[PLEASE NOTE: These are not the results of the year-end poll, which ends in January. If you haven’t contributed your picks yet, please do so here.]

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Hi, and welcome to The Obelisk’s year in review for 2024. This is a thing that’s kind of developed over the 15-plus years the site’s been in operation, and it’s something that people sometimes tell me has been a help when it comes to finding new music. I know for myself as well, I’ve referred back to these lists a lot in subsequent years, to see where bands were and where my head was, and so on. Are best-of lists meaningful, at all, in any way? Probably to the person making them, and that’s me, so I’ll proceed.

I thought the format last year worked pretty well, so I’ve hijacked it for use here. Not something I expect anyone to notice, but I did want to mention it on the off-chance. I don’t have a best live album of the year, but there are a few worth talking about, surely.

It’s been a busy, fast year. The barrage of music is overwhelming — and as problems go, that’s among the best ones to have — but I do think we’re seeing some tapering off. Generational turnover is, in fact, a constant, but the 2020s are taking shape now with bands who started making their name around the mid-2010s shifting into headliner status, new bands coming up beneath, more diverse in sound and construction, and with new ideas. This isn’t universal, but it is the ideal vision of the thing. Circle of life and such.

But it’s a lot. Including the 50-releases-strong Quarterly Review last week, I’m well north of having reviewed 400 total different mostly-full-lengths since January. That’s insane. The math is obvious, but I’ll point out anyhow that you could buy an album for every day of the year and have enough for an extra month-plus afterward. An astonishing amount of music, and I’m by no means reviewing everything.

Which brings me to the inevitable last point. I haven’t reviewed everything. If you’re here wondering where Opeth and Blood Incantation are landing on my list, they aren’t. Nothing against either of them, I just haven’t dug into the records since I knew I wouldn’t be reviewing them. The regular standard of doing as much as I can, when I can, about as much as I can, applies.

Please if you disagree with some pick below or other — and if you do, that’s healthy — I kindly ask you to keep things civil in the comments. I’m not here to call people out on enjoying things I don’t — fascism aside — and I know it makes me sad when I break my ass for days to put this together and the first comment is, “NO [WHOEVER]. LIST SUCKS. NEVER READING THIS FILTH AGAIN,” etc. Before you comment, please take a second to read what you put back to yourself for kindness. That’s good for spelling too, not that I’d know.

That’s all the stalling I can do. Time to dive in. Happy holidays.

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The Top 60 Albums of 2024

**NOTE**: If you’re looking for something specific, try a text search.

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60-31

60. Psychlona, Warped Vision
59. Trillion Ton Beryllium Ships, The Mind Like Fire Unbound
58. Massive Hassle, Unreal Damage
57. Temple of the Fuzz Witch, Apotheosis
56. Space Shepherds, Cycler
55. Abrams, Blue City
54. Castle Rat, Into the Realm
53. Heath, Isaak’s Marble
52. Weite, Oase
51. Cosmic Fall, Back Where the Fire Flows

50. Troy the Band, Cataclysm
49. Sunnata, Chasing Shadows
48. Skraeckoedlan, Vermillion Sky
47. Acid Mammoth, Supersonic Megafauna Collision
46. Deer Creek, The Hiraeth Pit
45. Big Scenic Nowhere, The Waydown
44. Grin, Hush
43. The Swell Fellas, Residuum Unknown
42. The Gates of Slumber, The Gates of Slumber
41. Coltaine, Forgotten Ways

40. Mountain of Misery, The Land
39. Mammoth Volume, Raised Up by Witches
38. Delving, All Paths Diverge
37. High on Fire, Cometh the Storm
36. Thou, Umbilical
35. The Giraffes, Cigarette
34. Fu Manchu, The Return of Tomorrow
33. Full Earth, Cloud Sculptors
32. Daevar, Amber Eyes
31. Causa Sui, From the Source

Notes:

Just in case you’re the type of person who’d say, “Oh how could you have a top 60? after a certain number it’s all the same,” I’ll admit that’s true, but 60 is apparently nowhere near the ‘certain number’ in question for me this year. I agonized over this part of the list. More than the top 30, and more than picking a best short release, best debut, or anything else. I wanted basically a second top 30, and I feel like if I saw this as that, as 30-1, I’d congratulate whoever submitted it on their taste. But maybe that’s just me agreeing with myself.

I like the mix of up and comers and established acts here. Sunnata and Skraeckoedlan, The Giraffes, of course High on Fire, Deer Creek and so on, mixing with up and comers like Full Earth, Daevar, Acid Mammoth, Trillion Ton Beryllium Ships, Heath, Troy the Band and Weite. I feel somewhat compelled to justify my High on Fire placement, especially looking at the results so far of the year-end poll. They’re amazing, they’re devastating, they’re a singular live act, but I just didn’t listen to the record that much. There. A big part of me feels like it should be top 10 just by virtue of who the band are, but if I did that for everybody who deserved it, I wouldn’t have room for anything new. All I can do is be honest to my own listening habits and opinions. I know High on Fire are really, really good. I know this album is really, really good. That’s why it’s on this list. Should it be higher? Probably. I’m doing my best.

Thank you for your kind attention in this matter. Also, listen to The Giraffes.

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30. Sundrifter, An Earlier Time

Released by Small Stone Records. Reviewed Jan. 29.

You won’t hear me say a downer word about An Earlier Time‘s quieter stretches, but it’s the sweeping moments like “Limitless” that find Boston’s Sundrifter making the most resonant impression. Their third full-length and the follow-up to 2018’s Visitations (review here), it was a strong declaration of who Sundrifter want to be as they continue to grow, and deserved more love than I saw that it got.

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29. Tranquonauts, 2

Released by Lay Bare Recordings and Blown Music. Reviewed Sept. 10.

Oh, look out for Mr. Blogosphere. He’s out here taking a real risk putting Tranquonauts on the year-end list, like the combining of forces between Melbourne, Australia, heavy psych blues rockers Seedy Jeezus and guitarist Isaiah Mitchell wasn’t gonna work the second time around? Wow, Mitchell‘s and Lex Waterreus‘ guitars sure do sound awesome together. Oh — it’s a hot-take! Better get your react videos ready. The internet is terrible. This album offers escape from it.

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28. Chat Pile, Cool World

Released by The Flenser. Reviewed Oct. 21.

At the risk of having to give back my Music-Journalism-Level membership to the Sycophant Society, I’ll dare to point out that Chat Pile are way, way hyped. That happens sometimes. It’s not like they’re out there being like, “Hey we’re the noise rock white dudes shifting paradigms for noise rock white dudes, best in a generation.” It’s people like me with all the hyperbole and comma splicing. I get that too. It’s a sound geared toward inciting a strong reaction, from the sneering sarcasm of the title down. By the way, am I the only one who looks at the title Cool World and thinks of the 1992 semi-animated film of the same name? I kind of hope so. See? Big feelings all around.

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27. Gnome, Vestiges of Verumex Visidrome

Released by Polderrecords. Reviewed Dec. 9.

Rest assured, I don’t, but if I had any friends, I’d be like, “Hey, you should check out this band Gnome from Belgium. They’ve got fun riffs and they beat you over the head with them until you remember them by heart.” And these ‘friends’ would be all, “Wow man, that sounds definitely like something I would ever want to introduce to the scope of my life experiences! Thank you! I’m so glad to be your friend and the world is definitely a better place with you in it.” And then everybody’s day is better, all because of sharing and the shenanigans-laced riff metal proffered by these three behatted miscreants from Antwerpen.

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26. Brant Bjork Trio, Once Upon a Time in the Desert

Released by Duna Records. Reviewed Sept. 18.

Brant Bjork‘s solo band begat Stöner, and Stöner begat Brant Bjork Trio as Bjork, drummer Ryan Güt and bassist Mario Lalli (Fatso Jetson, Mario Lalli and the Rubber Snake Charmers, Yawning Man, etc.). I’ll cop to being a nerd for Brant Bjork‘s output generally — it’s a kind of cool so definitively Californian, my NJ-ass self can’t help but admire it — but the chemistry in Once Upon a Time in the Desert is on point to an undeniable degree, and the songs are a reminder of how the back catalog got so strong in the first place. What else could you want?

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25. Sergeant Thunderhoof, The Ghost of Badon Hill

Released by Pale Wizard Records. Reviewed Dec. 12.

Five albums in, a post-arrival Sergeant Thunderhoof stand ready. They know who they are, what they want their songs to do, why and how to make it happen. The Ghost of Badon Hill gives a conceptual focus to unite material intentionally sprawling, and lets listeners immerse in a narrative all the more easily for the quality of its songcraft. Self-recorded, it is masterful in performance and assured of its execution, pored over but not overworked; the happy accidents might have been left in on purpose, but they still sound like accidents. And Sergeant Thunderhoof still sound like a band driving themselves toward the unknown.

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24. Early Moods, A Sinner’s Past

Released by RidingEasy Records. Reviewed March 29.

Doom metal is lucky to have Early Moods laying out a template for the next generation to hopefully follow. The Los Angeles five-piece’s second full-length, A Sinner’s Past, refined the lurch of their 2022 self-titled (review here), and the combination of hard touring and progressive craft continues to bode well as they look toward their next offering. They’ve put in their work, however swift their ascent to this point might feel, and they’re about one great record away from standing among the best doom of the 21st century. You could easily argue they’re already there. Every reason is accounted for on A Sinner’s Past.

