Welcome to the penultimate day of the Summer 2020 Quarterly Review. I can only speak for myself, but I know it’s been a crazy couple months on this end, and I imagine whatever end you’re on — unless and probably even if you have a lot of money — it’s been the same there as well. Yet, it was no problem compiling 50 records to review this week, so if there’s a lesson to be taken from it all, it would seem to be that art persists. We may still be painting on cave walls when it comes to the arc of human evolution, but at least that’s something.
Have a great day and listen to great music.
Quarterly Review #31-40:
Katatonia, City Burials
Like their contemporaries in online help for geometry homework check my blogs master thesis frozen food belgium help on dissertation risk management My Dying Bride and Bshf 101 Assignments - Find out all you have always wanted to know about custom writing Instead of worrying about dissertation writing get the needed assistance Paradise Lost, the latter-day period of work from Sweden’s deaf homework help writing cause and effect essay On Financial critical thinking of the birthmark an essay explaining schizophrenia Katatonia veers back toward some measure of direct heaviness, as Writing college application essays is crucial for your academic future The aim of our company is to provide Dissertation Direct Marketing Professional writer City Burials showcases in cuts like “Rein,” “Heart Set to Divide” and “Behind the Blood,” but more than either of those others mentioned, the Stockholm outfit refuse to forsake the melody and progressivism they’ve undertaken with their sound in the name of doing so. By the time they get to “Untrodden” at the end of the album’s 50-minute/11-song run, they’ve run a gamut from dark electronica to progressive-styled doom and back again, and with the founding duo of guitarist If you decide to follow the �why http://stadttheater.amberg.de/?film-business-plan-sample� attitude, you will lack the knowledge that you are supposed to have. 4. You Get to Know What �Responsibility� Is. Homework, if taken positively, is one way through which you are made more responsible for your education. Anders Nyström and vocalist Resources uk - professional and cheap paper to make easier your studying Why be concerned about the essay? apply for the necessary help on Jonas Renkse at the helm of the songwriting, they are definitive in their approach and richly emotive; a melancholy that is as identifiable in their songs as it is in the bands working under their influence. Their first work in four years, check. Writing coach that really helps you get a high-quality custom-written plagiarism-free work done. Check what we have to offer! City Burials is an assurance that Students all over the world break their heads against the wall trying to find a formula for the successful essay. Essay writing best essays.coms Katatonia are in firm ownership and command of all aspects of their sound. As they approach their 30th year, they continue to move forward. That’s a special band.
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Edinburgh’s Get http://cis.kdu.edu.ua/?writing-reaction-paperss from Essayssos, the well known reputed essay writing company located in US and UK. They have well experienced writers. Free King Witch toe the line between classic metal and doom, but whatever you want to call them, just make sure you don’t leave out the word “epic.” The sweeping solo and soaring vocals on the opening title-track set the stage on their second LP, the hour-long How about some more details on your difficulty with free Mythology Research Paper ? I might be able to suggest. If you are not able to get a good Body of Light, and as much mastery as the band showed on their 2018 debut, Under the Mountain (review here), vocalist Laura Donnelly, guitarist Jamie Gilchrist, bassist Rory Lee and drummer Lyle Brown lay righteous waste to lofty expectations and bask in grandiosity on “Of Rock and Stone” and the linear-moving “Solstice I – She Burns,” the payoff of which is a high point of the album in its layered shred. Pieces like “Witches Mark” and “Order From Chaos” act as confirmation of their Euro-fest-ready fist-pumpery, and closer “Beyond the Black Gate” brings some atmosphere before its own headbang-worthy crescendo. Body of Light is a reminder of why you wanted to be metal in the first place.
Eminently listenable and repeat-worthy, Glass Parallels‘ debut LP, Aisle of Light, nonetheless maintains an experimentalist flair. The solo-project of Justin Pinkerton (Golden Void, Futuropaco), covers a swath of ground from acid folk to psych-funk to soul vibes, at times bordering on shoegaze but seeming to find more expressive energy in centerpiece “Asphyxiate” and the airy capper “Blood and Battlegrounds” than any sonic portrayal of apathy would warrant. United by keys, pervasive guitar weirdness and Pinkerton‘s at-times-falsetto vocals, usually coated in reverb as they are, Aisle of Light brings deceptive depth for being a one-man production. Its production is spacious but still raw enough to give the drums an earthy sound as they anchor the synth-laden “March and April,” which is probably fortunate since otherwise the song would be liable to float off and not return. One way or another, the songs stand out too much to really be hypnotic, but they’re certainly fun to follow.
