The Obelisk Presents: THE BEST OF 2019

Posted in Features on December 24th, 2019 by JJ Koczan

the obelisk best of 2019

[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.]

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:

The Top 50 Albums of 2019

#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 of Light
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.

30. Sun Blood Stories, Haunt Yourself

sun blood stories haunt yourself

Self-released. Reviewed Sept. 6.

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.

29. Church of the Cosmic Skull, Everybody’s Going to Die

Church of the Cosmic Skull Everybodys Going to Die

Released by Septaphonic Records. Reviewed Dec. 10.

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.

28. Devil to Pay, Forever, Never or Whenever

devil to pay forever never or whenever

Released by Ripple Music. Reviewed Nov. 4.

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.

27. Howling Giant, The Space Between Worlds

howling giant the space between worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

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.

26. Saint Vitus, Saint Vitus

saint vitus saint vitus

Released by Season of Mist. Reviewed March 19.

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?

25. Ealdor Bealu, Spirit of the Lonely Places

ealdor bealu spirit of the lonely places

Self-released. Reviewed July 10.

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.

24. Yatra, Death Ritual

yatra death ritual

Released through Grimoire Records. Discussed Nov. 13, 2018..

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.

23. Ecstatic Vision, For the Masses

ecstatic vision for the masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

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.

22. Beastwars, IV

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.

21. Eternal Black, Slow Burn Suicide

eternal black slow burn suicide

Self-released. Reviewed June 7.

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.

20. Candlemass, The Door to Doom

candlemass the door to doom

Released by Napalm Records. Reviewed Feb. 22.

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.

19. Nebula, Holy Shit

nebula holy shit

Released by Heavy Psych Sounds. Reviewed June 13.

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.

18. Valley of the Sun, Old Gods

valley of the sun old gods

Released by Fuzzorama Records. Reviewed May 21.

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.

17. Kadavar, For the Dead Travel Fast

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.

16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

mammoth weed wizard bastard yn ol i annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

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.

15. Magic Circle, Departed Souls

magic circle departed souls

Released by 20 Buck Spin. Reviewed April 3.

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.

14. Spaceslug, Reign of the Orion

Spaceslug Reign of the Orion cover

Released by BSFD Records. Reviewed Nov. 22.

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.

13. Green Lung, Woodland Rites

green lung woodland rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

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.

12. Lo-Pan, Subtle

lo-pan subtle

Released by Aqualamb Records. Reviewed May 9.

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.

11. Roadsaw, Tinnitus the Night

roadsaw tinnitus the night

Released by Ripple Music. Reviewed June 12.

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.

10. Worshipper, Light in the Wire

worshipper light in the wire

Released by Tee Pee Records. Reviewed April 24.

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.

9. Solace, The Brink

solace the brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

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.

8. Brume, Rabbits

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.

7. Mars Red Sky, The Task Eternal

mars red sky the task eternal

Released by Listenable Records. Reviewed Sept. 20.

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.

6. Kings Destroy, Fantasma Nera

Kings Destroy Fantasma Nera

Released by Svart Records. Reviewed March 15.

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.

5. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

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.

4. Blackwater Holylight, Veils of Winter

blackwater holylight veils of winter

Released by RidingEasy Records. Reviewed Sept. 26.

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.

3. Slomatics, Canyons

Slomatics Canyons

Released by Black Bow Records. Reviewed May 15.

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.

2. Year of the Cobra, Ash and Dust

year of the cobra ash and dust

Released by Prophecy Productions. Reviewed Oct. 24.

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.

2019 Album of the Year

1. Monolord, No Comfort

monolord no comfort

Released by Relapse Records. Reviewed Sept. 12.

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.

The Top 50 Albums of 2019: Honorable Mention

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.

The Top 20 Debut Albums of 2019

green lung woodland rites

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

The Top 20 Short Releases of 2019

geezer spiral fires

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.

Postwax

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.

Looking Ahead to 2020

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.

Thank You

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.

More to come.

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Up in Smoke 2019 Adds Lowrider, Nebula, Truckfighters, Steak and Lord Kesseli & the Drums

Posted in Whathaveyou on May 2nd, 2019 by JJ Koczan

Sometimes these Euro fest announcements just feel like bragging. Like, “Oh yeah? Think you’re so great ‘cuz you got Nebula and Lowrider and Truckfighters and Amenra and The Obsessed and Lo-Pan and… well shit, I guess that is pretty great.” Kudos to Up in Smoke 2019 on what is thus far a standout bill even among its shared aspects with the other autumnal gatherings, be it Into the Void or Keep it Low or Desertfest Belgium or probably others at this point I just can’t think of off the top of my head let alone track the announcements for. I’ve never been to Switzerland, and I’m not sure it would take much convincing to get me there were the funds available, but needless to say, something like this would easily do the trick.