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23. Morpholith, Dystopian Distributions of Mass Produced Narcotics

Released by Interstellar Smoke Records. Reviewed Oct. 22.

Iceland’s Morpholith enter the conversation with Dystopian Distributions of Mass Produced Narcotics, which has cosmic-doom breadth and bong-metal crush to spare in the first four minutes of “Psychophere” alone, never mind anything that surrounds. The band’s debut is a bombastic plodder, beating out the march to a futuristic — and cold — vision of the riff-filled land that may or may not be Reykjavik in the wintertime while simultaneously being both very much of weed and not outwardly about it, seeming to have much more than addled, Mid Atlantic Ridge-heavy riff worship because — look out! — they do. If cosmic doom is ever going to be more than a loose thread connecting YOB and Ufomammut, bands like Morpholith need to keep pushing it forward like this. “Dismalium.” I dare you.

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22. Lamp of the Universe Meets Dr. Space, Enters Your Somas

Released by Sound Effect Records. Reviewed May 24.

Lamp of the Universe is multi-instrumentalist, songwriter, producer and vocalist Craig Williamson, based in New Zealand. Dr. Space is synthesist, keyboardist, producer, bootlegger and bandleader Scott Heller. The ‘meeting’ of these two expanded minds takes place over two extended tracks, one vinyl side per, of lush psychedelic and multi-tiered drones, absolutely perfect for the zone-out hypnosis you’ve been trying to put yourself in all day but for that pesky consciousness. I wish I could come up with some kind of ritual awesome enough for the keyboard textures in “Enters Your Somas” or the propulsive space rock thuddenchug of “Infiltrates Your Mind,” but some sounds are just too cool for the planet. Come see how the freaks get down.

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21. Dool, The Shape of Fluidity

Released by Prophecy Productions. Reviewed May 15.

I spent some significant time with Dool‘s The Shape of Fluidity this Spring, before and after seeing them at Roadburn (review here), which was another highlight of the year. The album’s triumph, in songwriting, in transcending genre bounds and in conveying its theme of breaking loose from the gender binary, gave my parent-of-a-trans-kid self a hopeful vision of a future beyond dark, hateful rhetoric or implied/real violence. It showed me a possible path to victory on what will be and already is a hard road. It was there when I needed it, which is a specific ideal of art providing care. I’ll never forget that.

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20. Buzzard, Doom Folk

Self-released. Reviewed May 13.

Granted the Western soundscaping at the outset of the eponymous “Buzzard” lays it on thick, but it’s supposed to! We’re talking fire-and-brimstone earthbound Americana folk with a doomly rhythmic cast, given the self-aware title of Doom Folk by the solo artist Buzzard, aka Christopher Thomas Elliott, laying it on thick is the point. Elliott has a follow-up out soon already. Thinking of Doom Folk as the beginning of a creative progression makes its nuance and individualist drive even more exciting, but the rawness of this debut, the straightforwardness of its structures and the resulting memorability are part of the appeal for sure.

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19. High Desert Queen, Palm Reader

Released by Ripple Music. Reviewed April 30.

Seven bangers. Not a dud in the bunch. Two nine-minute songs and you still couldn’t say a moment of High Desert Queen‘s rightly anticipated sophomore LP is wasted. Not when you’re building up to the roll of “Head Honcho,” certainly. The Texas outfit built on the good-time largesse and party-but-not-a-party-so-cool-you-don’t-feel-welcome vibing of 2021’s Secrets of the Black Moon (review here) and set themselves vociferously to the task of being the change in heavy rock that they wanted to hear. Palm Reader‘s infectiousness is a strength, both in terms of a catchy piece like “Ancient Aliens” or “Time Waster,” and also in the overarching positive-framed mood and heart so clearly put into the material.

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18. Ufomammut, Hidden

Released by Supernatural Cat and Neurot Recordings. Reviewed May 21.

Now a quarter-century on from their start, Italian trio Ufomammut have yet to put out a record that didn’t sound like a forward step from the one before it. And Hidden is their 10th album. The band are progenitors and refiners of a cosmic doom sound that is unto itself, and cuts like “Kismet” and “Leeched” manage to be both lumbering in their massive-tone grooves and sprawling with a synthy ambience that, though certainly influential, is immediately recognizable as Ufomammut. Hidden is part of a creative trajectory, to be sure, and the arc is ongoing, but there’s more than enough substance here to leave a crater behind in the listener’s brain.

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17. Iota, Pentasomnia

Released by Small Stone. Reviewed March 20.

In its arrangement as five separate dreams taking place over its component tracks, the only thing Pentasomnia doesn’t take into account is that another Iota LP was a dream all on its own even before music actually happened. A full 16 years after shaking the galaxy’s core with their 2008 debut, Tales (discussed here, and here), the three-piece of guitarist/vocalist Joey Toscano (Dwellers, Hibernaut), drummer/producer Andy Patterson (The Otolith, ex-SubRosa, etc.) and bassist Oz Yasri (ex-Bird Eater) making a comeback — let alone it actually being good — was nigh on unthinkable. Then you heard “The Intruder” and reality shifted just a bit. Pretty sweet.

16. Kanaan & Ævestaden, Langt, Langt Vekk

Released by Jansen Records. Reviewed Oct. 18.

Few albums in 2024 were as entrancing as Langt, Langt Vekk, the hopefully-not-a-one-off collaboration between Norwegian progressive heavy instrumentalists Kanaan and neofolk contemporaries Ævestaden. Both adventurous outfits in their own right, the combination of elements, from live drums and synth to traditional plucked strings and Norwegian-language vocal choruses, works stunningly well. That little bit of fuzz in “Habbor og Signe,” or the cymbal wash behind “Dalebu Jonsson” — the songs are full of these little nuances or flourishes waiting to be found, but even with the most superficial of listens, the achievement resounds, whether one approaches from a viewpoint of heavy rock, prog, folk or psychedelia.

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15. DVNE, Voidkind

Released by Metal Blade. Reviewed May 6.

You know, I’ve kind of dug DVNE records all along, and I can’t really call Voidkind a surprise after 2021’s Etemen Ænka (review here), but these songs — “Eleonora,” “Sarmatae,” “Abode of the Perfect Soul,” among others — hit me much harder than I had expected, and the more I listened to try to twist my head around “Reliquary,” the more the album as a whole revealed of its character and detail. I review a lot of stuff, and I hear more than I review, so I don’t always get pulled back by every record, but Voidkind kept calling for return visits.

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14. Orange Goblin, Science, Not Fiction

Released by Peaceville Records. Reviewed July 22.

Look. If you’re reading this, I know I don’t have to tell you about Orange Goblin. Even if you don’t already have a soft spot for the long-running UK doom rockers, they’re perfectly happy to pummel one into you with Science, Not Fiction, their first album since 2018 and a realignment toward a harder-edged heavy rock sound, where the last, say, two records had leaned more metal. I heard some griping about the production not helping, but I heard absolutely nothing to complain about here. The band are on fire and the recording shows it, the songs aren’t necessarily any great progressive leap but for sure they’re Orange Goblin songs, and for a band who owes nobody proof of anything, they set a high standard and deliver accordingly, like god damned professionals should.

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13. Spaceslug, Out of Water

Released by Electric Witch Mountain Recordings. Reviewed May 14.

What I didn’t get about Spaceslug until I finally saw them live at Desertfest New York (review here) was just how metal the impact of their songs can get. It’s not necessarily that they’ve grown more aggressive, unless you want to incorporate harsh vocals or shouting — “Tears of Antimatter” also has gently-delivered barely-there spoken word, so it depends on the story you want to tell — but the blend of melancholic doom, heavy psychedelia and melodic fluidity that has become Spaceslug‘s stylistic wheelhouse is not to be missed. Out of Water finds them at their broadest and least concerned with genre, and brings into relief how special a band they’ve become. Also it rocks.

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12. Craneium, Point of No Return

Released by The Sign Records. Reviewed April 1.

No secret how Craneium are doing it on Point of No Return; it’s right there in the songs. All of them. “One Thousand Sighs,” “The Sun,” “A Distant Shore,” “…Of Laughter and Cries,” “Things Have Changed” and “Search Eternal.” Texture and hooks, heft and scope and melody and crash and shove, classy progressive execution and swaggering conjurations. Most of all, songs that stay with you. Chances are, if you heard this record and gave it its due attention at some point in your time with it, you didn’t have to do much more than read the titles to have the tracks playing in your head. That’s not a coincidence. It’s craft. It’s a willful outreach on the part of the band and material. It’s what makes you want to sing along. And why would you not?

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11. Guhts, Regeneration

Released by Seeing Red Records and New Heavy Sounds. Reviewed Feb. 5.

More on it below, but for the moment, suffice it to say that the bludgeoning and/or scathe of Regeneration at its most intense and the depths its mix seemed to find, the debut full-length from New York post-metallers Guhts dared visceral emotionality in a way few records so heavy could or would hope to. The willing-to-break-her-voice-if-necessary performance of Amber Gardner and the weighted undulations surrounding from guitarist Scott Prater, bassist Daniel Martinez and drummer Brian Clemens, the open sway, unfettered crush, and quiet spaces offsetting all that bombast result in both a chaotic feel and an applicable world. Therefore it must be modern. Fine. It sounds like the future.

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10. Heavy Temple, Garden of Heathens

Released by Magnetic Eye. Reviewed April 11.