Stonework is the self-aware debut full-length from Portland, Maine, trio Thems That Wait, and it shoulders itself between clenched-teeth metallic aggression and heavier fuzz rock. They’re not the first to tread such ground and they know it, but “Sidekick” effectively captures Scissorfight-style groove, and “Kick Out” is brash enough in its 1:56 to cover an entire record’s worth of burl. Interludes “Digout” and “Vastcular” provide a moment to catch your breath, which is appreciated, but when what they come back with is the sure-fisted “Paragon” or a song like “Shitrograde,” it really is just a moment. They close with “Xmortis,” which seems to reference Evil Dead II in its lyrics, which is as good as anything else, but from “Sleepie Hollow” onward, guitarist/vocalist Craig Garland, bassist Mat Patterson and drummer Branden Clements find their place in the dudely swing-and-strike of riffs, crash and snarl, and they do so with a purely Northeastern attitude. This is the kind of show you might get kicked at.
Complexity extends to all levels of Sojourner‘s third album and Napalm Records debut, Premonitions, in that not only does the band present eight tracks and 56 minutes of progressive and sprawling progressive black metal, varied in craft and given a folkish undercurrent by Chloe Bray‘s vocals and tin whistle, but also the sheer fact that the five-piece outfit made the album in at least five different countries. Recording remotely in Sweden, New Zealand, Scotland and Italy, they mixed/mastered in Norway, and though one cringes at the thought of the logistical nightmare that might’ve presented, Sojourner‘s resultant material is lush and encompassing, a tapestry of blackened sounds peppered with clean and harsh singing — Emilio Crespo handles the screams — keyboards, and intricate rhythms behind sprawling progressions of guitar. At the center of the record, “Talas” and “Fatal Frame” (the shortest song and the longest) make an especially effective pair one into the other, varied in their method but brought together by viciously heavy apexes. The greatest weight, though, might be reserved for closer “The Event Horizon,” which plods where it might otherwise charge and brings a due sense of largesse to the finale.
The order of the day is sprawl on Udyat‘s recorded-live sophomore LP, Oro, as the Argentinian outfit cast a wide berth over heavy rock and terrestrial psych, the 13-minute “Sangre de Oro” following shorter opener “Los Picos de Luz Eterna” (practically an intro at a bit over six minutes) with a gritty flourish to contrast the tonal warmth that returns with the melodic trance-induction at the start of “Los últimos.” That song — the centerpiece of the five-track outing — tops 15 minutes and makes its way into a swell of fuzz with according patience, proceeding through a second stage of lumbering plod before a stretch of noise wash leads pack to the stomp. The subsequent “Después de los Pasos, el Camino Muere” is more ferocious by its end and works in some similar ground, and closer “Nacimiento” seems to loose itself in a faster midsection before returning to its midtempo roll. Oro borders on cosmic doom with its psychedelic underpinnings and quiet stretches, but its movement feels ultimately more like walking than floating, if that makes any sense.
To anyone who might suggest that extreme metal cannot also be forward-thinking, Bismarck submit the thoughtful bludgeon of Oneiromancer, a five-song/35-minute aesthetic blend that draws from doom, death, hardcore and sundry other metals, while keeping its identity in check through taut rhythm and atmospheric departures. Following the chants of opening intro “Tahaghghogh Resalat,” the Chris Fielding-produced follow-up to Bismarck‘s 2018 debut, Urkraft (review here), showcases an approach likewise pummeling and dynamic, weighted in ambience and thud alike. “Oneiromancer” itself starts with blastbeats and a plundering intensity before breaking into a more open midsection, but “The Seer” is absolutely massive. Despite being shorter than either the title-track or “Hara,” both of which top nine minutes, and closer “Khthon” underscores the blood-boiling tension cast throughout with one last consuming plod. Fucking raging. Fucking awesome. Pure sonic catharsis. Salvation through obliteration. If these are dreams being divined as the title hints, the mind is a limitless and terrifying place. Which, yes.
I won’t say it’s seamless or intended to be, but as Albuquerque, New Mexico, two-piece The Gral Brothers make their initial move on Caravan East between cinematic Americana and industrial brood, samples of dialogue on “Cactus Man” and violin in the seven-minute soundscaper “In Die Pizzeria” seem to draw together both a wistfulness and a paranoia of the landlocked. Too odd to fall in line with the Morricone-worship of Cali’s Spindrift, “Crowbar” brings Spaghetti West and desert dub together with a confidence that makes it seem like a given pairing despite the outwardly eerie vibes and highly individualized take, and “Santa Sleeves” is beautiful to its last, even if the lone bell jingle is a bit much, while “Silva Lanes” pushes even further than did “Circuit City” into mechanized experimental noisemaking. They end with the birdsong-inclusive “Ode to Marge,” leaving one to wonder whether it’s sentiment or cynicism being expressed. Either way, it’s being expressed in a way not quite like anything else, which is an accomplishment all on its own.