I particularly like the idea of Nebula and Lowrider on the same bill, what with their by-now-classic split (discussed here) and all. I know there’s no guarantee their sets will be back to back, but some acknowledgement of the two sharing the stage would be cool in light of that release. It was something special.

Oh, and having just seen Steak at Desertfest New York this past weekend, you’re gonna want to show up for that set. Just a heads up.

Full announcement follows as per thee social medias:

up in smoke 2019 banner

Truckfighters + Nebula + Lowrider + Steak + Lord Kesseli & the Drums

Smokers,

Please join in on this little announcement with five great bands. This time we’re going local and of course also international. We have some aces up our sleeves and back in the good old wild west we would probably get shot in the back for that. Hopefully for us, we will instead get some love from you by sharing these names with you:

Yes, they’re back! They’re not from the middle of nowhere, but from the middle of Sweden. Truckfighters have already toured the world, spread the fuzz, got robbed in the US and put the band on hold. Now they return with full strength and play their legendary debut album “Gravity X” from the finish to the start. Make sure to put on your helmet, the gravitation will be ruthless this evening.

On June 7th Nebula is releasing their new album “Holy Shit”, their first album in ten years. We are happy to present them for you so that you can experience some of the new tracks live. What we also hope is that they play the songs from the Meteor City split they released with Lowrider. Both bands will be at the festival and play on the same day. Smokers, get ready for the cool riffs and some holy shit!

Over the last five years the Swedes in Lowrider have been like Phoenix rising from the ashes. The band has specialized in delivering fantastic stage performances wherever they play, regardless of circumstances or stage size. We are psyched and hope they play tunes from their classic MeteorCity split with Nebula! The band is soon releasing a brand new EP called “Refractions”, the first new material since 2001.

Steak played at the first festival and we are happy to bring them back to you after all these years. The Londoners knows how to write catchy tunes with a groovy vibe. These four rock ‘n’ rollers will fulfill everyone’s dreams of a smokin’ good air guitar riff. This is the shit if you want to jump around and party hard.

Dominik Kesseli and Michael Gallusser is hiding behind the dynamic duo Lord Kesseli & The Drums. This is laid back, melodic, with harmonies, yet it sometimes erupts like a volcano with a heavy riff. Here is the band that will fill your ears with balm and for you to catch your breath. Enjoy the Swiss duo that for sure will stand out at this year’s festival.

Tickets http://www.z-7.ch/event.php?eventid=1665

https://www.sol-tickets.com/produkte/36-tickets-up-in-smoke-konzertfabrik-z7-pratteln-am-03-10-2019
http://www.z-7.ch/event.php?eventid=1665
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7/
https://www.facebook.com/events/1811016498954043/
https://www.upinsmoke.de

Lowrider, “Lameneshma” live at Desertfest Berlin 2017

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The Obelisk Show on Gimme Radio Recap: Episode 08

Posted in Radio on January 21st, 2019 by JJ Koczan

gimme radio logo

This was my 2019 preview… of sorts. By which I mean that it in no way encompassed everything coming out this year and that some of it was basically me being like, “golly, it sure would be nice if BAND X put out a record in the next 12 months.” Still fun, but I think definitely well earning that “of sorts” tag.

I keep notes with a running list of things like albums coming out and best records of the year, artwork, EPs, etc., and in my notes for what’s coming out in 2019 I have over 50 bands listed so far. Here they are, cut and paste-style:

Cities of Mars, Mr. Peter Hayden, Curse the Son, High Fighter, No Man’s Valley, 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, Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Kings Destroy, Lo-Pan, Samsara Blues Experiment, Papir, Conan, Green Lung, BUS, Worshipper, Volcano, Mos Generator, Earth, Nebula Drag, Elder, Daxma, Besvärjelsen, Bellrope, The Sabbathian,

Some of that has been officially announced, some hasn’t, and some is rampant speculation, but many of these, and there’s always the contingency that expected releases can be delayed owing to recording and tour schedules, pressing concerns, pianos falling on heads, and so on, but I wouldn’t be surprised to find a bunch of those records on my year-end list in December. Whoopee.

What’s more important to stress, however, is that this is by no means the be-all-end-all list of things coming out. It’s a long year, and it’s January right now. There will be offerings in September and October that no one knows now are even in the works, and still more that aren’t. That’s why the list ends with a comma and a space instead of a period. There’s more to be added.

