Album Review: IAH, III

Posted in Reviews on September 14th, 2020 by JJ Koczan

iah iii

The instrumentalist, Córdoba, Argentina-based three-piece of guitarist  How To Write An Introduction To A Dissertation Proposal. 231 likes 2 talking about this. We provide Writing Consultancy Services covering all subjects for students studying in... Mauricio Condon, bassist PhD Thesis Editors in UK offer unmatched PhD this pages. Our editing service in UK includes Grammar check, Structure and Sentence Flow and Juan Pablo Lucco Borlera and drummer Buy Online Essay provides best best site & essay help for students. Our professional online essay writers deliver quality work at affordable José Landín continue and impressive streak under the collective banner of  my blog Will I be able to write a quality essay? Who can offer me help in writing my essay paper? Where can I buy the best essay? These are IAH with  Purchase dissertation of premium quality from custom dissertations writing service. Phd Dissertation Library written from scratch by highly qualified PhD/MD III, their third overall release and second full-length behind 2018’s  Wondering who will do my lab report or who will Dissertation Poesie Amour, custom writing bay has the answer for you. II (review here) and their 2017 self-titled EP (review here). They very clearly not only have an idea of what they’re going for in terms of their sound, but an awareness of what has worked for them leading up to this stage in their career, in terms both of aesthetic and practical considerations.  Free Plagiarism papers, Homepage, and I realized that I most vital information. Overcome your academic difficulties with our trusted III is easily the trio’s most expansive offering to-date. In its digital version, released on Sept. 11,  Get your paper done by an expert. High Quality. 100% original. On time. Search for quality term paper Delivery Business Plan? III comprises six tracks and runs what might almost be a near-unmanageable 55 minutes were it not managed so fluidly, and finds the band continuing a collaboration sharing production duties with  Write my essay with WriteMyEssaysClub.com. Looking "http://www.hans-moser.at/?business-plan-of-an-internet-cafe fast and safe for me cheap" and you don't need write 24/7 college Mario Carnerero at  Essay Experts Reviews Toronto - Allow the specialists to do your homework for you. Find out everything you have always wanted to know about custom writing Entrust 440 Estudio in Córdoba, who engineered and mixed ( Free http://dubhosting.co.uk/what-ll-be-not-called-plagiarism-in-research-paper/ . We support the finest freelance writers that will precise your personal providing tasks, no matter the level. Through the Magnus Lindberg mastered).

This partnership would seem to have grown more familiar over time, as Tired of your pen? Have totally no ideas on the topic? Choose our check my site service. We write your essay or reaserch paper. Contact us right now. III not only progresses from where  In need of high-quality Business Plan Writer Atlanta? Then check out what we have in stock for you! Learn more about our team now! IAH were two years ago in terms of patience and exploratory reach, but brings forward the varied dynamic of their sound in more expansive ways. Beginning with the 11-minute “Uaset,”  Content written by an experienced and passionate Personal Statement Writing Help III unfolds with a summary of things to come, and in so doing brings together the swath of ground  Discover the http://www.tgdrives.cz/?www-paperwriters-com-aftersale-htm in Best Sellers. Find the top 100 most popular items in Amazon Books Best Sellers. IAH proceed to cover, a slow emerging of fading in effects-guitar and a shhh of cymbal wash setting an immediately atmospheric backdrop for whatever will follow. It is nearly 90 seconds into the song before the first guitar line begins, and not until 1:51 that Landín‘s drums join it, and that spaciousness established at the outset is crucial to how the entire album that follows plays out. III sees IAH dig further into heavy post-rock even than did II, as Condon‘s guitar floats over the drums and bass across the early going of “Uaset,” but the progressive metal elements that made themselves felt last time out come through as well, and the moments of solidification — all three players coming together around a single progression for however long it might be — are all the more effective for the dream-state from which they seem to take hold.

“Uaset” brings its impact in its midsection and rolls out a deeply weighted nod and chug, but ultimately recedes again, and though some residual energy is retained, it is the float that wins out in the end, carrying into the more direct tonality and riff of “Raju,” which is the shortest piece on III at 6:25 and, for a time at least, seems to reverse the structure of the opener. ‘Quiet, loud, quiet’ becomes ‘loud, quiet, loud,’ but a fourth movement is added to the mix that renews the airy sound of “Uaset” in a way that “Raju” hasn’t yet tapped. This reinforces the notion of the two songs representing a companion-type structure, and indeed, the rest of III bears that out in symmetrical fashion. What would be side A is two tracks, likewise what would be sides B and C; each one bringing together a longer cut and a shorter one as “Uaset” and “Raju” have done, with “Cilene” (10:38) and “Ennui” (8:25) proceeding from the silence at the end of “Raju” and building outward from what the opening salvo has done in terms of melody and rhythm.

Starting III‘s centerpiece movement, “Cilene” makes a case for being the most outwardly heavy of the three longer pieces — though “Lo Que Hoy es Evidente” (11:19) still has something to say about it — and has a flow to mirror that at the record’s very beginning, if one that holds more tension in the drums. The speedier motion and turn-of-phrase in the guitar circa 3:45 would seem to call out Colour Haze‘s heavy psychedelia filtered through the full-toned precision of Elder, and should meet with no complaints from fans of either, but IAH nestle into harder-edged chug before “Cilene” is done, not quite turning to doom, but riding a slower groove to its logical dissolution before going back to ground, rebuilding, and dissipating again in the last three and half minutes of the song. They do this gracefully, unhurried, and with time left over for a few seconds of contemplative silence before “Ennui” begins, its insistent first-half drum pattern and sharper guitar/bass groove tapping into Pelican/Russian Circles territory as it moves forward, but smoothing out in its second half to a middle ground topped with a solo that’s anything but staid as the title might suggest and soon bursts forward again, only to pull back once more.

