Friday Full-Length: Monolord, Empress Rising

Posted in Bootleg Theater on September 25th, 2020 by JJ Koczan

Seeing the appeal of why should i do my homework yahoo answers get more ielts essay booster online buy writing a successful essay Monolord‘s best buy swot analysis http://cortedeibrut.com/?essay-writing-2 Master define personal essay how to write an argumentative paper Empress Rising doesn’t require an especially deep dive. Issued in April 2014 through what was then Professional Help Writing My College Essay, right here at the Ghostwriting Company. If youíre looking for fiction ghostwriters, youíve found the right place. EasyRider Records — and it was bullshit they had to change the name, but We provide the wide range of Iphone Research Paper, some of them include: essay writing, research paper, term paper, coursework, thesis and even lab reports. RidingEasy has certainly been no worse for the wear since — the Gothenburg, Sweden, trio’s debut full-length is comprised of five tracks running 46 minutes given to massive, tectonic tonality, far off, watery vocals, and a consuming, nigh-on-irresistible nodding groove that runs across the entirety of the thing regardless of the tempo or volume of what’s actually being played.

Guitarist/vocalist Are you struggling to complete all essays on time? Order Personal Statement Leadership at our website! The prices are affordable! Thomas J√§ger, bassist Buy best admission essay of high quality written from scratch by Cheap MBA Essay Writing Service UK. Our What To Write On A College Essay are cheap Mika H√§kki and drummer/coffee-enthusiast ďWriting A Critical Literature ReviewĒ works on strong principles of ensuring that each customer who places their trust in us goes back happy. We know how important Esben Willems hit into a time-tested/time-approved formula of tonal largesse and hard-hitting landing that, by the time they were halfway through the 12-minute opener and longest track (immediate points) “Empress Rising,” seemed to denote them with the sense of royalty they were conveying in the lyrical repetitions of the song’s/album’s title. Listening back to it with six subsequent years of hindsight, it feels like a clarion — a call to worship for the converted that caps with a swirling solo and moves smoothly into the next round of pummeling with the emergence of the instrumental “Audhumbla.”

And of course, by then, The university qualification papers template is a format which any business planner would need while planning a new business or while adding more businesses to Empress Rising is well under way, and nearly a third of its runtime is dedicated to that leadoff track. Reasonably so. On paper, what makes If they really think that Math Homework For 4th Graders even ready to pay for essay writing and are sure that I have to pay to write essay for me, Monolord‘s first outing so effective could hardly be simpler: it’s very, very heavy. But what that doesn’t tell you is¬†how it’s heavy. I’m a fan generally of burying vocals in the mix to play up a notion of big-sounding guitar and bass, and certainly that’s going on here with @ScienceWriters. With more than 2,000 members, the National Association of Dissertation Argumentation Fiction fosters the dissemination of accurate information regarding science. J√§ger‘s effects-laden voice cutting through as though up from a watery grave, but it’s also a question of impact with¬† help writing essays scholarshipss from just anywhere online and you might not be happy with the results. You need to order essays from a service with professional writers. Monolord. Plenty of bands play loud, play thick, but¬† Need check my site? Browse profiles and reviews of top rated copy writers and have your marketing material professionally written today. Empress Rising¬†brought a sense of hitting hard to that as well in see it here. Trusted By 3000+ Corporate Clients. Start in 30min. 12 hours delivery. From 29 $/hr. H√§kki‘s way, way underrated bass work and in¬† see page writing service and Dissertation Typing Service writing Help Dissertation Typing Service Introduction The dissertation is the Willems‘ drumming.

I remember hearing it at the time and placing the three-piece mentally in the kind of post- Poems by Carolyn creates personalized poems, Writing Assignments Online Services. Carolyn has helped thousands of celebrations come to life. Electric Wizard sphere of riff-worship that had been taking shape since the Dorset doom legends put out Witchcult Today, but that’s not ultimately what¬†Monolord were after in terms of style. Their approach to heavy throughout — and this was their first offering, the band having formed in 2013 with J√§ger¬†and¬†Willems coming outmonolord empress rising of¬†Marulk and H√§kki, originally from Finland, a former member of¬†Rotten Sound — was raw not in presentation, but in its core. It was a barebones, primitive take that nonetheless was able to harness memorable progressions through hammering riffs and repeated lines into the heads of their listeners. See “Empress Rising” itself, as well as “Harbinger of Death.” And if you weren’t a convert by then on your way to place a backpatch order, “Icon” and “Watchers of the Waste” stood like sentry reinforcements waiting to unleash further crush, each progression seeming to manifest the sound of a boulder rolling downhill, demolishing whatever might have the misfortune to be in its path.