That said, this is a damn good show and I stand by it. Some of the inclusions could/would/will be among the year’s best albums — the new Worshipper is fantastic, and the new Kings Destroy owns my soul — but I wanted to put some stuff in here that the Gimme audience, which I tend to think of as being more metal though I have absolutely nothing to base that on, isn’t familiar with. Curse the Son, Snail, Sun Blood Stories.

It’s fun to talk about new albums coming out — I had a particular blast mentioning how annoyed I am at the universe for there being a new Sun Blood Stories album and I haven’t heard it yet — and even if some of it is speculative, that’s a good time too.

If you missed the show last night, it’s on tomorrow at 9AM at: http://gimmeradio.com.

The Obelisk Show Ep. 08 – 01.20.19

 

Lowrider Lameneshma Ode to Io (Deluxe Edition) 0:04:57
Kings Destroy Smokey Robinson Kings Destroy 0:04:03
BREAK
Mammoth Weed Wizard Bastard The Master and His Emissary Totems (Split w/Slomatics) 0:12:02
Snail Born in Captivity Feral 0:05:00
Motorpsycho The Tower The Tower 0:08:41
Mars Red Sky Friendly Fire Apex III (Praise for the Burning Soul) 0:04:51
BREAK
Sun Blood Stories Step Softly Ghost It Runs Around the Room with Us 0:04:48
Elephant Tree Dawn Elephant Tree 0:04:12
Curse the Son Aislamiento Isolator 0:07:13
Alunah Awn Amber & Gold* 0:05:50
Worshipper Night Child (The Oath cover) Mirage Daze 0:04:19
Hexvessel Old Tree All Tree* 0:03:40
Vokonis Rapturous The Sunken Djinn 0:06:09
Mr. Peter Hayden We Fly High Eternal Hayden 0:07:13
BREAK
Kind Rabbit Astronaut Rocket Science 0:03:49
Om Haqq al-Yaqin Advaitic Songs 0:11:29
Samsara Blues Experiment One with the Universe One with the Universe 0:15:07

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 3. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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PostWax: Vinyl Subscription Service Beats Crowdfunding Goal; New Music from Elder, Lowrider and Others

Posted in Whathaveyou on November 19th, 2018 by JJ Koczan

I don’t get a mention in the press release or anything — hey, we can’t all be Peder Bergstrand or Mark Lanegan — but if you check the Kickstarter page for PostWax, you’ll see my name among those involved with the project. Rumor has it I’ll be contributing old-timey-style liner notes to the exclusive LP releases with likewise exclusive new music from the likes of Elder, Domkraft, Lowrider, Besvarjelsen, Spotlights and others. Seven records total in the first year and then more beyond that to come. Fucking staggering. And I’ve talked to project head Jadd Shickler, who founded MeteorCity once upon a time, currently helms Blues Funeral Recordings and does work besides for both Magnetic Eye Records and Ripple Music, about some of the packaging and design ideas he and Bergstrand have been kicking around and it’s whatever the next step beyond top of the line is. It moves the line.

I’m excited and humbled to be involved in the small way I am. Already looking forward to stressing out about the first deadline. You know the old liner notes that came with jazz records and stuff? Like that.

A press release came down announcing the thing, but even by then the Kickstarter goal was met. If you want a more direct payment option, they’ve got installment plans posted on Blues Funeral website, and I’m not gonna tell you it’s the holiday season, gift-giving, etc., but in the Great Material Continuum, there’s always room for limited vinyl. Here’s the info, and of course, expect more to come on it:

postwax logo

ELDER, SPOTLIGHTS, DOMKRAFT (feat. MARK LANEGAN) and LOWRIDER to release new records on the curated subscription series PostWax in 2019

Ultra-exclusive project offers boundary-pushing one-offs from hand-picked heavy/stoner/doom/psych notables; Kickstarter campaign under way now

This week, Blues Funeral Recordings launched a Kickstarter for their groundbreaking new vinyl subscription project PostWax, a series of limited edition records with jaw-dropping artwork and next-level design for fans of stoner/doom/heavy/psych metal.

Smashing their initial goal within 36 hours of going live, the Kickstarter continues until December 9th.

Before joining Magnetic Eye Records in 2016, original MeteorCity founder Jadd Shickler was already contemplating a return to the music industry.

MeteorCity had put out seminal releases from Nebula, Unida (with John Garcia of Kyuss), Spirit Caravan, The Atomic Bitchwax, Dozer, The Obsessed, Truckfighters, Lowrider and Solace, all under Shickler’s guidance.