Given the departure from one-word titles for the closing pair of the aforementioned “Lo Que Hoy es Evidente” and “Una Vez Fue Imaginario” (7:07), one has to wonder if they’re not to be considered bonus tracks for the digital edition of the album or if pressing a physical version has yet to be worked out. I don’t know, but the change seems purposeful one way or the other. “Lo Que Hoy es Evidente” is the longest song on III and builds up in still-linear fashion more smoothly than “Uaset” such that it’s not until the guitar and bass drop out momentarily and fire back at the six-minute mark that the real push of the 11-minute song seems to be revealed. As an apex, it is particularly hard hitting, but maintains an edge of psychedelic wash as well, which eases the transition into the comedown at the finish, which seems to wink again at Colour Haze, and moves into the near-silence that begins “Una Vez Fue Imaginario” to close out the offering. It is another full build, but a fitting one for the end, as it shifts into a post-metallic sphere and features some howling sounds in the background that, indeed, might just be vocals, if it’s not my own imagination getting the best of me.

One way or the other, they close on one of their most crushing stomps, and finish cold, leaving the silence to do the work of residual ambience, which it does. One would be remiss not to note that III was tracked in June 2020, during lockdown for the COVID-19 pandemic, and studio pictures of IAH show them wearing masks while recording. Given some of the intimacy of the quiet stretches and the manner in which the more forceful side of the band seems to feed off them, it seems fair to wonder if maybe the global situation fed into the mood of the studio time at all. I don’t know that it did, but it’s hard to imagine it wouldn’t, at least in some way. The dynamic of changing volumes isn’t necessarily new for IAH, but they do bring these shifts with an overarching melancholic sensibility, perhaps not void of hope, but looking at it from a distance. And even if that interpretation is completely inaccurate, that these pieces would evoke the question stands as testament to III‘s power to move the listener. That also is something IAH have had since their beginnings just a few years ago, but never have they sounded more resonant.

IAH, III (2020)

IAH on Thee Facebooks

IAH on Instagram

IAH on Bandcamp

IAH website

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IAH Announce First-Ever European Tour

Posted in Whathaveyou on July 15th, 2019 by JJ Koczan

iah

Argentinian progressive heavy rock three-piece IAH are about to take their doings to-date to a new level by embarking on their first-ever stint in Europe. That’s enough of a landmark for, you know, a European band, let alone one coming from South America, but IAH‘s two outings thus far have both been well received, with the second of them, II (review here), particularly so. The band will begin their run at Lake of Fire in Austria, which if you’ve ever seen photos from that festival — the stage is actually in a lake, of water, but still; one imagines that makes the photo pit somewhat untenable — you’ll know is quite a way to start any tour, and they’ll continue through with dates in France, the Czech Republic, Switzerland, Italy and Germany, playing other fests along the way and club shows as well as they make their initial incursion to Europe. Hard to imagine that, barring some outside circumstance, they won’t be back.

Maybe come festival season next year?

Either way, this is a special moment for the band, and safe travels and all of that kind of thing.

Here are the dates, as posted on thee social medias and run through a translation matrix:

iah euro tour

Less than a month away of fulfilling a lifelong dream… Setting foot on Europe… Sharing the stage with great bands… See you soon!

AUG 03 – AT – Lake on Fire – Waldhausen
AUG 06 – FR – Supersonic – Paris
AUG 08 – FR – L’elastic Bar – Strasbourg
AUG 09 – CZ – Živá ulice – Plzen
AUG 11 – CH – PALP festival – Val de Bagnes
AUG 15 – IT – Frantic Fest / Francavilla al Mare – Abruzzo
AUG 17 – GER – TIEF – Berlin
AUG 18 – GER – MS Stubnitz – Hamburg

Gracias Rob Zim, HEADZ UP, Sophie Steff, No Vulture, Rob Fuentes, Audrey Uderya Camino, FURIO Camino, Flo Kaleidyscope, Kozmik Artifactz, Below the Sun, and to all those who helped us in this dream!

Poster by Jvan Machado

IAH is:
Juan Pablo Lucco Borlera: Bass
Mauricio Condon: Guitar
José Landín: Drums

https://www.facebook.com/IAHBanda/
https://iahbanda.bandcamp.com/

IAH, II (2018)

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2018

Posted in Features on December 20th, 2018 by JJ Koczan

the-top-30-of-2018

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.

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.]

30. The Skull, The Endless Road Turns Dark

The Skull The Endless Road Turns Dark

Released by Tee Pee Records. Reviewed Sept. 12.

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.

29. Foghound, Awaken to Destroy

foghound awaken to destroy

Released by Ripple Music. Reviewed Nov. 21.

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.

28. Orange Goblin, The Wolf Bites Back

orange goblin the wolf bites back

Released by Spinefarm Records. Reviewed June 13.

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.

27. Fu Manchu, Clone of the Universe

fu manchu clone of the universe
Released by At the Dojo Records. Reviewed Feb. 15.

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 Universe was in every way a worthy successor.

26. Witch Mountain, Witch Mountain

Witch-Mountain-Witch-Mountain
Released by Svart Records. Reviewed May 16.

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.

25. Windhand, Eternal Return

windhand eternal return

Released by Relapse Records. Reviewed Oct. 3.

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.

24. Sun Voyager, Seismic Vibes

Sun Voyager Seismic Vibes

Released by King Pizza Records. Reviewed April 18.