When you’re at the show and the set ends, Flamingo Graphics is the CD you go buy at the merch table. It’s as simple as that. Recorded this past March over the course of two days, the debut album from Floridian foursome Astral Glide is raw to the point of being barebones, bootleg room-mic style, but the songwriting and straightforward purposes of the group shine through. They’re able to shift structures and mood enough to keep things from being too staid, but they’re never far off from the next heavy landing, as “Devastation” and the closer “Forever” show in their respective payoffs, that latter going all out with a scream at the end, answering back to the several others that show up periodically. While their greatest strength is in the mid-paced shove of rockers like “Space Machine” and “Scarlett” and the speedier “Workhorse,” there are hints of broader intentions on Flamingo Graphics, though they too are raw at this point. Very much a debut, but still one you pick up when the band finishes playing. You might not even wait until the end of the show. Meet them back at the table, and so on.
It’s a curious kind of thing, the way watching a band play a live streaming show just kind of works itself into your day. I’d imagine that’s what it must be like for people who live in major urban centers when it comes to going out. I’ve never lived within half an hour of a venue, so rock and roll in a live context has always had an element of travel and a physical distance from the rest of my “life,” as it were. Music has rarely been so conveniently accessed for me. You just find a link — easy in this case, since Mars Red Sky emailed them out earlier in the day — and put it on and watch a band play live. I know it’s not necessarily new technology, though it’s a more widespread use for it, and if I’m wowed by it, that probably just means I’m old. Fine.
As it happened, Mars Red Sky‘s two Live From the Teleport streams — one first for Europe, then one for the Americas — fit neatly into my schedule. The Europe one happened during my kid’s naptime and the second, at 8PM local time, started just as the episode of Star Trek: The Next Generation my wife and I were watching was ending. I put on the Euro stream and found it opened by a couple of vintage commercials, which is fitting to the visual aesthetic the band have harnessed in collaboration with director Seb Antoine, whose done videos and visuals for them going back some number of years and was involved in the direction here. Based in Bordeaux, where these shows took place, Mars Red Sky have always to some degree been conscious of the visual aspects of their presentation. Their artwork suits their records, their videos are creative, and these commercials were a fun way to lead into (and out of) the performance itself. The US stream had ones for Oldsmobile and Tang. They both had old video games.
Ostensibly supporting last year’s The Task Eternal (review here), the three-piece of guitarist/vocalist Julien Pras, bassist/backing vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau seemed comfortable on the stage and looked to have no trouble locking into a performance-mode despite the lack of a physical crowd in front of them. The trio were playing two distinct sets with two different setlists, each about an hour long, and they opened the European set with a new riff from a song currently in the works. After the US show, they mentioned it might end up as an EP, which would be in character for the band between full-lengths, but either way it was appreciated to get a preview of where they’re headed as they continue down their path of progressive heavy psychedelic rock.
I tried to read some intention behind their choices of songs, but they had taken requests on social media and of course I chimed in, campaigning for “Way to Rome” from their 2011 self-titled debut (review here), “Friendly Fire” from 2016’s third album, Apex III (Praise for the Burning Soul) (review here), both of which were aired in the Americas stream, and several others. I don’t know if they were going for two distinct vibes from one set to the other, tailoring to region, or just taking requests — the fact is that Mars Red Sky have enough of a catalog between LPs and EPs that it’s not a challenge for them to fill about two hours of stage time. And they did so without repeating a song between one set and the other. Here are the setlists:
EU:
New Riff (Slow)
Under the Hood
Collector
Crazy Hearth
Mindreader
Shot in Providence
Hovering Satellites
Up the Stairs
AM:
Reacts
Alien Grounds/Apex III
Friendly Fire w/ guest vocalist
Way to Rome
Strong Reflection
Hollow King
The Light Beyond
Finishing the first set with “Up the Stairs” worked better than I thought it would, and “Way to Rome” into “Strong Reflection” in the second set just about made my night, particularly with a bit of chugging flourish they added to the latter. For “Friendly Fire” they brought out a guest singer whose name was revealed in the live Q&A afterwards as Helen Ferguson, vocalist and bandmate of Pras‘ in Queen of the Meadow. In any case, she added another layer of melodic sweetness to Pras‘ own voice and as it was something they’d never done before, it seemed a particularly brave move to do so as a part of this stream. “Mindreader” was of course a heavy riff delight, and “Shot in Providence,” the latest single “Crazy Hearth,” “Reacts and “Hollow King” — the latter three all from The Task Eternal — were more than welcome. Seeing them play the most recent stuff was a big part of why I wanted to watch, since as they’ve grown more progressive in the construction of their songs, invariably their live renditions have had to follow suit. As much as their first record continues to hold a special place in my heart, they’ve only become a richer band with time.