After selling MeteorCity in 2008, he took a few years away from the business before the stoner/doom underground started calling to him again. But, in thinking about returning, he wanted to try something besides a traditional label model.

Envisioning what he’d want as a fan himself, Shickler conceived the idea of a curated series of records, one-off releases from an array of heavy/stoner/doom bands both notable and unknown, delivered exclusively as a subscription at regular intervals throughout the year.

The records would be crafted to appeal equally to both diehard fans of the style and dedicated collectors, with interconnecting cover art and groundbreaking design recalling archival comic book sleeves.

Two years later, and the idea has taken shape in the form of PostWax, now enveloped within new label Blues Funeral Recordings and pushed to ambitious heights with the addition of world-class creative Peder Bergstrand to the team.

In assembling the first year of PostWax releases, the goal was to pull together a dizzying cross-section of phenomenal recognizable bands and impressive newcomers, such that subscribers could reliably sit back and wait, confident that everything coming their way throughout the year would hit that sonic sweet spot.

PostWax year one will include exclusive new releases from Brooklyn metalgazers SPOTLIGHTS, apocalyptic doomsters DOMKRAFT with a guest appearance by MARK LANEGAN, and desert rock progenitors LOWRIDER, among others, with 7 records total set to land during 2019.

The series kicks off in February with all-new music from ELDER.

For their release, Elder made a stop in the midst of a European tour last month, entering a Berlin studio for three days of focused jamming to channel the mid-tour high. Their goal was to explore a different side of the band through a change of scenery, with lots of psychedelic ideas flowing and no experiment too weird to try. The result is something very different than the band has ever done, a perfect way to launch something as unique as PostWax.

Notably, the PostWax project also has a humanitarian component, with a portion of profits being donated to support youth music education. From the Kickstarter description:

“In an era when music and arts programs are being increasingly eliminated by school budget cuts and kids are learning about music from Kidzbop and Tik Tok, we want to help make sure kids still have the chance to learn how to play and write real rock music on real instruments.

With that in mind, a chunk of the profits generated by PostWax will be donated to support youth music education programs. There’s nothing extra you need to spend or do, just know that part of the cost of your subscription will go toward this important cause that we really believe in.”

The Kickstarter for PostWax can be found here, with plenty of details about the project to outline what subscribers can expect.

Multi-payment subscription options are also being offered via the label at bluesfuneral.com/, and more details will be revealed in the coming days.

https://www.kickstarter.com/projects/bluesfuneral/postwax-a-curated-heavy-music-vinyl-subscription-s
https://www.facebook.com/bluesfuneral/
bluesfuneral.com

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Desertfest Belgium 2017: Lowrider, The Vintage Caravan, Mantar, -(16)-, Grime, Partisan and Spirit Valley Added

Posted in Whathaveyou on September 4th, 2017 by JJ Koczan

Hasn’t been a week since the last update from Desertfest Belgium 2017, and the Antwerp-based fest comes out swinging yet again with another batch of heavy-hitters in what’s purported to be the second-to-last update to its bill. This time? The primo heavy rock of Lowrider and The Vintage Caravan meets the extremity of Mantar and the sludge of -(16)-, the neo-psych of Spirit Valley and the abrasion of Partisan. Once more, the story of Desertfest Belgium 2017 is one of the festival branching out in multiple directions all at once, expanding its reach in style and profile alike. Can’t help but wonder what the final update will bring. I mean, look at this thing. In what way would you call it incomplete?

The latest announcement follows, courtesy of the PR wire:

desertfest-belgium-2017-poster

DF ANTWERP 2017 LINE-UP SECOND LAST UPDATE – NEARLY DONE!

We are nearing the completion of the Desertfest Antwerp 2017 line-up. After this, there’s just one more announcement to go and we’re in the straight line to the Fest! You all better come prepared because it’s gonna be massive. Massive we tell you!

We think we’ll be pleasing many stoner heads with the addition of classic Desert rockers Lowrider to the Friday line-up. Their show at Desertfest Berlin was epic, and we’re convinced they’ll repeat such a feat at the Belgian edition.

Equally iconic is -(16)-, a band whose name is as enigmatic as their pioneering sludge is a straightforward boot to the face. More pummeling riffs are to be expected from Germany’s Mantar and Grime from North Dakota. For more eclectic rock inspired grooves, look no further than The Vintage Caravan and Spirit Valley. And finally, we’re pleased to have Partisan on the bill, a Belgian band on Hypertension Records featuring members of renowned national rock bands like Rise and Fall and Oathbreaker.

That’s it, one more announcement to go which you can expect very soon!