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.

23. Forming the Void, Rift

forming the void rift

Released by Kozmik Artifactz. Reviewed July 27.

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.

22. Spaceslug, Eye the Tide

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.

21. Conan, Existential Void Guardian

Conan Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.

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.

20. Pale Divine, Pale Divine

PALE DIVINE S/T
Released by Shadow Kingdom Records. Reviewed Nov. 21.

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.

19. Mos Generator, Shadowlands

mos generator shadowlands
Released by Listenable Records. Reviewed May 11.

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.

18a. Stoned Jesus, Pilgrims

STONED JESUS PILGRIMS

Released by Napalm Records. Reviewed Sept. 5.

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.

18. Backwoods Payback, Future Slum

backwoods payback future slum

Self-released. Reviewed Aug. 15.

“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.

17. Corrosion of Conformity, No Cross No Crown

corrosion of conformity no cross no crown

Released by Nuclear Blast Records. Reviewed Jan. 3

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 DeanWoody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.

16. Naxatras, III

naxatras iii

Self-released. Reviewed Feb. 14.

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.

15. Clutch, Book of Bad Decisions

clutch book of bad decisions

Released by Weathermaker Music. Reviewed Aug. 27.

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.

14. Ancestors, Suspended in Reflections

Ancestors Suspended in Reflections

Released by Pelagic Records. Reviewed Aug. 3.

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.

13. High on Fire, Electric Messiah

high on fire electric messiah

Released by eOne Heavy. Reviewed Sept. 28.

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.

12. Yawning Man, The Revolt Against Tired Noises

yawning man the revolt against tired noises

Released by Heavy Psych Sounds. Reviewed July 2.

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.

11. Greenleaf, Hear the Rivers

greenleaf hear the rivers

Released by Napalm Records. Reviewed Nov. 26.

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.

10. Gozu, Equilibrium

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.

9. Monster Magnet, Mindfucker

monster magnet mindfucker
Released by Napalm Records. Reviewed Feb. 23.

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.

8. Apostle of Solitude, From Gold to Ash

Apostle of Solitude From Gold to Ash

Released by Cruz del Sur Music. Reviewed Feb. 20.

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.

7. Holy Grove, Holy Grove II

holy grove ii
Released by Ripple Music. Reviewed Oct. 31.

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.

6. All Them Witches, ATW

all them witches atw
Released by New West Records. Reviewed Sept. 18.

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.

5. YOB, Our Raw Heart

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.

4. Brant Bjork, Mankind Woman

brant bjork mankind woman

Released by Heavy Psych Sounds. Reviewed Sept. 13.

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.

3. Earthless, Black Heaven

earthless black heaven

Released by Nuclear Blast Records. Reviewed March 15.

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.

2. King Buffalo, Longing to Be the Mountain

king buffalo longing to be the mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.

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.

1. Sleep, The Sciences

sleep the sciences

Released by Third Man Records. Reviewed May 1.

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.

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:

  • Mammoth Weed Wizard Bastard & Slomatics, Totems Split

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.

Everybody have a great and safe 2019.

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Quarterly Review: Blood of the Sun, Evoken, IAH, Asylum, Merlin, The Hazytones, Daily Thompson, Old Man Lizard, Tuskar, Space Coke

Posted in Reviews on December 11th, 2018 by JJ Koczan

quarterly-review

I had to think long and hard just now about what day it is. It’s Tuesday. — See how confident I was in saying that? A mask for insecurity, as always.

Anyway, the QR continues today with 10 more records and a pretty solid mix of whatnot. Some of this I’ve written about before here, but basically want to have another shot at the records themselves, so as we wind down 2018, it seems like the time to do that is now. As always, I hope you find something you dig. Seems pretty likely, frankly. If you go the entire 100 records with nothing but a “meh” to show for it, the problem isn’t likely to be the records. Not trying to insinuate anything, I’m just saying. 100 records is a lot. 10 records is a lot. And that’s what we’re doing today, so let’s get going.

Quarterly Review #61-70:

Blood of the Sun, Blood’s Thicker than Love

blood of the sun bloods thicker than love

Drummer Henry Vasquez (also Saint Vitus) returns to his ultra-Texan heavy rock roots with Blood of the Sun‘s first album in six years, Blood’s Thicker than Love (on Listenable). Driven by his own fervent rhythmic push, the six-song collection is given further classic heavy vibe through the prominent organ/keyboard work of Dave Gryder. Oh, and also the riffs from newcomer guitarists Wyatt Burton and Alex Johnson. Oh, and also bassist Roger “Kip” Yma‘s quick turns on bass. Oh, and also Sean Vargas‘ vocals. So yeah, pretty much the whole damn thing is classic uptempo heavy boogie, produced modern but making no mistake about where its heart lies. Vargas‘ voice has a pre-metal swagger that helps define tracks like “Livin’ for the Night” and the capper “Blood of the Road,” and while the follow-up to 2012’s Burning on the Wings of Desire (review here) is enough to make one wistful for the days when their contemporaries in Dixie Witch once also roamed the land, Blood of the Sun make classic rock their own and give it a vibrancy that’s nothing if not a show of love, regardless of how thick that may be.