They were well-hyped in 2014, and fair enough. What struck me the first time I saw them play live (review here) wasn’t just the size of the crowd they brought in, but indeed, the way they seemed to slam home each part of their songs, geared for maximum crater-making. However, what I didn’t take into account was how much their approach would resonate especially with a next-generation fanbase. Not the stonerrock.com crowd, but those finding bands through the YouTube algorithm, through social media word of mouth and other such Millennial/post-Millennial means. And how new to that crowd what Monolord were doing would be as “Watchers of the Waste” stomped to its swinging, would-be-languid-if-it-weren’t-so-bludgeoning, about-to-fall-apart-the-whole-time finish.

Not that those people hadn’t heard¬†Sleep,¬†Electric Wizard, etc., or couldn’t at that point have seen them play live, but the difference really is one of generation. Already so well established as leaders of genre and influential, those bands inherently couldn’t be fresh-sounding in the way a new group putting out their first record could. The energy behind¬†Empress Rising was different, and it put a charge into those who heard it that quickly thrust¬†Monolord into the upper echelon of heavy acts in the middle and later heavy ’10s, the arguments in the band’s favor much bolstered through the hard work they put in touring and the fact that they seemed to realize and take hold of the momentum as they were building it, returning to the studio on the quick to work on their next record.

When you think about bands who emerged over the last decade, the advent of¬†Monolord and the brash way they elbowed into underground consciousness have to be considered. In a busy European sphere that a few years earlier saw the rise of¬†Kadavar in similar generational circumstances — though of course a different aesthetic — Monolord flourished, and by meeting the demands of festivals from Roadburn to¬†Freak Valley to¬†Psycho Las Vegas, the band’s reputation only seemed to grow.

In 2015, they offered up the second LP, V√¶nir¬†(review here), and that together with 2017‚Äôs Rust¬†(review here) found them pushing forward in terms of sound, adding a feeling of space to the proceedings and beginning to take psychedelic cues building on elements like J√§ger‘s vocals throughout¬†Empress Rising or even the wah-coated lead that caps the title-track, by now a recognizable landmark for the band even as they’ve progressed beyond it in terms of their craft. In late 2018, they signed to¬†Relapse Records and went on to offer my pick for 2019’s album of the year in¬†No Comfort (review here), their fourth album a triumph that underscored the notion of their being a way forward for them creatively, so that they weren’t trapped or typecast by what they did on¬†Empress Rising, but able to continue to grow as they will.

There was no way to know six years ago the band that Monolord would become over the next half-decade (-plus), but if you look beneath the earth-flattening force of¬†Empress Rising, there are hints to find of what V√¶nir,¬†Rust and¬†No Comfort would bring. Think of it as having fun with hindsight. To wit, the record’s been through something like nine pressings and¬†Monolord have put out an alternate version that’s all-instrumental (as they have for the second and third LPs, I think). One way or the other, Empress Rising was a crucial moment of arrival for a band whose influence could be almost immediately felt in the wake of their debut.

As always, I hope you enjoy. Thanks for reading.

I shaved about two minutes off my run just now by making the simple decision to go faster. The mornings are darker than they were. A few weeks ago I’d watch the sun start to come up circa 5:45AM, now I’m out and back in the dark. It has been taking me, loosely, about 14 minutes to go 1.3 miles around my neighborhood, up the big hill, around through the little walking park, back down, up and around to the house. Doing that in 12 minutes isn’t breaking any land-speed records, I’m all too aware, but it was satisfying to decide to do a thing and to do it.

Among the things I most miss about having an (active) eating disorder is the sense of control. To be in charge of my body was a glorious thing. I decided what went in and when and how it came out. It was a beautiful, often disgusting, sometimes painful process. But what isn’t? I have felt myself out of control lately. I’ve also decided to grow out my beard a bit and that’s messing with my perception of how my face looks. But stress in the house, the dog, the kid, etc. It is a lot, and I have found that anytime I seem to feel anything, it manifests in food/weight-related concerns. It isn’t even conscious, but I’ve caught it happening after the fact and lately have asked myself, “Did I really have too much almond butter for dessert or am I just tired of stepping in dog piss EVERY FUCKING DAY?”

You know, the big, important questions.

“Don’t be crazy,” has ascended to the level of personal mantra.

I’m so ready to get rid of the dog. So ready. The Pecan is now pointedly scared of being near her, because she jumps on him and bites him, and even as he’s swinging his arms and legs to hit and kick her will yell “No Omi!” as loud as he can. Unfortunately — I would argue for everyone — as ready as I am, I’m equal parts not-in-charge of making that decision. Apparently.