LOWRIDER

Sweden’s answer to the American brand of rocky-funky-gritty Desert rock, Lowrider’s impact on both their native scene and the international underground in Europe and beyond cannot be ignored. Their 2000 album “Ode to Io” is a true scene gem of the purest, hardest and brightest rock. After a long retreat, the band reformed in 2013 for a reunion set at Desertfest Berlin. Since then, the band has been on the road again and killing it live, including another legendary performance at DF Berlin this year!

THE VINTAGE CARAVAN

Despite their young age, The Vintage Caravan only took a few years to garner a mighty reputation on stage, playing hundreds of shows on European stages with ever-growing audiences delivering standing ovations after each show. Their musical influences are very diverse but their main focus is the classic hard rock of the 60’s and 70’s. Though this may suggest a glorified retro-type band, The Vintage Caravan make it their own with a powerful attitude and a modern twist..

MANTAR

The band describe themselves as a “two-piece monster from North Germany”, and indeed it is hard to believe this kind of infernal noise could come from only two musicians. But yet here we are, and if their debut album ‘Death By Burning’ broke down doors, the follow-up ‘Ode To The Flame’ and this year’s ‘The Spell’ EP (both on Nuclear Blast) burned down the house. No gimmicks, just true battle hymns and sinister sounds of darkness!

-(16)-

SoCal sludge stalwarts -(16)- are among the most consistent and most underrated purveyors of the heavy riff. They started out in 1991 and through many line-up changes and other rock’n’roll adventures they finally got the credit they deserve with last year’s ‘Lifespan Of A Moth’, the band’s heaviest, darkest, and most complex material to date! If you dig Eyehategod and Acid Bath, don’t miss out on these pioneers of sludge metal.

GRIME

Taking cues from both grunge (Soundgarden and Alice In Chains) and rock legends like Led Zeppelin and Rush, Grime have formed their own brand of heavy metal thunder. Grime independently released their debut EP, ‘Hitch-Hiking Prohibited’, in September 2015. The four songs are a perfect snapshot of their varied and creative approach to metal.

SPIRIT VALLEY

Dave Spirit and Chris Valley formed the duo outfit Spirit Valley in Australia, but moved to Amsterdam in 2015 to tour Europe. Their own term for the kaleidoscopic mix of styles they present is ‘Doomshine Boogie’, a raw brand of psychedelic rock inspired by bands like The Black Angels, Murder City Devils, Japandroids and Explosions in the Sky.

PARTISAN

Partisan’s collective members are known for renowned Belgian HC and metal-derived bands such as Rise and Fall and Oathbreaker, but they are far from being a mere extension of their predecessors. With their post-punk inspired sound, Partisan channel influences from their collective musical pasts into songs that deliver their power and urgency through texture, dynamics and dark melody.

http://www.desertfest.be/tickets
https://www.facebook.com/desertfestbelgium/
https://www.facebook.com/events/264364590656095/
https://twitter.com/DesertfestBE

Lowrider, Ode to Io: Deluxe Edition (2017)

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Then and Now: Lowrider, Ode to Io & Ode to Io Deluxe Edition (Plus Exclusive Mix Premiere)

Posted in audiObelisk, Reviews on July 20th, 2017 by JJ Koczan

lowrider ode to io deluxe edition

LOWRIDER ODE TO IO

[Click play above to stream an exclusive A / B mix of Lowrider’s ‘Shivaree’ illustrating the differences between the original version and the remaster. Ode to Io Deluxe Edition‘s limited second pressing is available now to preorder.]

Let’s get all the clichés out of the way. Lowrider‘s Ode to Io is an absolute landmark. It is essential. Quite possibly the best desert-style rock record not to come from the actual Californian desert. There’s a lot of competition out there, granted — it’s a big planet — but almost nobody bought into post-Kyuss riffing with the depth, clarity of purpose, energy and songwriting that the Stockholm four-piece of bassist/vocalist Peder Bergstrand, guitarists Ola Hellqvist (lead and also vocals) and Niclas Stålfors and drummer Andreas Eriksson brought to their 2000 full-length debut. And while it arrived years after the likes of DozerNatas and Abramis Brama released their own first outings, at very least, Ode to Io (also discussed here) stands among the most essential heavy rock albums of the pre-social-media era, its 10 tracks originally issued by MeteorCity and at a time when what has become a worldwide heavy underground fanbase was still just taking its basic shape.