Blood of the Sun on Thee Facebooks

Listenable Records on Bandcamp

 

Evoken, Hypnagogia

evoken hypnogogia

Unremitting. Unrelenting. Unforgiving. Whatever else one might say about New Jersey death/doombringers Evoken, it better start with the prefix “un-.” The negativity runs through the 60 minutes of their latest work, Hypnagogia (on Profound Lore), and one would expect no less than the ultra-mournful crush of “To Feign Ebullience” or the buzzing, resonant disdain of “Valorous Consternation,” the string sounds playing such a large role in crafting both the melodies and the relentless nature of their lung-deflating atmosphere. They may only break into speedier sections on rare occasion, but there’s no way to listen to Hypnagogia and call it anything other than extreme metal. It’s so cast down and so grinding that it not only conveys mood but affects it. Evoken are masters of the form, of course, and while Hypnagogia is their first full-length since 2012’s Atra Mors (review here), their history spans more than a quarter-century and time seems only to have made their miseries plunge even deeper.

Evoken on Thee Facebooks

Profound Lore Records website

 

IAH, II

iah ii

In part, the gift that Argentinian trio IAH give with their aptly-titled second outing, II — following their 2017 self-titled debut EP (review here) — is to allow their parts to flesh out naturally across the six-song/38-minute span, so that even as second cut “HH” turns to more weighted chug, that in turn evolves into something no less spacious than the drift brought to bear in the second half of the later “La Niña del Rayo,” which makes its way ultimately through similar interplay. This back and forth is exceptionally smooth throughout II, as the instrumental outfit blend heavy psychedelia and progressive metal with an unflinching cohesion of their songwriting. The longest inclusion is the penultimate “Pri” at 7:35, which caps with massive start-stops en route to closer “Sheut,” which serves as one last showcase of the cosmic doom dynamic burgeoning in the band’s sound, as much ready to depart the earth as leave impact craters on it.

IAH on Thee Facebooks

IAH on Bandcamp

 

Asylum, 3-3-88

asylum 3-3-88

The band who a short time later would evolve into Unorthodox, Asylum have long stood as a testament to the enduring power of Maryland doom. 3-3-88 is the second official issue of their material Shadow Kingdom has stood behind, following 2008’s reissue of 1985’s The Earth is the Insane Asylum of the Universe (review here), and it’s no less a document of the classic metal that’s still very much the foundation of what Maryland doom is. From the Sabbathian opening of “World in Trouble” and the later “Psyche World” to the kind of feeling-out-the-riff happening in “Funk 69” and the concluding instrumental “Unorthodox,” there’s a rawness to the sound that suits it well in the spirit of Pentagram‘s First Daze Here, but even in barebones form, Asylum‘s doomly vibes brook no bullshit and weed out the feint of heart. Straightforward working-class doom grit stripped to its essentials. Hard to ask for anything more when you actually hear it.

Unorthodox on Thee Facebooks

Shadow Kingdom Records website

 

Merlin, Dank Souls and Dark Weed: A Live Experience

merlin dank souls and dark weed

Kansas City doom rockers Merlin expanded to a six-piece early in 2018, and Dank Souls and Dark Weed: A Live Experience, as the title hints, captures this form of the band on stage. They’re playing a hometown gig at the Riot Room, and from the nodding groove that opens with “Abyss” from this year’s The Wizard (review here) to the extended reaches of a 19-minute take on “Tales of the Wasteland” that’s actually shorter than the studio version from 2016’s Electric Children (review here), the band explore reaches that are vast with a patience befitting their quickly-earned veteran status. The recording is remarkably clear and allows for the wash of “The Wizard Suite” to be discernible in its progressive rollout, and as they close with “Night Creep” from the 2016 LP, their energy comes through no less prevalent than the distortion driving it forward. The crowd are right to holler.

Merlin on Thee Facebooks

Merlin on Bandcamp

 

The Hazytones, II: Monarchs of Oblivion

the hazytones ii monarchs of oblivion

Touching on garage-doom influences, Montreal three-piece The Hazytones effectively sleek into the groove of “The Great Illusion” on their second Ripple LP, II: Monarchs of Oblivion, finding a balance between swing, melody and heft that pushes beyond the seemingly-requisite Uncle Acid influence to a place that isn’t shy about working in crisp tones or unabashed vocal harmonies. The title-track is a two-parter, and touches on theatrics-sans-pretense in the first piece while dedicating the second to following a central riff well worthy of the attention they give it toward a galloping solo finish. Opener “Empty Space” sets a creper vibe, and by the time they’re down to finishing out with the “Hole in the Sky”-style riff of “The Hand that Feeds,” that sensibility is reaffirmed as an essential component of The Hazytones‘ aesthetic. Whether it’s the chugging “Hell” or the way-blown-out “The Beast,” they hold firm to that central purpose and work with it to effect a sound that one can hear becoming their own all the more.

The Hazytones on Thee Facebooks

Ripple Music on Bandcamp

 

Daily Thompson, Thirsty

daily thompson thirsty

Three albums in, Dortmund’s Daily Thompson indeed sound Thirsty — or maybe it’s hungry, but either way, the Dortmund trio’s MIG Music offering captures a tight presentation based around nonetheless natural energy born of their time on tour, as the three-piece of guitarist/vocalist Danny Zaremba, bassist Mercedes, and drummer Stefan Mengel touch on Spidergawd-style classic heavy rock strut with “Brown Mountain Lights” and make their way through the semi-acoustic drift of “Stone Rose” and toward the later roll of “River Haze” with a trail of hooks behind them. Songwriting is central to what they do, but while Thirsty isn’t a minor undertaking at a CD-era reminiscent 10 songs/53 minutes, the band offer a chemistry between them and a fullness of sound that allows them to play to different sides of their approach, be it the fuzz-blues of “Gone Child” or the final summation “Spit out the Crap” that seems to shove all the more to its cymbal-wash finish. The title Thirsty brings to mind connotations of need, but Daily Thompson sound like they’ve got it all taken care of.