As to how Philadelphia’s Heavy Temple managed to fit so much swagger onto a single platter, you’d have to ask them, but their second album, Garden of Heathens, landed hard in tone and attitude alike. Songs like “Extreme Indifference to Life,” “House of Warship” and the galloping payoff of “Jesus Wept” ahead of the thrashy finale “Psychomanteum” affirmed what was set out in 2021’s Lupi Amoris (review here) and their earlier short releases while marking out and conquering decisively new territory in their sound. I know it was recorded two years ago or something like that, but it’s still a band beginning to realize their potential in craft and performance, and if a third LP happens sooner than later, so much the better.

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9. 1000mods, Cheat Death

Released by Ouga Booga and the Mighty Oug and Ripple Music. Reviewed Nov. 11.

Whether one embraces Cheat Death because the songs kick ass or because 1000mods are so vivid and uncompromising in pushing themselves forward from release to release, I don’t think you’re wrong. The forerunners of their generation in Greek heavy rock remain among the finest Europe’s heavy underground have to offer, and the atmosphere they’re able to conjure alongside the straight-ahead Matt Bayles-produced punk-metal hooks of these songs is emblematic of why. Without ever giving up their foundation in heavy rock, 1000mods have consistently refined their processes and grown as songwriters. The joke of Cheat Death is how alive the material feels.

8. Ruff Majik, Moth Eater

Released by Sound of Liberation Records. Reviewed Oct. 3.

Faced with the considerable task of following up the to-date album of their career, Elektrik Ram (review here), just one year later, South African heavy rockers Ruff Majik did not flinch. Instead, Moth Eater takes the outright charge and sharpness-minded efficiency of its predecessor in a stated trilogy that began with 2020’s The Devil’s Cattle (review here) and sets it as the foundation for a confident, creative growth and sustainable expansion of sound. They’re a little more willing to dwell in parts, and they’re well aware of how catchy they can be, but also, they know the power of momentum and they’re fully in control of the narratives they’re telling. As Moth Eater readily demonstrates, it’s hard to know which of that it is that makes them most dangerous.

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7. Uncle Acid and the Deadbeats, Nell’ Ora Blu

Released by Rise Above. Reviewed May 16.

It’s hard to overstate the accomplishment of Nell’ Ora Blu, and I’m well aware that the critical sphere is full of plenty who’ve spent the better part of 2024 trying. Reasonable. The completeness of the world Uncle Acid and the Deadbeats built in the work based around the concept of soundtracking a giallo film that didn’t exist was singularly evocative. With original dialogue recorded (in Italian) specifically for ‘movie’ ambience, Uncle Acid took what had always been an influence on the band’s sound within genre-cinema and its methods of storytelling, and flipped the process on its head by creating its own story. Their influence is already well spread throughout the heavy underground, for sure, but in bringing a vision to life, this might be the album Uncle Acid have been working toward all along.

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6. Vokonis, Transitions

Released by Majestic Mountain Records. Reviewed Oct. 29.

A forward-thinking masterwork from even before “Deadname” sneaks a layer of acoustic guitar under the mountain of distortion in the verse lines and “Arrival” and “Transitions” give evocative chronicle to the album’s trans-experiential theme — it is the band’s first since guitarist/vocalist Simona Ohlsson transitioned, and admirable for both its projected triumph and vulnerability around that — the fifth full-length from Vokonis continues the progressive path they have walked for the last decade-plus. A lineup change has brought some shift in dynamic, but a new strength of voice behind the material that makes “Phantom Carriage,” “Chrysalis,” and, suitably enough, “Arrival,” feel like a declarative pinnacle, and having something to say makes the raw impact of its heaviest moments all the more powerful.

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5. Greenleaf, The Head and the Habit

Released by Magnetic Eye Records. Reviewed July 3.

There’s little funnier to me about heavy rock as it exists in 2024 than the idea that Greenleaf would be a band people take for granted. “Oh, Tommi Holappa and Company putting out another collection of classic-heavy and blues-rocking bangers? Business as usual, I guess.” Until you listen to the album, maybe. Then you get the tumble of “Avalanche,” the hooks in “Breathe, Breathe Out,” and “A Wolf in My Mind,” the subdued-bluesy pair “That Obsidian Grin” and “An Alabastrine Smile” to remind how you much this band has been able to grow since Arvid Hällagård made his first appearance with them a decade ago, the way they’re able to move through a jam and land in a groove as solid as “Oh Dandelion,” reminiscent of Clutch in its start-stop funk but defined by its own persona. Every Greenleaf record is a gift. If feeling that way means I’m not impartial, good. We understand each other.

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4. Rickshaw Billie’s Burger Patrol, Big Dumb Riffs

Released by Permanent Teeth Records. Reviewed March 19.

Promises made, promises kept. Austin-based crunch purveyors Rickshaw Billie’s Burger Patrol stripped any and all excess out of their approach on Big Dumb Riffs, resulting in a quick-feeling collection of memorable, heavy tracks that, whether fast like “1800EATSHIT” or slow like “In a Jar,” are united in the album’s central stated purpose. Already an established brand of heavy revelry, the three-piece didn’t change anything radically in aesthetic terms, but the songs found their target one after the other, front to back, and were clever and well composed, however willfully lunkheaded the central riffery might have been. They’re headed to Europe in Spring, and I’m already hearing rumors of a next record, so keep an eye out in 2025.

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3. Slomosa, Tundra Rock

Released by Stickman Records and MNRK Heavy. Reviewed Sept. 9.

Slomosa‘s released-in-2020 self-titled debut (review here) was a salve to many in troubled times, representing a next-generation hope for underground heavy in energetically-delivered, classic-feeling songs. Tundra Rock, which gives a name to the band’s style seemingly in direct answer to anyone who might class them as ‘desert,’ confirms the Norwegian four-piece at the forefront of an up and coming cohort of younger acts beginning to find their expressive modus and step beyond their root influences. Tundra Rock finds Slomosa doing this while giving their dual-vocal live dynamic vibrant studio representation and growing their material in character and melody alike. Heavy rock and roll is Slomosa‘s for the taking.

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2. Brume, Marten

Released by Magnetic Eye. Reviewed April 29.

A record that didn’t need to be loud to be heavy, Brume‘s Marten is without question my most-listened-to album of 2024. That needs no qualifying. I had high expectations going into it after seeing the San Francisco band at Desertfest New York 2022 (review here), and Marten surpassed every hope I might’ve been able to harness for it and then some. The collective voice of the band incorporating multiple viewpoints from bassist/vocalist/keyboardist Susie McMullan, guitarist/vocalist Jamie McCathie, drummer Jordan Perkins Lewis, and in her first appearance as a full-on member of the band, cellist/vocalist Jackie Perez Gratz (Grayceon, Amber Asylum, etc.), resulted in a fluid but deeply divergent collection, comprised of songs that went where they wanted to go — or didn’t, thank you very much — according to their own whims and purposes. It is a landmark for Brume and, if any number of subgenres are lucky, a blueprint from which others will hopefully learn.

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2024 Album of the Year

1. Elephant Tree & Lowrider, The Long Forever

Released by Blues Funeral Recordings. Reviewed Oct. 25.

I acknowledge breaking my own rules here — splits are always, until and including this year, categorized as short releases in these lists — but when it came to it, the thought of putting Elephant Tree and Lowrider‘s The Long Forever anywhere else, considering it as anything else, seemed ridiculous. Especially if you count writing the liner notes for it, I’ve gone on at length about the release as an intersection of crucial moments for the respective bands, with Lowrider following their first album in 20 years, Refractions (review here), and Elephant Tree answering the progressive statement of their own second LP, Habits (review here), both released in 2020. The storyline gets deeper as Elephant Tree also look to reestablish themselves following a near-fatal accident suffered by guitarist/vocalist Jack Townley, melding rawness of tone with lush vocal harmonies, and Lowrider drag fuzz-rock traditionalism kicking and screaming into a reality of being both fun and intelligent. There ultimately was nothing else to call The Long Forever than the album of the year. If that comes with an asterisk because it’s a split, it doesn’t lessen the effect of hearing it at all. So yeah, I’m breaking the rules of the game. I’m inconsistent. Unprofessional. Biased. I don’t know what to tell you except love makes you do crazy things. In these songs themselves — do I even need to talk about the collaboration — and in the drive behind them, that’s what most resonates here.