German imprint I Used to Fuck People Like You in Prison Records did an original vinyl pressing of Ode to Io to coincide with the MeteorCity CD, and if one is willing to pay secondary market prices, it’s still available, but in celebration of the band’s 20th anniversary, Lowrider has compiled a 2LP Ode to Io Deluxe Edition with additional tracks culled from their prior 1998 Double EP split with Nebula (discussed here), “Lameneshma” from 1997’s shared 7″ with countrymen rockers Sparzanza (discussed here), and the curio “David Williams Hughes” from MeteorCity‘s soundtrack to the independent film I am Vengeance. There are other demos and alternate versions floating around out there of some of their material, but it’s about as close to a complete-discography offering as Lowrider are going to get, and with the original mix by Eriksson and remaster by Thomas Eberger, they’ve never sounded fuller or more vibrant than they do on this vinyl. Deluxe Edition indeed.

Ode to Io original LP:

The original People Like You LP is honored in the fact that both platters on the new version have a similar transparent haze pattern, but the difference between the two is represented on multiple levels by the shift in tone of the artwork from silver (or grey, as it were) to gold. Ode to Io Deluxe Edition is a more-than-deserved revisit that doesn’t simply make the songs louder, but actually pays attention to the nuances in the mix of cuts like “Saguaro” — the pattern of starts and stops there is preserved with a breadth that only adds to the impact of both — and from the very launch of opener “Caravan,” the labor-of-love aspect in its construction is clear. Lowrider, who to-date have never issued a sophomore album to back Ode to Io, very obviously know they created something special 17 years ago, and while I refuse to take away from the appeal of the original LP’s rawness in conveying the youthful vigor of their performance — they were basically kids when the album was made; the youngest of them 17 and the oldest 26 — their efforts in updating the total 16 included tracks feel most of all like a thank-you to the audience that has kept Ode to Io relevant as more than a decade and a half has gone by.

Yes, songs like “Flat Earth” and “Anchor” hit harder, and the lower end of Bergstrand‘s bass and the guitars of Stålfors and Hellqvist is more forward than it was on 2000’s Ode to Io, but the attention to detail from Eriksson goes further. The spaciousness of “Texas Pt. 1 & 2” and the closing title-track is given righteous emphasis, and without making any single element overwhelming in relation to the others, Eriksson has bolstered the overarching impression of cuts like “Convoy V,” the ultra-fuzzed “Riding Shotgun” and “Dust Settlin’,” so that even his own snare hits feel warmer and clearer, giving up none of the attitude or the laid back vibes that punctuate even the heaviest, most active moments of the album. Plain and simple (and cliché): he nailed it. One doesn’t imagine Lowrider would put out Ode to Io Deluxe Edition if the situation were otherwise — they’re marking 20 years as a band but it’s not like they’re under contractual obligation; it’s a self-release — but still, as a fan, it’s especially satisfying to put the original Ode to Io and this new one side-by-side and see and hear on every level a rare instance of a heavy rock classic getting its long-overdue due.

It’s worth noting that while the running order is the same through Ode to Io itself, the split in sides has changed, and where the acoustic interlude “Sun Devil” led into “Anchor” to round out the LP’s first half, leaving “Texas Pt. 1 & 2,” “Riding Shotgun,” “Saguaro” and “Ode to Io” to close, Ode to Io Deluxe Edition shifts “Saguaro” and “Ode to Io” to side C, pairing them with “The Gnome, the Serpent, the Sun” and “David William Hughes.” Aside from the sound of the songs themselves (which is significant, make no mistake), it’s the biggest difference between the 2000 and the 2017 Ode to Ios, though the cowbell-laden fuzz nod and last crashes of “Riding Shotgun” hold their own as a finisher for side B without any trouble. The seeming intention would be to tie the album-proper directly with the bonus material, creating one entirety across the drifting end of “Ode to Io” into the opening riff of “The Gnome, the Serpent, the Sun” despite different recording sounds and an earlier overall take as was featured on the Nebula split.

Ode to Io Deluxe Edition:

Groove is groove, however, and in light of that, “The Gnome, the Serpent, the Sun” flows easily from the preceding cut and into “David William Hughes,” which tops a rhythmic push with spoken vocals before a long fadeout, leaving “Lameneshma,” “Shivaree,” “Ol’ Mule Pepe” and “Upon the Dune” as a particularly resonant side D. True, the material is formative compared to what would arrive a couple years later on Ode to Io, but from the hook proffered by “Lameneshma” to the improvised-sounding desert meandering of “Upon the Dune,” Lowrider efficiently showcase the breadth that was in even the earliest of their works and reinforce the to-be-treasured nature of the release as a whole. Deluxe Edition could have just as easily been called “collectors edition” given its compilation-type feel, but in being comprehensive in bringing Lowrider‘s songs together in one outing, the 2LP underscores the value and as-yet-timeless quality of what the band were able to accomplish in the studio.