Daily Thompson on Thee Facebooks

MIG Music website

 

Old Man Lizard, True Misery

old man lizard true misery

A strong enough current of noise rock runs beneath Old Man Lizard‘s True Misery (on Wasted State) that leadoff track “Shark Attack” is enough to remind of Akimbo‘s Jersey Shores, and in under two minutes, the subsequent “Snakes” ties that into crawling-paced doom riffery such that the lumbering “Tree of Te?ne?re?” opens like the gaping jaws of some deep-sea trench. From there it unfolds a bit more uptempo than one might initially think, but it shows how fluidly Old Man Lizard shift from one impulse to the other. Accordingly, True Misery plays out with familiar-enough tones put to deceptively subtle and unpredictable purposes, making one-two highlights of the eight-minute back-to-backers “Cursed Ocean, Relentless Sea” and “Misery is Miserable” — which says it all, really — ahead of the finale, well titled “Return to Earth.” A better band than people know, Old Man Lizard bring a progressive touch to what from many others would just be sludge riffing — a bit of Elder on that closer — and manage to do so without losing touch with the righteousness of their groove. True Misery takes a couple listens to sink in, but well earns those and more besides.

Old Man Lizard on Thee Facebooks

Wasted State Records website

 

Tuskar, The Tide, Beneath, The Wall

tuskar the tide beneath the wall

Tuskar‘s second offering through Riff Rock Records arrives titled for its three songs, “The Tide,” “Beneath” and “The Wall,” and comprises three tracks of largesse-minded sludge, burying its shouted vocals beneath mountainous low end. The Tide, Beneath, The Wall sets itself up through noisy churn and a roll that’s somehow misanthropic at the same time it seems well geared to have an entire bar headbanging. Either way, the feedback-worship in “The Wall” — sure enough a massive thing to slam into — makes a fitting end to the 20-minute release that seems to run so much longer, as “The Tide” and “Beneath” each set forth a grueling sprawl of malevolence that touches on the chaos to come without ever fully giving away what’s in store for the finale. At the same time this assault is cast, there’s an atmosphere to the proceedings as well such that Tuskar aren’t simply bludgeoning for the sake of bludgeonry, but finding a place for themselves within that in order to develop their attack. They do that successfully here and sound well up to the inevitable task before them of a debut full-length.

Tuskar on Thee Facebooks

Riff Rock Records website

 

Space Coke, L’Appel du Vide

space coke lappel du vide

I just about never do this, but I’m gonna go ahead and make the call: Space Coke‘s L’Appel du Vide is going to get picked up for a vinyl release in 2019. I don’t know who, how or when, but it’s basically a lock. The Columbia, South Carolina, organ-laced four-piece play classic-as-now heavy rock with right-on songcraft and a hard-hitting presentation that’s begging for some label with ears to hear it and press it to the platter it deserves. Be it the molten unfolding of the title-track or the fuzz-swirl of “Thelemic Ritual” or the cosmic stretch of “Kali Ma,” they’re locked in to a degree that utterly defies the notion that this is their first record, and from the vocal-effects smash in “Lucid Dream” and the samples laid over-top of “Interlude,” there’s never really a sense of where Space Coke — extra kudos for the Cheech & Chong reference — might go next, and yet their sound is cohesive, directed, and well aware of exactly what it’s doing and what it wants to do. Never a guarantee of anything in this world, but with Space Coke‘s take on modern stoner sprawl, I’d be amazed if someone didn’t grab this in the New Year, if not before. Eyes peeled on the PR wire for the announcement.

Space Coke on Thee Facebooks

Space Coke on Bandcamp

 

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New IAH Album II Now Available

Posted in Whathaveyou on October 30th, 2018 by JJ Koczan

iah (Photo by Romi Sundberg)

Executed with a lush psychedelic fluidity offset by periods of more weighted thrust, IAH‘s simply-titled album, II follows behind their early 2017 self-titled debut EP (review here), and might just qualify as their first full-length. The self-titled was picked up for a bonus-track-inclusive release through Kozmik Artifactz that fleshed it out to an LP either way, so however you slice it, II is their sophomore release, and it very much sounds like it. Recorded live, it finds the Argentinian three-piece engaging a raw sonic chemistry between them that has developed quickly even from where it was a year and a half ago. Songs like “HH” and “Pri,” both of which top seven minutes long, cast themselves between chugging progressive metal and fluid psychedelic heavy, and refuse to commit between the two or really acknowledge any disparity that might exist there. Weaving in and out of more aggressive riffage with ease, they also wander into post-rock musings with the guitar on “Nihil Novum,” only to issue a slap in the face via full-boar distortion in a louder section.

It’s a record that finds IAH developing their sound and going wherever the hell they want with it, essentially. They answer the potential of their debut with a flow and a confidence that allow them to direct the songs rather than being led by them, and by the time they get around to the prog/jazzy drums and keyboards in the second half of closer “Sheut,” it’s apparent just how wide open they’ve thrown the doors with this record. Another one that seems likely to wind up on vinyl sooner or later with a proper release, but if available digitally for the time being and streaming at the bottom of this post.

Dig it:

iah ii

IAH – II

Tracklisting:
1. El silencio del agua 06:56
2. hh 07:15
3. Nihil novum 04:41
4. La niña del rayo 06:37
5. Pri 07:34
6. Sheut 05:44

Recorded live, mixed and mastered at 440 Estudio. Engineered and mixed by Mario Carnerero. Mastered by Mariano “Nano” Dinella.

Drum Doctor: Facundo Rodríguez
Guitar Doctor: Mario Carnerero
Assistant: José Bazán
Artwork: Guillermo Scarpa

Produced by Mario Carnerero and IAH.