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The Top 60 Albums of 2024: Honorable Mention

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If the 60 above wasn’t enough, here are more leads to chase down, alphabetical but in kind of a hyper-specific, ass-backwards-seeming way:

Acid Rooster, Alber Jupiter, Altareth, Alunah, Astrometer, Bismarck, Black Capricorn, Blasting Rod, BleakHeart, Blue Heron, Bongripper, Boozewa, Caffeine, Carpet, Castle, Cleen, Clouds Taste Satanic, Codex Serafini, Cold in Berlin, Cortez, The Cosmic Dead, Crypt Sermon, Daily Thompson, Deadpeach, Deaf Wolf, Demon Head, Destroyer of Light, Dopethrone, Duel, Earth Ship, Elephant Tree, Emu, Familiars, Bill Fisher, 40 Watt Sun, Ghost Frog, Goat Major, Guenna, Heath, High Reeper, Hijss, Horseburner, Ian Blurton’s Future Now, Insect Ark, Inter Arma, Kelley Juett, Juke Cove, Kalgon, Kandodo, Kant, Kariti, Kungens Män (x2), Kurokuma, Leather Lung, Legions of Doom, Lord Buffalo, Magic Fig, Magick Brother & Mystic Sister, Magick Potion, Magmakammer, Mammoth Caravan, Massive Hassle, MC MYASNOI, Merlin, Methadone Skies, Monkey3, Morag Tong, The Mountain King, Mount Hush, MR.BISON, My Dying Bride, Myriad’s Veil, No Man’s Valley, Norna, The Obsessed, Oryx, Pallbearer, Patriarchs in Black, Pia Isa, Planet of Zeus, Red Mesa, Rezn, Rifflord, Sacri Monti, Sandveiss, Satan’s Satyrs, Saturnalia Temple, Scorched Oak, Sheepfucker & Kraut, Slift, Slower, Slow Green Thing, SoftSun, The Sonic Dawn, SONS OF ZÖKU, Spacedrifter, Spiral Grave, Spirit Mother, Stonebride, Sun Blood Stories, Sunface, Sun Moon Holy Cult, Swallow the Sun, The Swell Fellas, Swell O, Temple Fang, 10,000 Years, Thomas Greenwood and the Talismans, Thunderbird Divine, Tigers on Opium, Traum, 24/7 Diva Heaven, Valley of the Sun, Vlimmer, Void Commander, Weather Systems, The Whims of the Great Magnet, Whispering Void, White Hills, Per Wiberg, Esben Willems, Worshipper, WyndRider…

Notes:

With the eternal caveat that I’ll be adding to the honorable mentions for the next few days as people drop names they remembered and I forgot, I’ll say I can live with the list as it is now. I wouldn’t go so far as to say I’m happy with it, but I’ll live. I felt like there was just too much good stuff in the 60-30, stuff that deserved a better look, and god damn, look at the honorable mentions. You’re gonna tell me Rezn wasn’t top 30 material? Or Inter Arma, or 10,000 Years (who I still need to review), or Kandodo or Cortez, or Bongripper, Blue Heron, Merlin, Slower? Mount Hush, Vlimmer, Destroyer of Light — I could do this all day. That Carpet record. That MR.BISON record. Valley of the Sun. I see these names and want to punch myself. Then I see the names in the top 30 and I go, “Well…” and kind of have to hold off. I guess that means it turned out to be a pretty fantastic year.

I know for a fact I didn’t hear everything that came out, and I’m willing to bet that any number of people who see this will have their own opinions on the best albums of 2024 from top to bottom. I celebrate this difference and look forward to being exposed to new sounds because of it. Let comments fly, please. Once again, my only ask is that you keep it kind as relates to my own list(s) and any other picks someone might offer. If I’ve got facts wrong, something was a Dec. 2023 release instead of Jan. 2024, whatever, by all means, let me know. But we’re all friends here and being a jerk about it solves nothing.

And yes, I’ll admit to projecting some self-criticism in the Elephant Tree/Lowrider selection for album of the year. All I can tell you is I stand by that pick. It’s that because when I was putting together the list, it couldn’t have been anywhere else. I don’t love breaking my own arbitrary rules nearly as much as I love imposing those arbitrary rules in the first place, but sometimes apparently one is forced from one’s comfort zone to their own general betterment. Who knew?

Of course we’re not done yet.

—

Debut Album of the Year 2024

Guhts, Regeneration

Other notable debuts (alphabetical):

Azutmaga, Offering
Buzzard, Doom Folk
Castle Rat, Into the Realm
Cleen, Excursion
Coltaine, Forgotten Ways
Full Earth, Cloud Sculptors
Goat Generator, Goat Generator
Goat Major, Ritual
Grave Speaker, Grave Speaker
Guenna, Peak of Jin’Arrah
Hashtronaut, No Return
Heath, Isaak’s Marble
Hijss, Stuck on Common Ground
Kalgon, Kalgon
Kant, Paranoia Pilgrimage
Kitsa, Dead by Dawn
Leather Lung, Graveside Grin
Legions of Doom, The Skull 3
Magic Fig, Magic Fig
Magick Potion, Magick Potion
Morpholith, Dystopian Distributions of Mass Produced Narcotics
Myriad’s Veil, Pendant
Neon Nightmare, Faded Dream
Plant, Cosmic Phytophthora
Rabid Children, Does the Heartbeat
Saltpig, Saltpig
Semuta, Glacial Erratic
SoftSun, Daylight in the Dark
Spacedrifter, When the Colors Fade
Sun Moon Holy Cult, Sun Moon Holy Cult
Ten Ton Slug, Colossal Oppressor
Tet, Tet
Tigers on Opium, Psychodrama
Tommy and the Teleboys, Gods Used in Great Condition
Troy the Band, Cataclysm
Weather Systems, Ocean Without a Shore
Esben Willems, Glowing Darkness
Young Acid, Murder at Maple Mountain

Notes:

First about Guhts: From the Andy Patterson recording and parts of the songs themselves, Guhts weren’t hiding influence from the likes of SubRosa or Julie Christmas, Made Out of Babies, etc., but what Regeneration did so well — and what I was trying to convey above — was take those recognizable elements and redirect them toward an expressive individuality. That album could be punishingly heavy or sweet and soothing and the fact that you never quite knew which was coming next was a major asset working in the band’s favor. There are a lot of killer debuts on this list, and plenty I’m sure that I’ve left off because, well, I’m inept, but Regeneration was so sure of what it was about and so crisp in making that real through sound that it’s still stunning.

A lot to celebrate on this list. Full Earth at the outset of a hopefully long-term progression. Tigers on Opium with attitude and craft. Castle Rat giving stage drama studio life. Weather Systems picking up where Anathema left off. Promising starts for Pontiac, Hashtronaut, Neon Nightmare, Cleen, Coltaine, Troy the Band, Buzzard, Magic Fig, Legions of Doom, and Heath, among others. If you’re worried about the state of underground heavy music, you don’t need to be. Granted the future of anything is unknowable even before you apply “uncertain times” caveats and all the rest, but bands are stepping up to carry the torch of established sounds and pushing themselves to realize new ideas — whether that’s Guhts and Magic Fig or Tigers on Opium, or Legions of Doom, Ten Ton Slug, Weather Systems and Monolord’s Esben Willems, new players or ones who’ve been around for decades.

If you want a top ten — and who doesn’t? — in addition to Guhts, make your way through Full Earth, Sun Moon Holy Cult, Morpholith, Guenna, Coltaine, Troy the Band, Young Acid, Emu, Buzzard and Kant to start, and you can dig deeper from there. That’s actually 11, but I don’t care. More new music won’t hurt you.

We press on.

—

Short Release of the Year 2024

Moura, Fume Santo de Loureiro

Other notable EPs, Splits, Demos, Singles, etc.

Aktopasa, Ultrawest
Alreckque, 6PM
Bog Wizard, Journey Through the Dying Lands
Conan, DIY Series Issue 1
Cortége, Under the Endless Sky
Cult of Dom Keller, Extinction EP
Michael Rudolph Cummings, Money EP
Deer Lord, Dark Matter Pt. 2
Eagle Twin & The Otolith, Legends of the Desert Vol. 4
Fuzznaut, Wind Doula
Fuzzter, Pandemonium EP
Geezer & Isaak, Interstellar Cosmic Blues and the Riffalicious Stoner Dudes
Harvestman, Triptych EP(s)
Hermano, When the Moon Was High
Hollow Leg, Dust & Echoes
Holy Fingers, Endless Light Infinite Presence
King Buffalo, Balrog
Lurcher, Breathe EP
Okkoto, All is Light
Ord Cannon, Foreshots EP
Orme, No Serpents No Saviours
Pelican, Adrift/Tending the Embers
Pontiac, Hard Knox EP
Rope Trick, Red Tide EP
Sacred Buzz, Radio Radiation
Smoke & Doomsday Profit, Split
Spiral Guru, Silenced Voices EP
Toad Venom, Jag har inga problen osv​.​.​.
Trigona & IO Audio Recordings, Split
Various Artists, International Space Station Vol. 2

Notes:

This category includes so much and can range so vastly between an EP that’s about 30 seconds short of being a full album to a standalone single released just for the hell of it to a band’s first rehearsal room demo. “Short releases” encompasses a lot, and as noted above, I’ve already broken my rules about where splits go. What about The Otolith and Eagle Twin? Geezer and Isaak? Smoke and Doomsday Profit? Trigona and IO Audio Recordings? The International Space Station four-wayer? If I’m crossing lines, don’t these also need to be considered as full-lengths?

You know what really sucks about it? This is an argument I’m going to have with myself for probably the next year. An existential crisis playing out in the back of my mind. More important? The Moura EP. The soundtracky textures the Spanish folk-informed progressive psychedelic rockers brought to the follow-up for their second album were both otherworldly and ground-born, and the material put emphasis on how much care and craft goes into their work while retaining the organic core against the threat of pretense. It was my most listened to short release of 2024, followed by Pelican, Holy Fingers, Pontiac, Toad Venom, Hollow Leg (x2), and Sacred Buzz. A new King Buffalo single was a late-year boon, that Hermano was worth it for the previously-unreleased studio track alone, and strong showings from Michael Rudolph Cummings, Deer Lord, Conan and Cortége, along with the aforementioned splits, assured that through the entire year, attention spans would receive consistent challenge in the movement from one thing to the next.