Today is my 16th wedding anniversary. 09.25.04. Morale in the house is low. The Patient Mrs. is teaching an extra online class this semester and that, in combination with reworking her regular classes to suit pandemic-time teaching, has resulted in her spending longer days in front of her laptop doing the less-preferred parts of her job. I am a fucking wretch, as usual. Heightened only by the dog, who as I see it has made everything worse while bringing zero joy into the house. Zero. No joy. It has been well over two months at this point. Net negative.

The Pecan is getting up. He will run in the closet soon and take a dump, then need to be changed. He will delay on his way down the stairs and then kick me when I finally lay him down to change his diaper because, well, he hates getting his diaper changed and has since he was about four months old and was capable of forming an opinion about anything. One might think such a child would embrace the notion of potty-training, but then one would be showing an incomplete awareness of toddler-logic, which is to say, the logic one might encounter from the average chimpanzee or a super-smart potbelly pig. He’ll be three next month and has had a runny nose for the last three weeks.

It has been… a challenge. I took a whole xanax yesterday afternoon and fell asleep on the couch while he beat me with Matchbox cars. First thing he did when I got him yesterday afternoon from upstairs after he blew off his nap — fucking again — was smack me in the groin. Granted that’s about at his smacking level, height-wise, but I wasn’t splitting hairs so much at the time as I was seeing stars. Doesn’t even matter anymore.

He had his speech assessed this week, and we haven’t gotten the official scorecard yet — which I’m assuming is somehow sponsored by the new Dew Garita! — but the teacher was impressed with his vocabulary. They must have asked him about trucks. Kid can tell you everything you ever wanted to know about the difference between a front-end loader and a backhoe, and if you don’t already know that difference, drop me a comment and I’ll be glad to fill you in.

We’re going to Connecticut today, staying over at The Patient Mrs.’ mother’s not-winterized place on the shoreline. I haven’t slept there yet this season, but I prefer it there Spring and Fall anyway, as it gets too hot for me in July/August. Anyway, We were going to go Saturday but our niece texted and asked if she could hang out with us while her mother and brother did something else and fucking a, I’ll drive north in I-95 afternoon traffic for that kid any and every day of the week. She was born the night Obama got elected. It was magic. A hope for a greater future that would seem to have evaporated in the looming, swollen face of fascism.

I don’t think I have time to get into the American political situation. I’ll say rest in peace RBG, they should’ve indicted those cops in Louisville who straight-up murdered Breonna Taylor in bed, and hooray for 200,000 COVID deaths! That’s like a fifth of the global total! Come on people, winter’s coming. I know we can hit 300k by January! USA! USA! USA!

Also, Biden’s gonna lose. Even if he wins, he’ll lose. Calling it now. I’ll be like doom metal’s own Nate Silver — everything predicted in the most pessimistic terms possible. “Uh, well Brian, current polls show we’re universally fucked.”

But hey, I gotta go get this kid from upstairs and then get in the shower because I stink like the fetid corpse of American democracy. Who fucking cares how Aaron Sorkin would write it? The New York Times is clueless. Post another news piece about the super-rich home-schooling their children while sailing around the world, why don’t you? Really live up to that East Coast liberal elite stereotype. Fucking hell.

Have a great and safe weekend. Wear your mask and for god’s sake put your fucking nose in it. Jesus. How hard is that?

I’m off. Gimme show and lots of good reviews next week. Don’t forget to hydrate. So important. And this went longer than I originally intended, so thanks again for reading if you made it this far.

FRM.

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Days of Rona: Esben Willems of Monolord

Posted in Features on April 1st, 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. — JJ Koczan

esben willems monolord

Days of Rona: Esben Willems of Monolord & Berserk Audio (Gothenburg, Sweden)

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?

The weird thing is that we already decided to take a break until this summer, so on some strange level we’ve been kind of lucky that way. But, the aftermath of this virus will most likely linger long after the pandemic is under control. We’ve already had to postpone one planned tour later this year until 2021, one festival we were booked on was cancelled and there’ll probably be more cancellations ahead. Everything came to a grinding halt and all of us in the music business are still trying to figure out what the next steps should be. If everything’s under control and touring is back on in the fall it’s gonna be crazy. Shows everywhere all the time and lots of broke people that have been out of work for months who want to go, but can’t afford it. Very uncertain times ahead, I feel.

So far, so good with our health, thanks for asking. None of us or our loved ones have caught anything yet.

What are the quarantine/isolation rules where you are?

