountain Tamer have been kicking around the West Coast for the last several years, and since they released a full-length, Liquid Metal, in 2013, and a prior EP in 2012’s The Glad, it’s tempting to try to read some larger shift sonically into their MTN TMR Demo, as though having completely revamped their sound, the trio of guitarist/vocalist Andru, bassist/vocalist Dave Teget and drummer/vocalist Casey Garcia trying out new ideas as they redirect their approach. That may well be the case, with “Satan’s Waitin’,” “Sum People” and “Dunes of the Mind” each standing at over five-minutes of neo-stoner roll, more psychedelic than some in the growing fuck-it-let’s-skate oeuvre, but still plainly born after, or at least during, grunge. The finisher comes to a thrilling, noisy head as it rounds out the short release, and if Mountain Tamer are taking on a new path, it’s one well set to meander and I hope they continue to follow those impulses.
Like their late-2014 debut, Bloom, OHHMS’ sophomore outing, Cold, is comprised of two extended tracks. Here the Canterbury five-piece bring “The Anchor” (18:30) and “Dawn of the Swarm” (14:27), blending modern prog, sludge and post-metallic vibes to suit a melodic, ambitious purpose. Atmosphere is central from the quiet drone starting “The Anchor” and remains so as they lumber through a linear build and into an apex at about 13 minutes in, dropping out to quiet only to build back up to a striking melodic push that ends on a long fade. Side B, “Dawn of the Swarm” is more immediately post-rock in the guitar, the lineup of vocalist Paul Waller, guitarists Daniel Sargent and Marc George, bassist Chainy Chainy and drummer Max Newton moving through hypnotic sprawl into angular Isis-ism before finding their own way, the second cut pushing structurally against the first with loud/quiet tradeoffs in a well-timed back half. Clearly a band who arrived knowing their purpose, but not so cerebral as to detract from the heavy landing of the material itself.
Posted in Whathaveyou on May 26th, 2015 by JJ Koczan
The first night of the upcoming summer tour for Foehammer and Thera Roya, June 12, is the record release party for the former’s self-titled EP on Australopithecus Records. That EP has been available digitally through Grimoire Records for a while, but the vinyl is newly arrived and they’ll reportedly have it ready to go for the tour. Brooklyn’s Thera Roya, meanwhile, should have some new material in tow as well after their “Fat Voyage” single which was released digitally late last year.
A few shows remain unconfirmed for the run, so if you happen to be in one of those cities and have a line on putting something together, be it a bar, house show, whatever, you should probably think about dropping a line to one or both of the bands. If you haven’t heard Foehammer‘s EP yet, it’s devastatingly heavy, and Thera Roya‘s post-metal style will make a fitting complement atmospherically for all that bludgeoning.
T0ur dates, links and audio follow:
THERA ROYA & FOEHAMMER SUMMER TOUR 2015!
Thera Roya & Foehammer take the south by storm! Details to be added as shows are confirmed.
JUNE 12 Fri WDC / Tour Kickoff @ The Pinch w/ Narrow Grave, TBA 13 Sat Charlottesville, VA @ Magnolia House w/ Beldam 14 Sun VA Beach / Norfolk VA 15 Mon Charlotte NC @ Tommy’s Pub w/ Pig mountain, Grande Niño 16 Tue Charleston SC @ King Dusko’s w/ TBA 17 Wed Orlando, FL 18 Thu Miami, FL 19 Fri Tampa FL @ Cafe Hey! w/ Weltesser 20 Sat Dothan, AL 21 Sun New Orleans, LA 22 Mon Baton Rouge, LA 23 Tue Austin TX @ The Lost Well w/ Unmothered 24 Wed Dallas TX 25 Thu Nashville TN 26 Fri Asheville NC @ The Odditorium w/ Black Mountain Hunger, Spliff, Mondays 27 Sat Morgantown WV / Richmond VA 28 Sun Frederick MD – Maryland Doom Fest @ Cafe 611* * – Foehammer Only