IAH is:
Juan Pablo Lucco Borlera: Bass
Mauricio Condon: Guitar
José Landín: Drums

https://www.facebook.com/IAHBanda/
https://iahbanda.bandcamp.com/

IAH, II (2018)

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IAH to Release Self-Titled Debut March 23 on Kozmik Artifactz

Posted in Whathaveyou on March 6th, 2018 by JJ Koczan

The self-titled debut EP (review here) from Argentinian heavy psych rockers IAH left enough of an impression on my first runthrough with it that I included it as one of the top short releases of 2017. And so it was. The jammy newcomers put forth an offering of marked character and sonic personality, and their chemistry was apparent from the very start. It was an easy record to dig into and get lost in, and held considerable promise for things to come from them. Immersive and hypnotic but as engaging so as not to let the listener get anymore lost than they necessarily wanted to be, it was a thrill and something of a surprise of a first release.

Apparently I wasn’t the only one taken by it, as Kozmik Artifactz will have it out on vinyl later this month. Details on the release follow here, but you pretty much know the drill by now: Limited numbers, vinyl mastering, Euro pressing, quality gatefold. Kozmik Artifactz doesn’t screw around when it comes to this kind of thing, and if you’ll note that the release is six tracks instead of the original four, it’s because the band issued two bonus cuts last June as a follow-up, and the LP version compiles them all together. Makes perfect sense.

From the PR wire:

iah

IAH – IAH – Kozmik Artifactz

Introducing IAH and our first Kozmik release of 2018! We’ve been waiting patiently to be able to release this stunning debut. Hailing from Argentina, IAH are a cosmic force of interstellar proportions. From the opening of “Cabalgan los Cielos” to the epic climatic implossion of “Nuboj”, IAH is a voyage through sound that will leave you mesmerised.

Available as limited edition vinyl

Release Date: 23rd March 2018

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Cabalgan los cielos
2. Ouroboros
3. Stolas
4. Eclipsum
5. La piedra que sujeta el sol
6. Luboj

IAH are:
Mauricio Condon – Guitar
Juan Pablo Lucco Borlera – Bass
José Landin – Drums
Guillermo Scarpa – Visuals

https://www.facebook.com/IAHBanda/
https://iahbanda.bandcamp.com/
http://kozmik-artifactz.com/
https://www.facebook.com/kozmikartifactz

IAH, IAH Bonus Tracks (2017)

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audiObelisk Transmission 064

Posted in Podcasts on December 26th, 2017 by JJ Koczan

audiobelisk transmission 064

So this is something I’ve never done before. I’m not exactly what you’d call an early adopter when it comes to new technology, but this weekend I finally signed up for Spotify and decided to give a shot at putting together a year-end playlist through that rather than doing the standard podcast. Aside from a kind of ongoing latent concern about essentially giving away downloads of music that doesn’t belong to me via the old mp3 files — no one’s ever said anything and I always figured it was okay since songs were bundled together as one file — this just seemed more useful in allowing people to explore different artists, albums, etc. If you disagree, I’m sorry.

I can’t say I won’t ever go back to the other way, or that I’ll actively enjoy having a Spotify account enough to keep it, and so on, but it’s something new to try, so I’m giving it a shot. The playlist turned out to be nine hours and 12 minutes long, and once I got going, I couldn’t really resist making it 65 tracks, what with it being the 64th podcast and all. One to grow on.

As always, I hope you enjoy. Thanks for listening:

Track details:

• Artist, Track, Album, Runtime
• Elder, Sanctuary, Reflections of a Floating World, 00:11:13
• All Them Witches, Am I Going Up?, Sleeping Through the War, 00:05:33
• Lo-Pan, Pathfinder, In Tensions, 00:06:22
• MOON RATS, Heroic Dose, Highway Lord, 00:04:27
• Bees Made Honey in the Vein Tree, Medicine, Medicine, 00:06:38
• Mindkult, Lucifer’s Dream, Lucifer’s Dream, 00:09:06
• Brume, Reckon, Rooster, 00:09:12
• Riff Fist, King Tide, King Tide, 00:11:20
• Monolord, Dear Lucifer, Rust, 00:08:41
• Hymn, Serpent, Perish, 00:07:32
• Vinnum Sabbathi, Gravity Waves, Gravity Works, 00:08:26
• Electric Wizard, Wicked Caresses, Wizard Bloody Wizard, 00:06:43
• Ruby the Hatchet, Symphony of the Night, Planetary Space Child, 00:07:08
• Telekinetic Yeti, Colossus, Abominable, 00:08:56
• Bong Wish, My Luv, Bong Wish, 00:02:31
• Radio Moscow, New Skin, New Beginnings, 00:03:02
• Cloud Catcher, Celestial Empress, Trails of Kozmic Dust, 00:05:41
• The Atomic Bitchwax, Humble Brag, Force Field, 00:02:52
• Sasquatch, Just Couldn’t Stand the Weather, Maneuvers, 00:06:27
• Kadavar, Die Baby Die, Rough Times, 00:04:18
• Cities of Mars, Children of the Red Sea, Temporal Rifts, 00:08:27
• Argus, You Are the Curse, From Fields of Fire, 00:06:23
• Comacozer, Hylonomus, Kalos Eidos Skopeo, 00:13:43
• Samsara Blues Experiment, One with the Universe, One with the Universe, 00:15:02
• Orango, Heirs, The Mules of Nana, 00:04:46
• Siena Root, Tales of Independence, A Dream of Lasting Peace, 00:03:39
• Demon Head, Older Now, Thunder on the Fields, 00:04:17
• Sun Blood Stories, Great Destroyer, It Runs Around the Room with Us, 00:06:11
• Spaceslug, Time Travel Dilemma, Time Travel Dilemma, 00:10:07
• Arc of Ascent, Hexagram, Realms of the Metaphysical, 00:07:34
• Causa Sui, Seven Hills, Vibraciones Doradas, 00:07:24
• Alunah, Fire of Thornborough Henge, Solennial, 00:05:32
• Vokonis, Calling From The Core, The Sunken Djinn, 00:06:03
• Enslaved, Sacred Horse, E, 00:08:12
• Dvne, Edenfall, Asheran, 00:07:04
• The Midnight Ghost Train, Break My Love, Cypress Ave., 00:03:33
• The Obsessed, It’s Only Money, Sacred, 00:02:35
• Mothership, Crown of Lies, High Strangeness, 00:05:41
• Geezer, Red Hook, Psychoriffadelia, 00:06:02
• Uffe Lorenzen, Flippertøs, Galmandsværk, 00:02:46
• Youngblood Supercult, Master of None, The Great American Death Rattle, 00:04:01
• Beastmaker, Nature of the Damned, Inside the Skull, 00:03:26
• Pallbearer, I Saw the End, Heartless, 00:06:21
• Paradise Lost, Blood and Chaos, Medusa, 00:03:51
• Rozamov, Wind Scorpion, This Mortal Road, 00:08:49
• Eternal Black, Sea of Graves, Bleed the Days, 00:06:33
• Demon Eye, Politic Divine, Prophecies and Lies, 00:03:40
• Snowy Dunes, Ritual of Voices, Atlantis, 00:07:17
• The Devil and the Almighty Blues, Low, II, 00:08:49
• Abronia, Glass Butte Retribution, Obsidian Visions / Shadowed Lands, 00:06:09
• John Garcia, Kylie, The Coyote Who Spoke in Tongues, 00:04:58
• Tuna de Tierra, Raise of the Lights, Tuna de Tierra, 00:07:09
• Colour Haze, Lotus, In Her Garden, 00:07:05
• IAH, Stolas, IAH, 00:08:39
• Fungus Hill, Are You Dead, Creatures, 00:08:54
• Atavismo, El Sueño, Inerte, 00:11:18
• Tuber, Noman, Out of the Blue, 00:08:14
• Spidergawd, What You Have Become, Spidergawd IV, 00:03:44
• Puta Volcano, Bird, Harmony of Spheres, 00:05:07
• Ufomammut, Core, 8, 00:05:15
• Kings Destroy, None More, None More, 00:14:03
• PH, Looking Back at Mr. Peter Hayden, Eternal Hayden, 00:16:44
• Mt. Mountain, Dust, Dust, 00:17:15
• Electric Moon, Live Forever Now (You Will), Stardust Rituals, 00:22:41
• Bell Witch, Mirror Reaper, Mirror Reaper, 01:23:15

If you want to follow me on Spotify, apparently that’s something you can do here.

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The Obelisk Presents: The Top 20 Short Releases of 2017

Posted in Features on December 22nd, 2017 by JJ Koczan

the obelisk top 20 short releases

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 2017 to that, please do.

This is the hardest list to put together, no question. Don’t get me wrong, I put way too much thought into all of them, but this one is damn near impossible to keep up with. Every digital single, every demo, every EP, every 7″, 10″ one-sided 12″, whatever it is. There’s just too much. I’m not going to claim to have heard everything. Hell, that’s what the comments are for. Let me know what I missed. Invariably, something.

So while the headers might look similar, assuming I can ever remember which fonts I use from one to the next, this list has a much different personality than, say, the one that went up earlier this week with the top 20 debuts of 2017. Not that I heard everyone’s first record either, but we’re talking relative ratios here. The bottom line is please just understand I’ve done my best to hear as much as possible. I’m only one person, and there are only so many hours in the day. Eventually your brain turns into riffy mush.

With that caveat out of the way, I’m happy to present the following roundup of some of what I thought were 2017’s best short releases. That’s EPs, singles, demos, splits — pretty much anything that wasn’t a full-length album, and maybe one or two things that were right on the border of being one. As between genres, the lines are blurry these days. That’s part of what makes it fun.

Okay, enough dawdling. Here we go:

lo-pan-in-tensions

The Obelisk Presents: The Top 20 Short Releases of 2017

1. Lo-Pan, In Tensions
2. Godhunter, Codex Narco
3. Year of the Cobra, Burn Your Dead
4. Shroud Eater, Three Curses
5. Stubb, Burning Moon
6. Canyon, Canyon
7. Solace, Bird of Ill Omen
8. Kings Destroy, None More
9. Tarpit Boogie, Couldn’t Handle… The Heavy Jam
10. Supersonic Blues, Supersonic Blues Theme
11. Come to Grief, The Worst of Times EP
12. Rope Trick, Red Tape
13. Eternal Black, Live at WFMU
14. IAH, IAH
15. Bong Wish, Bong Wish EP
16. Rattlesnake, Outlaw Boogie Demo
17. Hollow Leg, Murder
18. Mars Red Sky, Myramyd
19. Avon, Six Wheeled Action Man Tank 7″
20. Wretch, Bastards Born