There were audio problems after the first set, but the band found a marker board and wrote a thank you message on it, while also playing with a Simon — it had been a minute since I saw one. They came back live after the second set and in that Q&A revealed that the Americas stream had been taped. Not actually unreasonable, since it would’ve started at 2AM on French time, but it did change things. Was it still a live event. Are these streams that have started in the wake of the COVID-19 pandemic ever? How is a live performance, taped live and aired as a live stream not live? Does it make a difference?
I don’t know. There isn’t really a ‘live culture’ around streaming yet to properly gauge an audience impression. From what I saw in the YouTube chat, people were grateful to the band for making the effort — and with professional sound and lights, visuals behind them, the commercials, and at least four cameras operating, it was an effort — and frankly, I was too.
The after-show session lasted about 10 minutes, which given that that was live and it was three on the morning for them, was plenty. Pras leaned forward on the couch, Kinast leaned back and snuggled his cat. Only Gazeau, who apparently doesn’t live in Bordeaux, didn’t take part; they disguised one of the camera operators and the reveal was pretty funny. I submitted the question as to how doing these sets compared to the experience of playing live shows, and Pras noted that with the sound, lighting and video crews, it wasn’t like the space was totally empty, and that the drones and psychedelic noisemaking they did between songs — more prevalent in the second set than the first — was in part to ease the awkward silence where audience response would otherwise be. It was a prudent and effective move, and emblematic of the attention to detail Mars Red Sky bring to just about everything they do.
My understanding is downloads of the videos of these sets will be available to those who paid for them as part of their tickets, but it seems to me next time Bandcamp has a no-fee day, the band have audio well worth issuing as a special release. I don’t know that will happen, of course, but if they wanted to make it so, they’d certainly have a fan-piece to mark the occasion.
A shifting definition of normality makes me less inclined to speculate as to what live music will look like on the other side of this current pandemic, in Europe, North and South America, or anywhere else. As it stands, however, seeing a group like Mars Red Sky playing their songs, even in the setting of being on my couch after a long day and just before going to bed, is more than welcome. It’s not only a reminder of what’s missing from these incredibly and increasingly strange days, but a new form of creative expression taking shape while we watch. That in itself is a reason to be thankful.
If the planet were operating in the manner which we as humans thought it might be just a few short months, ago, French progressive heavy psychedelic rockers Mars Red Sky would be heading to North America this month for a tour supporting 2019’s The Task Eternal (review here) that would have begun May 28 in Chicago and run through Monolith on the Mesa (which has been pushed back to September) and finished in Vancouver, British Columbia, on June 7. It was to be presented by this site, among others. Well, of course it’s not happening — how could it?
To be sure, that’s a bummer, but if you look at the video for “Crazy Hearth,” which the Bordeaux three-piece filmed prior to the pandemic with director Seb Antoine — he did their 2016 “Alien Grounds” short film (posted here) and has worked with them on other clips too — it ends up being a pretty striking reminder not just of what we all miss at this point, which is being together, but inevitably of what we’re staying apart now to preserve.
In the video we see the band — guitarist/vocalist Julien Pras, bassist/sometimes vocalist Jimmy Kinast and drummer Mat Gazeau — making their way to a meetup in the woods. Gazeau goes by canoe, and there’s hiking and cool drone shots of the band playing spliced in, and in the end, everyone gets together and they leave in the canoe after building the titular hearth. It has enough heart and is certainly earthy enough to earn the wordplay of the song’s name, but given the context in which the video arrives, it’s hard not to appreciate the simple togetherness and the obvious bond the trio display, while they’re playing and while they’re not.
That’s why we’re quarantined. Because at some point, we want to be able to go back to that without risking harm to one another, and this seems to be the road that gets us there. It’s easy math to do and a hard way to live, but that’s what it’s all about.
Mars Red Sky, “Crazy Hearth” official video
“We got in touch again with Seb Antoine, the best film director ever, to shoot our ***NEW VIDEO CLIP for CRAZY HEARTH*** before the Covid mess. We are particularly proud of this one and really hope you’ll will like it as much as we enjoyed making it.”
From the new album ‘The Task Eternal’ out September 27th 2019 on Listenable Records.
Directed By Seb Antoine
Assistant : Sophie Labruyere
Special Thanks to Mr Gazeau for the Canoe
Recorded and mixed by Benjamin Mandeau at Cryogene Studio, mastered by Pierre Etchandy.
Posted in Features on April 23rd, 2020 by JJ Koczan
The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.
Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.
Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan
Days of Rona: Julien Pras, Jimmy Kinast and Mat Gazeau of Mars Red Sky (Bordeaux, France)
—
How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?