By way of a familiar confession, my list of short releases is nowhere near complete. It never is, and it never really could be. I’m sure there will be some I left out that I’ll add in for honorable mentions, etc., but I stand by the Moura pick for best short outing. They brought a soul to it that put the lie to the notion of EPs as between-album gap-fillers, and in a year that didn’t lack substance among its brevity-focused options, Fume Santo de Loureiro stood out in character, aesthetic and songwriting. Nobody else is making music quite like Moura.

If you have more to add here, by all means, please and thank you. Comments are below.

—

Live Albums

Live Album of the Year 2024

Temple Fang, Live at Krach Am Bach

Castle, One Knight Stands: Live in NY
Danava, Live
Elder, Live at Maida Vale
Snail, Thou Art There
Stöner, Hittin’ the Bitchin’ Switch
Sula Bassana & Skyjoggers, Split
The Whims of the Great Magnet, Live at Bankastudios Maastricht 22​-​12​-​2023

Notes:

Fewer releases listed here than last year, but some killer ones for that. I put Temple Fang out there as live album of the year, and since we’re late in the post I’ll tell you honestly that it probably could be any of these on a given day. Danava’s live record crossed decades in badassery, the Sula/Skyjoggers split captured the vibe of a club night in Germany, the Whims of the Great Magnet’s live release made an excellent predecessor to their out-this-month studio album, Snail recorded theirs at a show I put on, Stöner capture the end of their two-album cycle with an awesome set, and Elder are Elder. The Maida Vale recording is short, and their songs are long, or you probably would’ve heard a lot more about that this year. If/when they do a proper live album, it will be a no-brainer.

But the Temple Fang has it all in molten progressivism, heavy tones, immersive psychedelia and outright soul, and of the bands I’ve managed to list here — if you want to add to the list, please do — there’s nobody who so much defines what they do by its live incarnation. Temple Fang’s music changes every night. They follow where it leads in a different way, and the ritualization of their performance comes through in Live at Krach Am Bach resoundingly. I’m not saying a bad word about their studio work to this point, but their heart manifests in a different way and at a different level onstage. They’re a great band and this shows a big part of why.

—

Looking Ahead to 2025

Names, right? This one’s all about the names? Get to the names, jack? Okay, calm down.

With eternal appreciation to the folks of fine, upstanding moral character in the ‘The Obelisk Collective’ group on Facebook for the assistance, here’s a smattering of what one might look forward to in 2025:

Aawks, After Nations, All Them Witches, Amber Asylum, Author & Punisher, Bandshee, Black Spirit Crown, Bog Wizard, Bone Church, Borracho, Bronco, Buzzard, Dee Calhoun, Causa Sui, The Cimmerian, Clutch, Conan, Corrosion of Conformity, Daevar, Dead Meadow, Dead Shrine, Demons My Friends, Dream Unending, DUNDDW, Dunes, Flummox, Fuzz Sagrado, FVZZ POPVLI, Gaytheist, Gin Lady, Gnarled, Gnod & White Hills, Gods and Punks, Godzillionaire, Haze Mage, Kaiser, Kal-El, King Buffalo, Lamassu, Lo-Pan, Madmess, Mantar, Masters of Reality, Messa, Seán Mulrooney, Mouth., New Dawn Fades, Nightstalker, Øresund Space Collective, Pentagram, Pesta, Pothamus, Dax Riggs, Seedy Jeezus, Slomatics, Slow Wake, Stoned Jesus, Stone Machine Electric, Temple Fang, 3rd Ear Experience, Triptykon, Trouble, Turtle Skull, Warlung, Weedpecker, Yawning Balch, Year of the Cobra, YOB… and because it still hasn’t happened and someone invariably calls me out if they’re not listed: Om.

If you have names to add, “smash that comment button,” in the parlance of our times. Only don’t really smash it because you might hurt your hand or break your phone with your awesome strength.

—

THANK YOU

It was among my primary goals for this post that it should be shorter than last year’s, and it looks like I’ll achieve that with room to spare, so I’m glad. Sometimes I get carried away, I think I probably don’t need to tell you.

Before I let go of 2024 — actually I still want to review that The Whims of the Great Magnet studio release and I’ve got a Darsombra video premiere set before the end of the year, news to catch up on from like the last two weeks and a whole lot more to cover — I’d like to take a moment to thank you one more time for reading and for being part of this project this year and each year it’s been ongoing. Your support is absolutely what keeps this site going and it means more to me than I can ever hope to comprehend.

Thank you to The Patient Mrs., who in the course of a given week let alone year puts up with more of my bullshit than any human being should ever have to. “Yes, love, the world’s ending and we have no money and the house is falling down around us and the dog needs to pee, but I just need two or three hours to go sit and write about riffs — is that cool?” Or better, when I’m pissy about it. The “my wife is a saint” routine is pretty played out as far as dudely excuses for being selfish, lazy and/or dumb go, but well, I am all of those things on the extreme regular and she hasn’t booted my ass to the curb yet. I find this to be a reason to celebrate and a thing to appreciate. I am loved and cared for in ways I could never hope to earn.

Thank you to my family for their support, year in and year out. They’ve all got Obelisk shirts and they all wear them, and while I’m not sure they understand the true depths of egoistic depravity involved in this project, they’ve been on board with it since the start, and this includes my wife’s side of the family as well. I am incredibly lucky to have the life I have.

I’m going to keep listening to music, keep writing about it as much as I can. I’m not quite as generally panicked about it as I used to be — older, busier in different ways, over the FOMO, maybe a little more discerning in terms of taste? — and I’m significantly less likely to break my brain answering email, but I’m doing my best.

The Obelisk presses on into what will be a busy 2025. I’ve got trips slated to Planet Desert Rock Weekend in Las Vegas this January, Desertfest Oslo in May, Freak Valley in Germany in June, Bear Stone in Croatia in July, and Desertfest New York in September, with more hopefully to come. I look forward to these adventures and to doing the writing that will happen as part of them, and one more time, I thank you for your time and attention in reading, in the past, now, and in the future. I’m taking tomorrow off. All the way off. Back on Monday for more.

Much appreciated,
JJ Koczan

You can’t look at the extensive list of dates below and not accuse Heavy Temple of slacking, to say the least of it. The Philadelphia trio will be out for six-plus weeks on this coast-to-coast US headlining tour, which I think is the longest single stretch they’ve yet undertaken, though I wouldn’t swear to it. In any case, it is a striking amount of shows, and in a time where a lot of bands break up the States into East or West Coast runs and cover the spaces between, Heavy Temple signal a righteous diving-in here.

They go in support of one of 2024’s best LPs, Garden of Heathens (review here), their second record through Magnetic Eye and built on a similarly all-in ethic as regards both craft and bombast. Note as well that support will come from also-no-strangers-to-the-road Valley of the Sun from Ohio, who are currently streaming the first half of and taking preorders for their forthcoming Quintessence LP (info here) ahead of releasing the second part and physical versions in the coming months. I hope they have ’em to bring on the tour.

And by “the tour” I mean this one. Behold:

The Nation of Heathens tour kicks off July 18th! We’re super stoked to have @valleyofthesunband with us on all these dates, and we’ll be joined by some other friends along the way. See dates below! 👇👇👇

7/17 – Boston, MA @ Mideast Upstairs
7/18 – New York, NY @ Kingsland
7/19 – Clifton, NJ @ Dingbats
7/20 – Baltimore, MD @ Metro Gallery
7/21 – Youngstown, OH @ Westside Bowl
7/24 – Columbus, OH @ Ace of Cups
7/25 – Detroit, MI @ Sanctuary
7/26 – Indianapolis, IN @ Black Circle
7/27 – Chicago, IL @ Reggie’s Music Joint
7/28 – Milwaukee, WI @ Club Garibaldi
7/30 – Minneapolis, MN @ Turf Club
7/31 – Iowa City, IA @ Wildwood
8/1 – Lincoln, NE @ 1867 Bar
8/2 – Denver, CO @ HQ Denver
8/3 – Salt Lake, UT @ Ace High Saloon
8/4 – Boise, ID @ Shredder
8/7 – Seattle, WA @ Sub Station
8/8 – Portland, OR @ Dantes
8/9 – San Fran, CA @ DNA Lounge
8/10 – Anaheim, CA @ The Parish (HOB)
8/11 – San Diego, CA @ Brick by Brick
8/13 – Las Vegas, NV @ Usual Place
8/14 – Phoenix, AZ @ Underground
8/15 – Albuquerque, NM @ Sister Bar
8/16 – El Paso, TX @ Rock House
8/17 – Dallas, TX @ Three Links
8/18 – Austin, TX @ The Lost Well
8/21 – San Antonio, TX @ Paper Tiger
8/22 – Houston, TX @ Secret Group
8/23 – Lafayette, LA @ Freetown Boom Boom
8/24 – New Orleans, LA @ Santos Bar
8/25 – Pensacola, FL @ The Handlebar
8/27 – Jacksonville, FL @ Underbelly
8/28 – Orlando, Fl @ Wills Pub
8/29 – Tampa, FL @ Orpheum
8/30 – Atlanta, GA @ Boggs Social & Supply
8/31 – Richmond, VA @ The Camel
🐍🍎

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Heavy Temple, Garden of Heathens (2024)

Valley of the Sun, Quintessence (2024)

Absolute ripper. You wouldn’t have called Heavy Temple timid as a band on their 2021 debut, Lupi Amoris (review here), but Garden of Heathens is confident in its stride from the first clarion riff in leadoff “Extreme Indifference to Life” and throw-elbows brash through the head-spinning, double-kick-propelled instrumental thrash finish in “Psychomanteum”; less about playing to style than doing what feels right in the songs, dynamic, heavy, and charged. Now more than a decade on from their start, the Philadelphia trio led by bassist/vocalist High Priestess Nighthawk with Baron Lycan on drums and, here, Lord Paisley making his final appearance on guitar — Christian Lopez (also Sun Voyager) has stepped into the role — present a clear vision of who they are across eight songs and 45 minutes brimming with attitude, righteous intent, groove and swagger as they bounce back and forth between longer and shorter cuts, building momentum fast and never quite letting it go even in the later reaches of the near-nine-minute “Snake Oil (And Other Remedies)” with its abundant layers of shred, emphatic physical push and willfully noisy apex.