Nearly half a decade has passed since they first reunited to play Desertfest London 2013 (review here) and they’ve threatened a new release basically ever since as they’ve continued to make appearances at HellfestDesertfest Berlin, Lake on FireUp in Smoke, Stoned from the Underground, etc., and they’ve stated that the proceeds from this vinyl will go toward future recordings, but whether Lowrider will actually issue a follow-up to Ode to Io remains to be seen. Serving perhaps as a preview of the tonal breadth and clarity of approach they might manifest across a new batch of songs, however, Ode to Io Deluxe Edition provides yet another level of encouragement. If the one is a step along the path to the other, it’s a step an entire new generation of listeners seems ready to take. Recommended.

Lowrider, Ode to Io Deluxe Edition (2017)

Lowrider on Bandcamp

Lowrider on Thee Facebooks

Lowrider webstore

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Up in Smoke 2017: Lowrider, Church of Misery, My Home on Trees, Jack Slamer & The Necromancers Join Lineup

Posted in Whathaveyou on July 13th, 2017 by JJ Koczan

Up in Smoke 2017 continues to make a compelling case for travel plans by adding the likes of LowriderChurch of MiseryMy Home on TreesJack Slamer and The Necromancers to its was-already-formidable bill featuring GraveyardSaint VitusBrant BjorkOrange GoblinToner LowStoned JesusBeastmaker, on and on. Seriously, I don’t even know why I feel like I need to write an intro for this post. Just look at the list of names in the poster. Isn’t that really all you need to know about the entire thing? What more is there to say? If you can get there, get there. Duh.

Honestly, just look at this thing. Can you believe this shit happens like every weekend in Europe this Fall, going from country to country, badass lineup to badass lineup? It’s wild. Fucking Lowrider are showing up.

Check it out and be jealous:

up in smoke 2017 poster

Here we go! We are thrilled to add 5 more bands to this year’s UP in SMOKE indoor festival in Z7 line-up!

Lowrider (Exclusive CH show)
Church of Misery Official (Exclusive CH show)
MY HOME ON TREES
Jack Slamer
The Necromancers

This 5th edition of the festival features now 20 bands!

Get your tickets on https://www.upinsmoke.de/tickets as soon as you can (they are selling fast) or share this post (public) to try to win another 2-day pass (probably the last for this year)!

IMPORTANT: the daily split of bands, the daytickets and the address to reserve your sleep-over/breakfast will be announced on August 1. Stay Tuned!

Located Pratteln, in Switzerland’s best rock venue, Z7 Konzertfabrik, only a few kilometres from the German and French borders, Up In Smoke is an indoor festival for fans of Heavy Rock – Doom – Psych – Stoner… easily reachable by plane via the Euro-Airport (Basel/Muhouse) or by public transportations (train, bus) via Basel Main Station. There are plenty of affordable Hotels and Hostels located in Basel and for “budget savers” we are also offering to sleep over + breakfast (Coffee and bread rolls) in the venue for a small fee!

How does this work? After the last concert of the day, we ask everybody to step out of the venue for a few minutes. During that time, the venue and toilets are cleaned and the floor covered with a plastic sheet. (people have to bring their sleeping bags and air mattresses)

https://www.upinsmoke.de/tickets
http://www.z-7.ch/event.php?eventid=1306
https://www.facebook.com/UpInSmokeIndoorFestivalInZ7
https://www.facebook.com/events/466424317082118/
https://www.upinsmoke.de/

Lowrider, Ode to Io Deluxe Edition (2017)

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Desertfest London 2017: Individual Day Schedules Announced

Posted in Whathaveyou on January 30th, 2017 by JJ Koczan

I have no problem admitting to feeling overwhelmed looking at the full lineup and individual day splits for Desertfest London 2017. I mean, seriously. Look at that poster. What a way to spend a weekend.

Likewise, I have few grand reflections to offer in light of that overwhelming feeling, except perhaps to take a step back and be massively impressed at how much this event has grown in just six incarnations. Along with Desertfest Berlin, the London edition has become an anchor not only for the UK heavy rock underground — which is well represented here as ever in Elephant TreeBlack SpidersStubbVodunPigs Pigs Pigs Pigs Pigs Pigs PigsTerminal CheesecakeChubby Thunderous Bad Kush MastersMammoth Weed Wizard Bastard, and so on — but for bands from abroad as well. You’ll note the three headliners: two American, one Norwegian, and the next line down on the poster is two Swedish, one American. Desertfest London 2017’s reach feels wider than ever. Staring at the final lineup, it’s clear just how much of a big fucking deal this festival has become.