Honorable Mention

Across Tundras, Blood for the Sun / Hearts for the Rain
The Discussion, Tour EP
Fungus Hill, Creatures
Switchblade Jesus & Fuzz Evil, The Second Coming of Heavy – Chapter Seven
The Grand Astoria, The Fuzz of Destiny
Test Meat, Demo
Blood Mist, Blood Mist
Sweat Lodge, Tokens for Hell
Dautha, Den Foerste
Scuzzy Yeti, Scuzzy Yeti
Howling Giant, Black Hole Space Wizard Part 2
Decasia, The Lord is Gone
Bible of the Devil/Leeches of Lore, Split 7″

I can’t imagine I won’t add a name or two or five to this section over the next few days as I think of other things and people remind me of stuff and so on, so keep an eye out, but the point is there’s way more than just what made the top 20. That Across Tundras single would probably be on the list proper just on principle, but I heard it like a week ago and it doesn’t seem fair. Speaking of unfair, The Discussion, Howling Giant, The Grand Astoria and the Bible of the Devil/Leeches of Lore split all deserve numbered placement easily. I might have to make this a top 30 in 2018, just to assuage my own guilt at not being able to include everything I want to include. For now though, yeah, this is just the tip of the doomberg.

Notes

To be totally honest with you, that Lo-Pan EP came out Jan. 13 and pretty much had the year wrapped up in my head from that point on. It was going to be hard for anything to top In Tensions, and the Godhunter swansong EP came close for the sense of stylistic adventurousness it wrought alone, and ditto that for Year of the Cobra’s bold aesthetic expansions on Burn Your Dead and Shroud Eater’s droning Three Cvrses, but every time I heard Jeff Martin singing “Pathfinder,” I knew it was Lo-Pan’s year and all doubt left my mind. Of course, for the Ohio four-piece, In Tensions is something of a one-off with the departure already of guitarist Adrian Zambrano, but I still have high hopes for their next record. It would be hard not to.

The top five is rounded out by Stubb’s extended jam/single “Burning Moon,” which was a spacey delight and new ground for them to cover. The self-titled debut EP from Philly psych rockers Canyon, which they’ve already followed up, is next. I haven’t had the chance to hear the new one yet, but Canyon hit a sweet spot of psychedelia and heavy garage that made me look forward to how they might develop, so I’ll get there sooner or later. Solace’s return was nothing to balk at with their cassingle “Bird of Ill Omen” and the Sabbath cover with which they paired it, and though Kings Destroy weirded out suitably on the 14-minute single-song EP None More, I hear even greater departures are in store with their impending fourth LP, currently in progress.

A couple former bandmates of mine feature in Tarpit Boogie in guitarist George Pierro and bassist John Eager, and both are top dudes to be sure, but even if we didn’t have that history, it would be hard to ignore the tonal statement they made on their Couldn’t Handle… The Heavy Jam EP. If you didn’t hear it, go chase it down on Bandcamp. Speaking of statements, Supersonic Blues’ Supersonic Blues Theme 7″ was a hell of an opening salvo of classic boogie that I considered to be one of the most potential-laden offerings of the year. Really. Such warmth to their sound, but still brimming with energy in the most encouraging of ways. Another one that has to be heard to be believed.

The dudes are hardly newcomers, but Grief offshoot Come to Grief sounded pretty fresh — and raw — on their The Worst of Times EP, and the Massachusetts extremists check in right ahead of fellow New Englangers Rope Trick, who are an offshoot themselves of drone experimentalists Queen Elephantine. Red Tape was a demo in the demo tradition, and pretty formative sounding, but seemed to give them plenty of ground on which to develop their aesthetic going forward, and I wouldn’t ask more of it than that.

Eternal Black gave a much-appreciated preview of their Bleed the Days debut long-player with Live at WFMU and earned bonus points for recording it at my favorite radio station, while Argentine trio IAH probably went under a lot of people’s radar with their self-titled EP but sent a fervent reminder that that country’s heavy scene is as vibrant as ever. Boston-based psych/indie folk outfit Bong Wish were just the right combination of strange, melodic and acid-washed to keep me coming back to their self-titled EP on Beyond Beyond is Beyond, and as Adam Kriney of The Golden Grass debuted his new project Rattlesnake with the Outlaw Boogie demo, the consistency of his songcraft continued to deliver a classic feel. Another one to watch out for going into the New Year.

I wasn’t sure if it was fair to include Hollow Leg’s Murder or not since it wound up getting paired with a special release of their latest album, but figured screw it, dudes do good work and no one’s likely to yell about their inclusion here. If you want to quibble, shoot me a comment and quibble away. Mars Red Sky only released Myramyd on vinyl — no CD, no digital — and I never got one, but heard a private stream at one point and dug that enough to include them here anyway. They remain perennial favorites.

Avon, who have a new record out early in 2018 on Heavy Psych Sounds, delivered one of the year’s catchiest tracks with the “Six Wheeled Action Man Tank” single. I feel like I’ve had that song stuck in my head for the last two months, mostly because I have. And Wretch may or may not be defunct at this point — I saw word that drummer Chris Gordon was leaving the band but post that seems to have disappeared now, so the situation may be in flux — but their three-songer Bastards Born EP was a welcome arrival either way. They round out the top 20 because, well, doom. Would be awesome to get another LP out of them, but we’ll see I guess.

One hopes that nothing too egregious was left off, but one again, if there’s something you feel like should be here that isn’t, please consider the invitation to leave a comment open and let me know about it. Hell, you know what? Give me your favorites either way, whether you agree with this list or not. It’s list season, do it up. I know there’s the Year-End Poll going, and you should definitely contribute to that if you haven’t, but what was your favorite EP of the year? The top five? Top 10? I’m genuinely curious. Let’s talk about it.

Whether you have a pick or not (and I hope you do), thanks as always for reading. May the assault of short releases continue unabated in 2018 and beyond.

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