Maybe you’ve seen them on stage in the last couple years. Maybe you haven’t. Either way, that’s the likely origin point of the urgency they offer to underpin whatever a given piece might be doing, as with “Hiraeth” following the declarative hook and roll (actually there’s some double-kick there too, and elsewhere; don’t be scared) of the opener with an internalized worship that brings together Queens of the Stone Age and Slayer, or the tension wrought in the three minutes comprising the ambient, hypnotic “In the Garden of Heathens,” marked by cymbal wash and guest cello from John Forrestal, who also produced at The Animal Farm in the idyllic countryside of Flemington, New Jersey. That semi-title-track is the only real comedown provided, and the breather is all the more appreciated in complementing “Snake Oil (And Other Remedies)” as the band make ready to topple the gatekept walls of metal in the penultimate “Jesus Wept,” hitting hard with a heroic dose of lead guitar and a scorch that by that point in Garden of Heathens has already left no shortage of blisters.

But if ‘over the top’ is where it’s at — and no, you’re not wrong if you’re picturing Sylvester Stallone arm wrestling in the 1987 movie of the same name — then Heavy Temple are at home in the excess, and what most brings the material on Garden of Heathens together is the fuckall fury and tightness of their execution. The proverbial band on fire, as demonstrated through the seven minutes of “Divine Indiscretion” as it courses fluidly through a twisting verse and a chorus that only grows more melodic with the additional vocal layer the second time through. Nighthawk‘s increased command-of-instrument as a singer is given due punctuation by the stomping, headbang-worthy riff and solo from Paisley that follow said verse/chorus as they gallop into the song’s midsection, toy with a flash of ’70s Motörheadular shuffle and stop to give the crowd — whatever, wherever, whoever — a chance to shout back in response before the noise wash circa 4:30 brings it to a standalone, maybe-part-improv Hendrix meander backed by a layer of effects that soon enough rises to earth-consuming proportion before the shred goes full-Iommi and they turn back to the central riff for a fast, loud, big, big, big crash to end.

Movement, a heavy immediacy in the songwriting, has been wheelhouse for Heavy Temple since their 2014 self-titled EP (review here) and has carried them through multiple lineup changes, but with Garden of Heathens, they are sharper and more focused than they’ve yet been on record. While the strut is still there in “Hiraeth” and the not-actually-slow-but-still-a-nod “House of Warship,” some of the funk that rested beneath the fuzzy surface of their earlier work has been traded out in favor of more direct intensity. Given the unenviable positioning between “Divine Indiscretion” and “Snake Oil (And Other Remedies),” “House of Warship” announces itself with a standalone harmonized vocal sweep joined shortly by creeper guitar, and gets bombastic as Lycan‘s drums give pulse to the dug-in riff, while Nighthawk gets theatrical in the multi-layered hook and pushes to higher notes in the song’s consuming midsection. Ready to noiseblast at a moment’s notice, they make “House of Warship” a highlight, touching on doom and toying with goth and metal in ways that make the careful balances in their approach sound as organic as they likely are. To me, it most sounds like Heavy Temple stepping forward creatively and bending genre to their increasingly individualized purposes.

Because it’s loud regardless of actual volume, because it varies tempos, departs and returns, shoves, swings, bobs and weaves, and ultimately because it has so much energy behind its delivery, Garden of Heathens reveals more of its complexities on repeat listens, whether that’s the okay-here-we-go transition into the shredding finish of “Extreme Indifference to Life” or the High on Fire-informed push in “Jesus Wept.” The finer details are worth it, to put it mildly, as is the raw force with which the tracks land, each contributing something of its own to the broadened scope of the entirety. That they choose to end with “Psychomanteum,” the fastest and most brazen attack, teasing a slowdown but finishing with a suitable defiance of expectation both in style and lack of vocals, sends the message (expedited) that Heavy Temple aren’t done. It may or may not hint at future dives into thrash and other more aggressive styles to be melded with their weighted tones, but at a certain point it’s moot to speculate since, aside from whatever progression or whims may manifest, their next release will invariably present some shift in dynamic as a result of the personnel change.

That too is part of the story of Heavy Temple and Garden of Heathens, but the bloodlust in these songs isn’t out of the blue, and one can only hope remains as much a piece of who they will become as it is of who they are today. Few and far between on this wretched earth are bands who can inhabit both the wrecking ball and the afterparty dancing atop the rubble. Now mosh, ye pagans.

Heavy Temple, Garden of Heathens (2024)

Heavy Temple on Facebook

Heavy Temple on Instagram

Heavy Temple on Bandcamp

Magnetic Eye Records store

Magnetic Eye Records website

Magnetic Eye Records on Facebook

Magnetic Eye Records on Instagram

Greeting listeners with its opening track positioned as the first single, Heavy Temple‘s second long-player, Garden of Heathens, is set to arrive on April 22 through Magnetic Eye. One will find the self-recording Philly hard fuzzers’ twisting grooves intact from where they left off on 2021’s Lupi Amoris (review here), with High Priestess Nighthawk bringing a refined post-Homme croon to the verses before shifting soulfully into the second chorus. What was true then would seem to remain true now. If you’ve got the itch, Heavy Temple are the scratch.

So be it. “Extreme Indifference to Life” streams below and I count this near if not at the top of my most anticipated records of 2024 list. Note the band toured with Howling Giant for a first European run last Fall, and that I’m pretty sure Garden of Heathens was already recorded before that; guitarist Lord Paisley has been replaced by Christian Lopez, whose nom de plume I’d imagine is pending.

From the PR wire:

HEAVY TEMPLE unleash first single ‘Extreme Indifference to Life’ and details of new album “Garden of Heathens”!

Psychedelic doom fast-risers HEAVY TEMPLE have released the booming opening track ‘Extreme Indifference to Life’ as the first single taken from their forthcoming sophomore full-length “Garden of Heathens”, which has been slated for release on April 12, 2024 via Magnetic Eye Records. The pre-sale is now available at http://lnk.spkr.media/heavy-temple-garden

HEAVY TEMPLE comment: “The lyrics of our new record ‘Garden of Heathens’ are rather personal”, singer and bass player High Priestess Nighthawk reveals. “They are always the last thing to get done, but these nearly wrote themselves. The words came from the darkest parts of my mind that I usually don’t want to confront. Coincidentally, ‘Extreme Indifference to Life’ deals with the imposter syndrome to the extreme: the anxiety of overthinking everything, always wondering if you’re good enough, or even if you were ever any good to begin with.”

Tracklist
1. Extreme Indifference to Life
2. Hiraeth
3. Divine Indiscretion
4. House of Warship
5. Snake Oil (and Other Remedies)
6. In the Garden of Heathens
7. Jesus Wept
8. Psychomanteum

Wherever HEAVY TEMPLE are heading on this diverse and dynamic record, they always stay real with both feet on the ground. Except, that is, when it comes to the lyrics. With her words, the High Priestess admits to peddling a version of things that isn’t real – with a grim smile and quite deliberately so. In fact, that’s the theme running through “Garden of Heathens” as a red thread. From the American Dream to relationships, below the surface there is anxiety, betrayal, and doubt. And while some of the lyrical metaphors might at first glance seem to focus on religion, they are definitely not that literal. Rather, these are Nighthawk’s most personal lyrics ever.

Recording line-up
High Priestess Nighthawk – vocals, bass
Lord Paisley – guitar
Baron Lycan – drums

Guest musician
John Forrestal – cello

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Heavy Temple, “Extreme Indifference to Life”

This is a ‘make it official’ kind of announcement from Philadelphia’s Heavy Temple, who’ve already appeared at Desertfest New York 2023 (review here) and subsequently banged out a European tour with Christian Lopez on guitar, as well as, you know, probably hung out a whole bunch at rehearsal and stuff. Lopez takes the place of Lord Paisley, who joined Heavy Temple in time to play on 2021’s debut full-length, Lupi Amoris (review here), be a part of their continuing emergence as a touring act, and take part in tributes, splits, the whole thing.

It’s only been a few years, but Heavy Temple have been through a couple of guitarists and drummers around founding bassist/vocalist High Priestess Nighthawk, so it’s not the craziest thing in the world to think they’d be trading out personnel again. Lopez, meanwhile, had been playing with Sun Voyager — I got to see him with them this Spring (review here) and they were awesome — and they’re in NY and Heavy Temple are in Philly and that seems like a heck of a commute, so I’m not sure what the status with Sun Voyager is, but I’ll tell you from personal experience that Lopez tore it up as the new guy in both bands, has shred and apparently will travel.

And while I’m a little sad to know there’s new Heavy Temple somewhere on the planet and I haven’t heard it — at least I think so if I read the implication below correctly — I’m glad to learn the three-piece’s second album will be out in 2024. I have no doubt it will be a highlight.