Here in Sweden, the decision is no quarantine, only restrictions like a maximum of 50 people on public events and places, strong recommendations not to travel anywhere outside of the country and social distancing. Flattening the curve, basically. So far, that has worked quite well, so we’ll see what the immediate future brings.

How have you seen the virus affecting the community around you and in music?

The live scene here is under extreme pressure at the moment, some of the best venues here are struggling to survive past the pandemic. Regarding the online music community, apart from the obvious frustration and worry there’s a lot of support. It seems like the collective mindset is that we’re in this together. Borders and cultural differences are irrelevant, the focus is on getting through it the best way we can.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

I can’t wait until we’re all on the other side of this and we can all play and watch shows again. How tax money are distributed is more important than ever, I think. Fuck the greedy corporations and banks, focus on healthcare and culture. Give the medical workers all they need without any hesitations or strings attached and do everything possible to support culture, venues, cafes, bars, restaurants and other public places that is the very heart of any living and breathing community.

monolord.bandcamp.com
facebook.com/MonolordSweden
monolord.com
http://relapse.com
https://www.facebook.com/RelapseRecords/

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Thomas V. Jäger of Monolord to Release Solo Album A Solitary Plan May 8

Posted in Whathaveyou on March 9th, 2020 by JJ Koczan

Not that anyone asked, least of all¬†Monolord guitarist/vocalist Thomas V. J√§ger himself, but if — as the PR wire alludes below — one of the issues he’s dealing with on this album is related to not being able to procreate through traditional biological means, as someone who’s been through that very particular kind of hell, I would only say in response, “There’s all kinds of families, dude.” Adoption, fostering, all that stuff. If you think it makes a difference not having a little booger-and-turd-factory running around who doesn’t look just like you, well, I wouldn’t know, but I do know that once you decide a kid is “your kid,” the chemicals in your brain kick in and make it so. That’s all I’ll say about it. Again, not that anyone asked.

J√§ger‘s forthcoming solo debut, A Solitary Plan, is out May 8 and available to preorder now through RidingEasy Records, which of course was the imprint that first brought¬†Monolord to light as well before the Gothenburg-based trio signed to¬†Relapse ahead of last year’s album of the year,¬†No Comfort (review here). The largely-acoustic album was mixed and mastered by Kalle Lilja of Wolves in Haze and¬†L√•ngfinger fame and you can stream the leadoff title-track at the bottom of this post.

Dig in:

thomas v jager a solitary plan

Monolord singer/guitarist Thomas V. Jäger announces solo debut, shares title track

Swedish doom trio frontman preps emotionally heavy solo album on RidingEasy

Thomas V. J√§ger is best known as the vocalist/guitarist in Monolord, the hottest, most crushing melodic doom band in the world. So, releasing an intimate, deeply and boldly personal album of acoustic and synth based songs hot on the heels of No Comfort, the band’s most successful and powerful album to date, might seem like a risky move. And yet, that’s not even the most daring and inspiring thing about A Solitary Plan.

Rather, this 7-song album is a cathartic depiction of very real and heart-wrenching situations as a means of musical therapy for the artist and, hopefully, for the listener as well. “This album is me venting all of this emotional energy I’ve been carrying around,” J√§ger says. “Now I’m feeling more open about it, but at the start I had a hard time talking with friends and family. The record is what came out instead of talking about it.”

The central lyrical theme to the album is a coming to terms with the likelihood of not becoming a parent after wanting to have a family for a long time. “When I put down vocal tracks on the last song ‘The Bitter End’, you can hear my voice is trembling at parts. Every time I listen I get goosebumps, which rarely happens with songs I write.”

Other songs also deal with personal challenges, like health scares, existential searching, and death in the family. “Goodbye” is written for Monolord bassist Mika and his wife Emma. “When they had to put down their dog Eskil it affected me greatly. This song is him talking to them and telling them it is gonna be alright.” Heavy stuff, indeed — but in a different way from Monolord’s pummeling riffs.

J√§ger doesn’t intend for the album to be a “woe is me” exercise, but rather something constructive. “I know that music helps people,” he says. “This is without any irony, it’s therapeutic. I know fans can interpret and use the songs for their own purposes. That feels meaningful to me.”

The album began organically, as J√§ger often writes and records at home, sketching out song ideas on acoustic guitar into a computer with no set goal for anyone else to hear them. RidingEasy Records chief and Monolord manager Daniel Hall cajoled the guitarist into sending him some of the home recordings he’d been working on, and he immediately pushed for them to be released in this stripped-down form.

“I could’ve rearranged them to get a Monolord vibe, but I wanted the basis of just voice, guitar and synths,” J√§ger says. “Really laid back and mellow.” He completed the album between tours, with mixing and mastering by Kalle Lilja at Welfare Sounds. Emil Rolof plays a real Mellotron on the title track, all other instruments and voices are J√§ger himself.