Mat: First of all, everybody is in good health so far. We were on tour till mid march and were heading to the next city when we got a phone call from the venue saying we can drive straight home as all the public manifestations were canceled, so we did.
Jimmy: We had to postpone a lot of club shows and we’re trying to reschedule summer festivals as well for 2021. The most complicated thing is that nobody can say today how long it will take before we’re authorized to organise shows again, pretty scary…
Julien: We’ll try to get together and practice again as soon as we’re free to do so!
What are the quarantine/isolation rules where you are?
Mat: We must stay at home. Still we can go out to work (if you cannot work from home), to buy food, to make a minimum of physical exercises, plus some other things… For these things we need a paper we fill ourselves saying what we do.
Jimmy: The government said on April 13th that they will gradually open some stores, let people go back to their work and children go to school starting May 11th but bars and restaurants will stay closed for months…
How have you seen the virus affecting the community around you and in music?
Mat: It’s obvious as most of the bands/musicians around us rely on live shows to exist and to grow. Personally I live it as being temporarily unemployed for operational reasons.
However, I spend lot of time working on my instrument, I’m lucky enough to have a cabin in the woods where I can play drums and work on different exercises.
Also, I’m improvising myself as a teacher with my 11 years old son in the morning, we keep doing sport with my girlfriend on a weekly basis, and i have more time to read books.
Jimmy: I’m very lucky because I have a house and a garden, I spend a lot of time gardening and taking care of my chickens too…
Julien: Some artists in all fields are embracing the concept of digital communication to a extent that seems questionable.. Saying it’s a bad thing would be bogus, we even made a Beatles cover video with my sweetie, but it’s quite a pressure just to witness this endless stream of content washing over… Now I’m also fortunate enough to have a little home studio where I can stay busy mixing stuff, sketching out song ideas or riffs, fiddling with effect pedals.. And reading quite a lot too, switching from newspapers to fiction depending on my degree of anxiety.. Though so far we’ve managed to stay relatively serene in the household, considering the situation. We’re blessed with good health and a positive attitude… and a cat.
What is the one thing you want people to know about your situation, either as a band, or personally, or anything?
Mat: I try to keep in mind that even if the situation is extremely bad, we still have a roof, we have food (too much), and it’s not war!! These words have been used by our president which, to me, is a zealous, over-reacting message given to the population. Besides, that word was unnecessary and out of context, nobody is shooting at us, no bombs are falling from the sky, we don’t have to run out from our country, we just have to stay at home!
I am not undermining the situation, I find it sad and serious but I often see on social networks people complaining because they cannot go out and they get bored. It’s quite egocentric!
Much more horrible things are happening right now in Syria (for info: Bordeaux to Damas, Syria, is almost the same distance as LA to NYC), many countries in Africa don’t have enough food and people there die from famine and multiple diseases, but in our egocentric occidental state of mind, we just don’t give a fuck as none of this happened to us (yet).
Furthermore, what strikes me is that our medias can show an incredible ability to inform and react when a situation feels so close to home, when it knocks at our door, when it feels tangible. Horrible, similar and worst, issues are killing humans everyday already, be it famine, multiple diseases… but this happens so far away that we kind of see it in a passive way, we know it is there, we kind of mention it here and there in the news, say it is sad, then move on to our lives thinking “ok, that’s the fate of these places”, it is lived and accepted as THEIR fate, like WE are lucky and untouchable. Today, we realize that we can be affected and touched by similar issues, so we start panicking, all of a sudden we feel vulnerable, and we don’t like it, so we wanna feel heard, looked at, and taken care of, we cannot accept it as fate anymore, it takes another turn, now solutions have to be found quickly, it reached too close to home.
That is selfish to me, even more, it is dangerous behavior. It shows our capacity to willfully ignore the impact of big important issues when they are not literally touching us, regardless of the fact that they are in fact touching us, but indirectly, in a more passive way.
Take pollution for example, it kills at a bigger rate than the Covid-19, but we do not see it, it is not as tangible and fast, so we don’t react, we keep living and consuming in a blissfully unaware, irresponsible way, making us responsible for the death of thousands if not millions of people. If we can react now, if our government can take measures now, what prevented them from taking some measures many years ago to protect the planet? What prevented us from adopting a responsible behavior?
Where was daily front cover on every media? We are all guilty. We are responsible for destroying our planet, killing species, reducing their living environment and causing migration of species and humans. Bringing them closer leads to merging germs that shouldn’t meet in their natural environment and causes diseases to appear. Our behavior contributes to unbalancing the way nature works, and thus bringing war, famine and diseases all over the world. It is high time we open our eyes and see that the marching death band has been walking alongside us for a long time. What we finally accept to see now is nothing but a consequence of this biggest worldwide issue, it is a warning and we will face many more of these. If we are able to accept adapting our behavior now for the greater good, I hope we’ll be able to keep doing it once the quarantine is over.