From socials:

You may have noticed some changes in the HT camp. @calivibescustom started as a fill in for Lord Paisley on our Euro tour but has quickly cemented himself as in invaluable member of the Temple consort. While we are sad that our paisley prince will no longer be shredding with us, he leaves behind his contributions to arguably the best record we’ve ever made, due in no small part to his talent and ability. We wish him all the best in his new endeavors and look forward to whatever this new iteration may be.

This is the tl;dr part. When I started the band 11 years ago, I always wanted a permanent line up, but wanted to be realistic when it came to commitments and time. So I modeled the band after Queens of the Stone Age, meaning I viewed it as sort of an open collective. Having now had more than a handful of line up changes, it truly shows me what I’ve always known, which is that there is no growth without change.

I’m once again eternally grateful for all the creativity and inspiration I’ve found with everyone I’ve been fortunate enough to call a bandmate. Never stop not stopping.

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Heavy Temple, Lupi Amoris (2021)

09.15.23 – Friday – Knockdown Center – Before show

Okay, I can admit it’s weird. Not through anything the festival has done, beyond perhaps existing, which I firmly believe is a positive thing, but for me personally, it’s a weird process. The last couple years, I’ve had a much easier time making it to festivals than club shows, and it’s been easier to travel than see something local. The way my schedule and life are arranged right now — bed early, up early to write and begin the day’s domestic whathaveyou — it’s nearly impossible for me to ‘get out to a show.’ It’s a significant rearrangement of multiple lives to make it happen.

My solution has been, every so often, to go to a festival, and I’ve been lucky to travel these last couple years, whether it’s to Germany, Sweden, Norway, Portugal, even Las Vegas. That pulls me out of the norm. I’m on my own. I don’t have to worry about the house, or anyone else’s schedule other than the bands. I’m removed from ‘real life.’ Not so with Desertfest New York.

This is the only festival I’ve been to in the last 15 years-plus where the travel involved is a commute. I spent two hours in traffic last night to get to Vitus. And more than an hour home because why wouldn’t there be dead-stop gridlock at midnight on a Thursday? It’s another layer — something else to worry about — that I feel when I’m here. It was true last year to some extent, but the sheer novelty of being out of the house in May 2022 made up some ground in terms of the overall experience. A big emotional high.

And again, it’s not about the fest. It’s about where I live. Just far enough out to be a pain in the ass. And if you’ve ever been to New York, especially driving, you know the city doesn’t exactly work to make it easy, or remotely pleasant. I’m not trying to complain about some shit — Desertfest has taken great care of me once again and The Patient Mrs. has uprooted herself and our kid on my behalf for the weekend; she even drove to and from the pre-show — it’s just a part of the experience I’m not used to. It’s weird to think about running the dishwasher after you get home from Colour Haze playing one of the best shows you’ve ever seen at the Saint Vitus Bar. It’s weird that the last thing I did before I left the house to come here was change over the laundry.

It’s weird. I’m weird too.

Two-dayer fests rule and here’s how night one of two went down:

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SpellBook

Pennsylvania cultists, doomers, a little bit glammers SpellBook had the bonus factor of having added Greg Diener of Pale Divine on guitar, which is never going to hurt you when it comes to doom riffs. It’s only been a couple months since he started with the five-piece, whose second album under the name — they used to be called Witch Hazel — Deadly Charms, came out last year. They played the title-track from it after “The Witch of Ridley Creek,” the joke there being that initially-cape-clad frontman introduced the first by saying “This next song is about a witch,” then saying the same thing before they played “Deadly Charms.” I missed that record but might pick up a CD if those exist as the swing of that hook sat right, and in the name of good times generally. Funny, before they went on, bassist Seibert Lowe came up and said hi, it’s been a while, etc. Curious, I looked it up. Saw Witch Hazel in 2015 at a fest in Maryland. Yeah, it’s probably been long enough.

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Valley of the Sun

Reliability be thy name. Ohio’s Valley of the Sun were in Europe this Spring to do Desertfest Berlin and London, Esbjerg Fuzztival, etc., and a tour around that. Last year, they played the pre-show at Vitus (review here), wrecked it gloriously, and I’m not trying to toot my own horn when I say I knew they’d do the same on the main stage here at the Knockdown Center, but yeah, I had a pretty good idea of what was coming. They’ve been touring basically since before they put out The Chariot (review here) last year, and they absolutely sounded like it. Set was tight, pro, fun, and could’ve been delivered to 15 people at 1PM (there were many more there, and it was later, I’m just making a point) or 10,000 at midnight, I honestly don’t think it would matter. They did their set, their way, their presence bolstered by the unshakeable quality of their craft and the fact that even as veterans however many years later — 12 since the EP, I think? — they continue to look like they’re having fun. And goodness gracious, maybe they are.

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Grave Bathers

Dark, moody, urbane heavy rock, with members of Yatra — who played last year — and Heavy Temple, who play tonight. Don’t doubt Philly is where it’s at. They’ve got a whole generation of up and coming bands and I’ll add Grave Bathers to the list. I didn’t hear last year’s debut, Rock ‘n Roll Fetish, so didn’t know the songs, but their delivery was right on as they put that fetish to good use. They were brash, maybe a little druggy — more pills/coke than weed — and seemed in the process of solidifying their approach, which, yes, means it was exciting set to watch.

—

1000mods

Long drone before they went on. Like 10 minutes. Fair enough, I guess. But it was riffs freshly rolled once they got going, their traditionalism for desert rock very clearly familiar to the crowd on hand, and they were pretty fresh in my mind as well since they reissued their full-length discography ahead of coming to the US to play. They’ve also got socks at the merch table, which is knowing your market, I suppose. They’re probably the most successful heavy rock export from Greece to-date, and their groove answers any and all questions why. Newer material or old, they’ve always managed to find the tempo just right for their riffs. Last time I saw them was a decade ago at The Black Heart in London (review here) and they were killer then, so I knew a bit of what was in store, but the long drone became transitional ambience, and it was interesting to hear the maturity of 2020’s Youth of Dissent (review here) come through in their approach there, but you can’t beat the raw mellow nod of “Vidage.” The very sound of everything cool about this music and probably some stuff that’s only cool because 1000mods made it that way. Definitely need to buy some socks before the night is done.

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Castle Rat

I had not yet seen Brooklyn trad metal/doom-adjacent troupe Castle Rat. It’s a particular aspect of New York that might make one feel late to the party before a band has a record out, but the room knew what was up, and the band put on a theatrical display of intermittently sexualized horror that included a bassist in a plague mask, a vampire guitarist, some kind of forest spirit on drums, the storyteller herself up front, a couple druids parked outside the room as greeters. Cool vibe, though I wonder about how it would/will work on an album, but maybe they don’t need to put out an album, though when they signed to King Volume Records in July, word was an LP in 2024. Either way, they’re young and in shape, and thus marketable, in addition to all that rocking and metal-of-eld. They had the room wrapt, and yeah, the evening is getting on and progressively less lucid, so maybe some staring anyway from the crowd, but they put on a show, rather than playing a set, and today or tomorrow there’s not another band playing this weekend doing the same kind of thing, let alone doing it so well, so I’ll take the win. I may never feel like Johnny Groundfloor on Castle Rat, but at least I can say I’ve seen them now. Which I suppose makes the fact that they killed a bonus.

—

Windhand

I didn’t know this prior to looking it up — yes, sometimes it is handy to have an archive of nearly every show you’ve seen for the last however many years — but the last time I saw Windhand was at The Well for Desertfest NYC 2019 (review here). That place was cool, wouldn’t say a word against it, but DFNY works well at Knockdown Center and being inside for the most part — an outdoor third stage opens tomorrow — allows some seasonal/weather flexibility. As for Windhand, well, their most recent LP, Eternal Return (review here), turns five this year and vocalist Dorthia Cottrell — who’s doing a solo show tomorrow on the aforementioned third stage — put her new solo album, Death Folk Country (review here), on Relapse, to which Windhand are also signed for over a decade, and earlier this year they reissued their 2012 self-titled debut (review here; discussed here), did the Heavy Psych Sounds Fests in California, and it’s kind of the personality of the band that they’re there when called upon. In this case, it was Truckfighters canceling that brought them here, and they did the job they were brought in to do. Slowest band of the day, easily, and the most miserable of the weekend this far. Murkiest sound anywhere. Like an out of focus photograph from the 19th century.

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Heavy Temple

Oooh, Heavy Temple’s got new songs. And a new guitarist, who just happens to be Christian Lopez, also of Sun Voyager. High Priestess Nighthawk, Lopez and drummer Will “Baron Lycan” Mellor took to the stage with the door closed into the second room and then about a minute before they went on, the door opened and everyone came in at once and then they started and that was that. But jeez, put out a record. What’s the holdup? Your drummer is an engineer! Granted, it’s only been two years since Lupi Amoris (review here), but they’re about to go tour Europe for the first time with Howling Giant — whose new album is stellar, I had it on in the car on the way here — and taking a new release along doesn’t seem like the worst idea. Hell do I know. Once the door was open, the room packed out immediately, and not even a Colour Haze line check could bring the crowd out from the Texas stage. I don’t know when I last saw Heavy Temple, and at this point in the day I’m too tired to look, but they delivered like a band who has way more to their credit than two EPs, an LP and some other odds and ends — a notably righteous Type O Negative cover among them — and I was only happy to see them again and to hear some new material. The sooner the better on Heavy Temple’s sophomore LP.