Wish I could be there to see it.

Here’s the announcement of the individual day lineups from their website:

desertfest london 2017

DESERTFEST 2017 DAY SPLITS AND DAY TICKETS ARE HERE!

Finally, the Desertfest 2017 day and stage splits are here, along with individual day tickets. It’s the point of the year where you can start planning the weekend, you can imagine the sets in your head and you can curse those god damned clashes.

Last things first, let’s get straight to that insane Sunday main-stage. To celebrate The Roundhouse joining the Desertfest family, we made their debut appearance something special. Not only will stoner doom icons Sleep be topping the bill, but the Roundhouse hosts a full bill of huge acts. Candlemass, with over three decades of underground acclaim to their name, bring the epic doom metal. USA’s Wolves in the Throne Room bring the atmospheric black metal. Traditional doom metal stalwarts Saint Vitus bring the classic riffs. And how about this for a ‘curtain jerker’? Bongzilla bring the raw weed metal for their second show of the weekend; more on the first later.

It’s not just about the Sunday though. Friday’s stage at the Electric Ballroom is headlined by returning heroes Slo Burn whose short run in the mid 90s furthered the then fledgling stoner rock scene. One band they surely had an impact on is Lowrider, who play Europe’s finest stoner rock alongside them. Ukraine’s Stoned Jesus celebrate their resonant album Seven Thunders Roar, and 1000Mods and Pontiak round up the main stage on the Friday.

The Electric Ballroom on Saturday will be swarming with Turbojugends as death-punk grandmasters Turbonegro turn Camden into party central. John Garcia sticks around for a solo show, sure to feature classics from his years of nonstop mastery in the stoner rock scene. Sheffield’s rock and roll five piece Black Spiders visit London for one last time on their farewell tour, with Satan’s Satyrs and Avon rounding up the main stage.

As ever though, it doesn’t stop at the main stages. Our regular partners have delivered three stages with diverse lineups. Human_Disease_Promo and When Planets Collide take over The Underworld on Saturday in a bill headlined by Bongzilla with a special set celebrating the band’s early work. The Quietus stage is led by synth wavers Zombi, and Nightshift Promotions bring an eclectic mix led by Hungary’s Apey & the Pea. To be honest, just stick a pin in the lineup poster and you’re guaranteed a good time.

For those who can’t make the full weekend, we have a limited number of individual day tickets. Priced at £40 for Friday tickets, £40 for Saturday tickets and £45 for Sunday tickets, links are below.

So there we have it. Our final lineup for Desertfest 2017. We hope you’re as excited as we are to get back to Camden this April and riff London to the ground.

DESERTFEST LONDON 2017 Final Lineup:
SLEEP
SLO BURN
TURBONEGRO
CANDLEMASS
WOLVES IN THE THRONE ROOM
SAINT VITUS
JOHN GARCIA BAND
BONGZILLA
LOWRIDER
SCISSORFIGHT
BLACK SPIDERS
SAMSARA BLUES EXPERIMENT
THE PICTUREBOOKS
STONED JESUS
SATAN’S SATYRS
INTER ARMA
WEAR YOUR WOUNDS
1000MODS
STEAK
AVON
DEATH ALLEY
DEAD LORD
BOSS KELOID
PONTIAK
YURI GAGARIN
HARK
VODUN
CHRON GOBLIN
PIGS PIGS PIGS PIGS PIGS PIGS PIGS
THE WELL
MAMMOTH STORM
CELESTE
STUBB
MONOLITHIAN
WUCAN
VENOMOUS MAXIMUS
BRUME
APEY & THE PEA
ELEPHANT TREE
GRAVE LINES
IRON WITCH
EARTH SHIP
BACKWOODS PAYBACK
WIZARD FIGHT
BRULE
CLOSET DISCO QUEEN
GRAND MAMMOTH
CHUBBY THUNDEROUS BAD KUSH MASTERS
MAMMOTH WEED WIZARD BASTARD
SAMAVAYO
WELCOME BACK DELTA
DEAD LETTUCE
MONSTERTONE
LEDFOOT
ZOMBI
TERMINAL CHEESECAKE
KHÜNNT
BASK
BRUXA MARIA

http://www.desertfest.co.uk/#tickets-section
https://www.eventbrite.co.uk/e/desertfest-2017-tickets-27305267791
http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://twitter.com/DesertFest
https://www.instagram.com/desertfest_london/

Dead Lettuce, Booze and Blues EP (2015)

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