Julien: May I add, it’s not exactly the first time the West has an epiphany, the crisis in 2008 for example. And a growing number of us are seeing the flaws and the limits of an aggressive liberal economy, the way it affects our lives in so many ways. Not to mention the ongoing ecological crisis that a lot of us are now aware of.
But we sure hope that it won’t be back to “business as usual” this time, that our governments will come up with at least a couple of progressive actions, and not just temporary ones… And that “exceptional measures” likely to come up and jeopardize our civil rights won’t apply forever!
Jimmy: There are some interesting things in that covid crisis. Speaking about civil rights for example: it’s really impressive how the population in Europe is ready to give away a lot of their freedom (lockdown, tracking, checking etc…). The whole population is supporting our leaders and scientists over here. We entrust them with saving the same amount of lives as during a famine or due to pollution within a very short span of time. Hope we can be that brave and involved if the big one hits because of global environmental issues. These last days in France a lot of producers and farmers had to organise a new way to distribute their goods and we can see a real change because more and more people are looking for local products and short-cut « the Big Market ». No plane for a few months is also very good news for the environment and seeing all these wild animals all over our cities makes some people think.
That crisis might be a chance for us because facts / science proved that going back to « normal » with economic growth as a main goal for a few is a suicide for all. We need to stop these « has-been » people because environmental questions can only be fixed if we connect them to worldwide social issues.
Posted in audiObelisk on February 7th, 2020 by JJ Koczan
Saturnalia Temple will release their third full-length, Gravity, through Listenable Records on Feb. 21. Checking in at 48 minutes of dark psychedelic cult heavy that’s alternately stripped to the core and manifesting a melt-brain churn of grim lysergic fluidity, it’s like a check-in from the Other Side on the behalf of the Stockholm trio, who were last heard from on 2015’s To the Other (discussed here and here), donning an experimentalism of substance and style that veers into multiple chasms of the delightfully, almost gleefully strange in songs like “Bitter Taste,” chanting vocals high in the mix over dug-in fuzz and willfully simple drums.
By that point in the record — that’s side B — the trio of guitarist/vocalist Tommie Eriksson, bassist Peter Karlsson and drummer Kennet Granholm have already trod through the soul-wrenching muck of the near-silent white noise intro “Tordyvel,” the deceptively catchy declarations of the eponymous “Saturnalia Temple” — on which Eriksson speaks the truth when he says, “In this temple we go beyond” — the organ-meets-buzzing-tone-and-gurgle-vocals of “Gravity” and “Elyzian Fields,” which I can only liken to F.O.A.D.-era Darkthrone in terms of the peeling back it does of any and all frills in cult doom.
That progression across Gravity‘s first four tracks is, to an extent, staggering in the shifts it presents, not the least because the band — who made their full-length debut with 2011’s Aion of Drakon — are so purposefully entranced by what they’re doing. Think of what Ramesses could do at their most dug-in, or other acts who readily give themselves over to the atmospheres they create. Saturnalia Temple is the vehicle by which, indeed, the band goes beyond.
Accordingly, Gravity is not ha-ha-hee-hee-let’s-write-a-song-about-the-devil cult rock. It’s exploration of sound itself as a ritual. The tones fill out somewhat as “Elyzian Fields” shifts into the 9:57 “Between the Worlds,” which is arguably the most liquefied of the inclusions here, building up slowly as it does into an extreme psychedelia cast in swirling shades of black set to a popping snare that seems like the only thing tying it to the earth at all. A long fade-out is prescient for what’s to come on the penultimate “Oannes,” but “Bitter Taste” takes hold in the immediate aftermath of “Between the Worlds” with a commanding, doomed severity in its riff and initial forward march, fuzz lead emerging before the otherworldly vocals, which are a far cry from the throaty incantations of “Gravity” and “Elyzian Fields” and the sort of mourning melody in “Saturnalia Temple,” but still fit with the album’s aesthetic overall, which, frankly, would allow for Saturnalia Temple to go just about anywhere and still be trapped in the murk of their own making.
In fact, that’s basically what they do. They create a world of consuming ambience and then populate it with various monsters and threatening figures, so much punishment and viciousness bleeding into the proceedings. “Oannes” brings the organ of “Gravity” back to the fore, but holds somewhat to the chanting style of the track before it, at least at the outset, and then shifts into full-on instrumental trance as it works its way through a solo and a long-fadeout instrumental march that probably could go another eight or nine minutes and be no less effective in sapping the listener of their consciousness. The closer, “Alpha Drakonis,” is something of an answer to “Tordyvel” in that it’s essentially an outro, but perhaps more-there, if that makes any sense.