—

Colour Haze

Loud whispers of “shh!” to people talking during the quiet parts. The keys seemed more prominent in the mix, but I stood right in front of the stage last night for the whole set, so who the hell knows what I was hearing or not. The flexibility of a photo pit means I can move around a bit and, say, go to the bathroom or get a drink of water. Crazy shit like that. Most of Colour Haze Night Two — it really is a shame they’re not doing a third set tomorrow — artists-in-residence! pick any album you want out of the catalog and I’ll be more than happy to watch them play it in full — was instrumental, and I had been planning to go see R.I.P., from Portland, also quite far, but life doesn’t always afford you opportunities to see your favorite bands, and life is short and most of it is very, very difficult, so yeah, I stayed put. It was really difficult to think that Colour Haze might be playing in the building somewhere and I wouldn’t be there. So I put myself there and, as I occasionally remember to do, just enjoyed a thing for a couple minutes. On the whole, it was a more laid back set than last night’s at Vitus. They played “Transformation.” It was beautiful. I love the way it skips before it runs straight out and gets fast at the end. I hadn’t eaten since the morning and it was nearly 10PM. The Patient Mrs. texting to tell me to be careful on the way home. An infinity of distractions. But nah, just let me have this one for a minute. They closed with “Tempel” as someone yelled out “what a time to be alive!” No argument.

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Quick note: I did go check out R.I.P. after Colour Haze finished. The second stage was packed, they were shredding oldschool-style dirt metal to the delight of all present. The pic at the top of this post is the room when they played.

—

Monster Magnet

Time marches forward and Monster Magnet remain a salve against bullshit in rock and roll. Of all the bands to close out the night, the stalwart outfit from my beloved Garden State are legends in the field, and founding frontman Dave Wyndorf was simultaneously out of his mind and in command of the show, which I think is how you get to be that dude. I had thought guitarist Garrett Sweeny (also The Atomic Bitchwax) was out of the band, but no. He had stage right while longtime collaborator Phil Caivano — who just put out a solo record; the band is called Caivano — had the other side, drummer Bob Pantella (also also The Atomic Bitchwax, ex-Raging Slab, RiotGod, and so on) was up on a riser in back and the bassist Alec Morton, also ex-Raging Slab [thank you Amanda Vogel for that], hung back with a Rickenbacker that both looked and sounded awfully nice. Original band member Tim Cronin was doing lights, as he reportedly will according to a seven-year planetary cycle. We’ve been back and forth online and I’ve covered his band The Ribeye Brothers a bunch because they’re cool, but we never met in person, so that was awesome earlier in the day. Monster Magnet opening with the Hawkwind cover “Born to Go” was also rather sweet. “Superjudge,” “Powertrip,” “Dopes to Infinity,” “Tractor,” “Mastermind” tucked away in the encore. Even as a headliner, Monster Magnet would have a hard time putting together a full career-retrospective set. I got to see then play “Negasonic Teenage Warhead” tonight, though, and that’s plenty. Pro-shop rock band, one of heavy rock’s all-time great frontmen tossing out middle fingers like they’re free samples at Costco, and all was well and the strobe flashed and the fan blew and the band tore Knockdown Center a new ass — but they did it in space, so it’s even cooler — and reminded everybody there which coast really invented stoner rock.

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More pics after the jump. Thanks for reading.

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The lineup for Keep it Low 2023 is finished with the last additions of Zeal and Ardor, a stopthrough from the Howling Giant and Heavy Temple tour, as well as a trio of bands from Germany in Morast, Instrument and Einseinseins. The former rest atop a wild bill, and anyone who would accuse heavy underground music of all sounding the same should go ahead and listen to the first five bands listed here in succession. Zeal and Ardor, Colour Haze, Mantar, The Obsessed and King Buffalo — it wouldn’t work as a Spotify playlist, or maybe it would, but it will make for a killer festival.

This is the ninth Keep it Low Festival, the vibe of which I’ve always found particularly alluring from a distance, and for what started as a kind of humble event, this looks pretty huge. It’s still at Backstage in Munich, so the amount of tickets available will be the same as ever, but even as the names get harder to read on the poster below, there’s good stuff to be had. I see The Moth and Lucid Void and Swan Valley Heights down there. It would be far too easy to do worse.

Sound of Liberation sent the following down the PR wire:

Hey friends,

We’re super stoked to present you the last bands for our beloved Keep It Low festival in Munich 2023, including the last headliner! (#128121#)

And alongside we must warn you: our 2-day-passes are almost sold out and you need to be fast if you want to enjoy the full weekend experience!

Please welcome:
ZEAL & ARDOR (CH)
HOWLING GIANT (US)
HEAVY TEMPLE (US)
MORAST (DE)
INSTRUMENT (DE)
EINSEINSEINS (DE)

We can’t wait for October to come!

Two days of heavy rock music, aftershow DJs, outdoor beergarden, “Doom Frühschoppen” & more!(#128640#)

06. – 07. Oct 2023
Backstage
Munich (DE)

Grab your tickets at:
www.sol-tickets.com

This is our last call for weekend tickets!

https://www.facebook.com/keepitlowfestival/
https://www.keepitlow.de/
https://www.soundofliberation.com/
http://www.sol-tickets.com

Howling Giant, Glass Future (2023)

When Heavy Temple and Howling Giant were announced in April for Into the Void in Leeuwarden, I noted that I hoped the two bands would tour together. What they most have in common between Heavy Temple‘s hard-fuzz dark boogie and Howling Giant‘s sprawling heavy prog — aside from being labelmates under the banner of Magnetic Eye Records — is that both have only just begun to realize their potential. Doing this tour will help push both acts forward, and more over, doing this tour together is important.

Yeah, they’re playing Up in Smoke, Into the Void, Keep it Low and Desertfest Belgium, but the truth is these two — both with multiple tours under their respective belts — are the kinds of acts who in another decade or decade-plus could very well headline these kinds of events, so their pairing for a run now is an investment in further comity over the longer term of their careers. I hereby — and you know I mean business when I break out “hereby” — formally request on-stage collaboration, abundant guest spots if not the formation of a Heavy Giant Howling Temple family big band. Also video of that. Like, decent video.

And a note to Europe specifically: These bands are two of America’s brightest hopes for next-gen heavy. Skip seeing them now and you may live to regret it later.

Dates came down the PR wire with comment from the bands:

HEAVY TEMPLE & HOWLING GIANT announce co-headlining EUROPEAN tour!

HEAVY TEMPLE from Philadelphia, PA and Nashville, Tennessee’s HOWLING GIANT will both make their first journey overseas for a co-headlining European tour in advance of their upcoming new albums. The tour will include appearances at several key festivals. It kicks off in Switzerland at the Up in Smoke Festival in Pratteln and runs through until October 22 in the city of Antwerp at Desertfest Belgium.

Please see below for all confirmed HEAVY TEMPLE and HOWLING GIANT tour dates.

HOWLING GIANT comment: “We are fired up about this European quest with our shield companions in Heavy Temple,” drummer Zach Wheeler writes. “We’re ready to sling riffs and cross swords with the best of the best beyond the great pond.”

HEAVY TEMPLE add: “We hope that Europe is as ready for us as we are for them!”, bassist and vocalist High Priestess Nighthawk declares. “Can’t think of another heavy-hitting power trio that we’d like to shred across the pond with than Howling Giant.”

HEAVY TEMPLE & HOWLING GIANT Euorpean tour
29 SEP 2023 Pratteln (CH) Z7, Up in Smoke Festival
30 SEP 2023 Leeuwarden (NL) Neushoorn, Into the Void Festival
02 OCT 2023 Siegen (DE) Vortex
03 OCT 2023 Hamburg (DE) Hafenklang
04 OCT 2023 Jena (DE) Rosenkeller
05 OCT 2023 Kassel (DE) Goldgrube
07 OCT 2023 München (DE) Backstage, Keep It Low Festival 2023
09 OCT 2023 Budapest (HU) Robot
10 OCT 2023 Wien (AT) Arena
11 OCT 2023 Bologna (IT) Freak Out
12 OCT 2023 Milano (IT) Barrios
13 OCT 2023 Roma (IT) RCCB
14 OCT 2023 Viareggio (IT) Circolo ARCI GoB
15 OCT 2023 Carmagnola (IT) Circolo ARCI Margot
18 OCT 2023 San Sebastian (ES) Dabadaba
19 OCT 2023 Barcelona (ES) Razz3
22 OCT 2023 Antwerp (BE) Trix, Desertfest Belgium

Heavy Temple:
High Priestess Nighthawk – vocals, bass
Lord Paisley – guitar
Baron Lycan – drums

Howling Giant:
Tom Polzine – guitar, vocals
Zach Wheeler – drums, vocals
Sebastian Baltes – bass, vocals

https://www.facebook.com/HeavyTemple/
https://www.instagram.com/heavytemple
https://heavytemple.bandcamp.com

www.facebook.com/howlinggiant/
https://www.instagram.com/howlinggiant/
howlinggiant.bandcamp.com

http://store.merhq.com
http://magneticeyerecords.com/
https://www.facebook.com/MagneticEyeRecords
https://www.instagram.com/magneticeyerecords/

Heavy Temple, Lupi Amoris (2021)

Howling Giant, “Sunken City”