And if it doesn’t, maybe all the better, since that seems to be the context in which Saturnalia Temple most thrive on Gravity. They dirge their way out on the relatively minimal progression, and it’s as fitting an end to Gravity as anything could hope to be, the statement of their long-goneness already well made in their fuck-with-form experimentation and use of production as another tool to emphasize the amorphousness of their sound, their ability to shape it to what they want it to be, whether that’s pure aural rot or a roiling ocean of bleak tonal currents. One way or the other, Saturnalia Temple give their audience a glimpse at the “beyond” to which they’re going. Whether or not a given listener is up to making the trip there themselves, one suspects, depends on the individual.
Can you open your heart and let decay in?
Find out with the premiere of “Saturnalia Temple” below. More PR wire info, preorder link for Gravity and tour dates follow:
Tommie Eriksson on “Saturnalia Temple”:
“Saturnalia Temple is a song that sums up everything we are on all levels. It is a true keystone for all we stand for. The lyrics is an invocation of the alchemical initiation that this band expresses, and the hypnotic riffs echo this with a vengeance.”
Saturnalia Temple TO RELEASE NEW ALBUM ‘GRAVITY’ IN FEBRUARY 2020
SATURNALIA TEMPLE – European tour with WOLVENNEST and DREAD SOVEREIGN. 21/2 – Rotterdam – Baroeg – NL 22/2 – London – The Dome – UK 23/2 – Paris – Gibus – FR 24/2 – Aarburg – Musigburg – CH 25/2 – Vienna – Escape – AU 26/2 – Krakow – Zet Pe Te – PL 27/2 – Berlin – Nuke Club – GER 28/2 – Oberhausen – Helvete – GER 29/2 – Brussels – Ancienne Belgique – BE
Saturnalia Temple is: Tommie Eriksson – Vocals, Guitar. Peter Karlsson – Bass. Kennet Granholm – Drums
Posted in Whathaveyou on February 5th, 2020 by JJ Koczan
A little bummed to see that the news of King Witch‘s impending second album doesn’t arrive with any unveiled audio, but then, I would be. Their first one, 2018’s Under the Mountain (review here), did nothing to shy away from its affinity for metallic glories, and I’ve no reason to expect the luster has dulled in the time since. Plus, calling out a Rainbow influence — specifically Rainbow, separate from Deep Purple, Black Sabbath or anything else Ritchie Blackmore or Ronnie James Dio have ever been or were involved in — is among the quickest ways to my heart. Straight to it, you might say.
So here we are:
KING WITCH ANNOUNCE NEW ALBUM ‘BODY OF LIGHT’!
Formed in late 2015 in a dark cavern beneath the streets of old Edinburgh, Bristling with dark majesty, KING WITCH draw comparisons ranging from Black Sabbath and Candlemass to Mastodon and High On Fire. The band quickly earned themselves a reputation as a formidable live act and have toured the UK and Europe in support of their first full length debut album “Under The Mountain” which was released on Listenable in 2018 .
KING WITCH ’s highly anticipated second album “Body of Light” further focuses their ability to fuse dense riffage with haunting yet powerful vocal lines and melodies. “Body of Light’ wider dynamic range takes the listener on an electrifying journey from dark, brooding passages through to full-tilt Heavy Metal glory !.
The band comments : « Musically, inspiration came from the same directions as always – the classic doom of Trouble and Candlemass alongside the ever-present influence of Sabbath, Purple and Rainbow. “
Laura Donnelly (vocals) has delivered an amazing artwork once again as she develops : « The cover art depicts a woman floating in space with her skeleton/soul leaving her body. Our title track “Body of Light” is about Astral Projection and having the ability to straddle between different worlds. I felt the concept represented the album well in different ways by illustrating themes such as the occult, myth and legend, the human condition, escapism and, primarily, the question of what lies beyond. »
KING WITCH ’s ‘Body of Light’ was Recorded at Deep Storm Productions, produced and Mixed by Kevin Hare and Jamie Gilchrist and mastered by Tom Dring.
It is scheduled for an April 24 release date.
Tracklisting 1. Body Of Light 05:49 2. Of Rock And Stone 08:26 3. Call Of The Hunter 06:31 4. Return To Dust 08:22 5. Order From Chaos 05:37 6. Solstice I – She Burns 10:16 7. Witches Mark 03:43 8. Solstice II 01:29 9. Beyond the Black Gate 09:55
King Witch are : Laura Donnelly – Vocals Jamie Gilchrist – Guitar Rory Lee – Bass Lyle Brown – Drums
Before they return to the US for the first time in four years, when among other shows they appeared at Psycho Las Vegas and The Obelisk All-Dayer in Brooklyn, French heavy psychedelic progressives Mars Red Sky will continue to support their 2019 album, The Task Eternal (review here), with dates mostly in France but also touching into Germany. They did a full round of European touring last year and no doubt will be on the road again before 2020 is done, because that’s pretty much how they roll.
Given that I’ve been lucky enough to see them a couple times at this point, and that I’m already looking forward to doing so again in Norway this October at Høstsabbat, for which they were recently confirmed, I’m all the more thrilled to have The Obelisk on board with presenting their upcoming run through the West Coast. Starting in Chicago on May 28, they’ll head toward the Pacific and make their way through California up to Portland and Seattle before crossing into Canada to close out in Vancouver on June 7. It’s an efficient run that only seems like more of a gotta-show-up-style no-brainer with Colorado’s Dreadnought supporting.
My standard for presenting shows is this: Is it worth leaving the comforts of home to go out and be among other human beings for a span of hours? Would I go to that show?
The answer here is a clear yes, I would. I hope you will.
Dates and info follow, as just announced by the band:
MARS RED SKY – THE TASK ETERNAL – AMERICAN TOUR
We’re thrilled to announce a new tour in North America this spring that will take us from Chicago to Vancouver with the great Dreadnought, past a number of cities we’ve never visited before (Denver, Santa Fe, Mesa) and other hot spots we’re excited to go back to!! Artwork done by the one, the only, Carlos Olmo Art.
“Four years have past since our last visit, time well spent touring and composing material for our newly released fourth album, The Task Eternal. This upcoming tour will be the opportunity for us to perform these new songs in America after extensively touring Europe. Stay tuned and see you out there!!”
MARS RED SKY 2020 US TOUR SUPPORT: Dreadnought 5/28 Chicago, IL @ Reggies * 5/29 Denver, CO @ Hi Dive 5/30 Taos, NM @ Monolith on the Mesa * 5/31 Mesa, AZ @ Club Red 6/01 San Diego, CA @ The Space 6/02 Los Angeles, CA @ Viper Room 6/03 Costa Mesa, CA @ The Wayfarer 6/04 San Francisco, CA @ The Chapel 6/05 Portland, OR @ The High Water Mark 6/06 Seattle, WA @ The Highline 6/07 Vancouver, BC @ Astoria * without Dreadnought
Beyond a highly recognizable sound imprint, Mars Red Sky craft their own otherworldly atmospheres. The trio has been entrancing crowds for a decade now, with their eponymous debut coming out in 2011, following a recording session in Spain’s mystic Bardenas desert. Whether you listen to the albums or experience their music on stage, their hulking yet trippy brand of stoner rock will take you on an infinite journey. From the beginning, the Bordelais trio becomes a major live act, leading them to play the biggest rock and metal stages (SXSW, Hellfest 2014 and 2017, Desertfest London and Berlin, Roadburn, Eurockéennes). After another two years spent on the road, 2019 felt like the right time to return with their brand new album “The Task Eternal” on Listenable Records, which is set to be followed by a couple of extensive European tours.
Posted in Features on December 24th, 2019 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]
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Make no mistake, my friends. 2019 was the year it went off the rails.
Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.
I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?
In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.
Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.
A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.
Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.
Here we go:
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The Top 50 Albums of 2019
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#50-31
50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays ofLight
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English
Notes: Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.
Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.
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29. Church of the Cosmic Skull, Everybody’s Going to Die
I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.
With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.
If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.
I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?
Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.
Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.
Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.
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22. Beastwars, IV
Released by Destroy Records. Reviewed June 27.
But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.
With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.
It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan Längquist that made the album as a whole as powerful as it was. Pairing Längquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had Längquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.
Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.
This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.
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17. Kadavar, For the Dead Travel Fast
Released by Nuclear Blast. Reviewed Oct. 28.
In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge à la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.
Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.
They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.
Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.
As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.
My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.
While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.
I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.
What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.
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8. Brume, Rabbits
Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.
Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.
This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.
Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” on its own is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.
If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.
Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.
Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.
My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.
Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s Vænir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.
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The Top 50 Albums of 2019: Honorable Mention
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You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.
Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:
Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, Híbrido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.
Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?
Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.
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The Top 20 Debut Albums of 2019
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1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles
Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the Sün, Burning Gloom, Temple of the Fuzz Witch.
Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to
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The Top 20 Short Releases of 2019
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1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake
Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.
Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.
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Postwax
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I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:
Elder, The Gold and Silver Sessions
Daxma, Ruins Upon Ruins
Besvärjelsen, Frost
Big Scenic Nowhere, Dying on the Mountain
Domkraft, Slow Fidelity
Lowrider, Refractions
And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.
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Looking Ahead to 2020
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A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:
1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.
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Thank You
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Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.
I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.