A Solitary Plan will be available on LP, CD and download on May 8th, 2020 via RidingEasy Records.
Pre-orders are available at www.ridingeasyrecs.com.

Tracklisting:
01. A Solitary Plan
02. Creatures Of The Deep
03. It’s Alright
04. From The Ashes
05. The Drone (Oh Why)
06. Goodbye
07. The Bitter End

thomasvjager.bandcamp.com
https://www.facebook.com/ridingeasyrecords/
http://www.ridingeasyrecs.com/
https://www.instagram.com/easyriderrecord/

Thomas V. J√§ger, “A Solitary Plan” official video

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The Top 20 of 2019 Year-End Poll ‚ÄĒ RESULTS!

Posted in Features on January 1st, 2020 by JJ Koczan

the-obelisk-top-20-of-2019-year-end-poll-RESULTS

[Please note: The Best of the 2010s poll is still open for another week. If you haven’t added your list there, please do.]

If you still have a living memory of what last January was like, congratulations. You’re one up on me. But I know there’s been a lot of good music released since then, and thanks in no small part to the 300-on-the-nose people who submitted lists to this poll, I know that as ever I only heard the barest fraction of it.

The good news, of course, is that all of those lists are included here. The bad news — such as it is — is that soon 2020 will be no less overwhelming. That’s the way it goes, the creative barrage. It’s worth taking a second and appreciating how lucky we are to live in an age where such a thing is possible. Double-edged sword, to be sure, but the one end produces some killer cuts.

I could go on and philosophize about the year, the continued emergence and evolution of various styles of heavy, the seemingly endless expansion and reshaping of the very notion itself, but you’d get bored and if you’re reading this, I’m going to guess you’ve heard it all before. Probably from me. Like, last week. I’ll save it and we’ll get to the lists instead.

To reiterate the rules once more, here they are as designed by Slevin and as they’ve been cut and pasted for the last however many years (hey, if it ain’t broke): You submit your list of up to 20 favorites on the form below. Anything from the start of the year to the finish is eligible. At the end, there are two lists, one of the raw votes, and one in which a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one.

There you have it. Let’s go:

Top 20 of 2019 — Weighted Results

monolord no comfort

1. Monolord, No Comfort (306 points)
2. Green Lung, Woodland Rites (256)
3. Solace, The Brink (195)
4. Nebula, Holy Shit (148)
5. Hippie Death Cult, 111 (141)
6. Howling Giant, The Space Between Worlds (132)
7. Torche, Admission (128)
8. Baroness, Gold & Grey (120)
9. Irata, Tower (116)
10. Leeds Point, Equinox Blues (115)
11. The Devil and the Almighty Blues, Tre (112)
12. Saint Karloff, Interstellar Voodoo (111)
13. Lo-Pan, Subtle (104)
13. Tool, Fear Inoculum (104)
14. Yatra, Death Ritual (101)
15. Valley of the Sun, Old Gods (100)
16. Crypt Trip, Haze County (90)
17. Saint Vitus, Saint Vitus (88)
18. Cult of Luna, A Dawn to Fear (85)
19. Kadavar, For the Dead Travel Fast (84)
20. Colour Haze, We Are (83)

Honorable Mention:
The Well, Death and Consolation (82)
Hazemaze, Hymns of the Damned (76)
Horseburner, The Thief (74)
Spirit Adrift, Divided by Darkness (72)
Bask, III (71)
Sacri Monti, Waiting Room for the Magic Hour (69)
Year of the Cobra, Ash And Dust (67)
Mars Red Sky, The Task Eternal (66)

Notes: I don’t really find much to disagree with here. You can kind of see a couple bands who maybe put word out to their fanbase to vote, but frankly, I don’t have a problem with that so long as it’s not the band themselves spamming the poll, which it’s never been. If you feel passionate enough to vote for one thing and one thing only, so be it. I think that’s worth counting. Not exactly like we’re doing this for scientific posterity anyway. It’s supposed to be a good time. In any case, Monolord took the lead early and didn’t relinquish, and I was glad to see the Green Lung record caught on with people. Solace are always welcome, and Nebula well earned their spot. Seemed like that Hippie Death Cult LP really resonated with people. I feel like I need to go back to it and give it another go, see if I missed something, which, frankly, I’m sure I did. But this is a good start. Let’s do the raw votes.

Top 20 of 2019 — Raw Votes

monolord no comfort
1. Monolord, No Comfort (84 votes)
2. Green Lung, Woodland Rites (68)
3. Solace, The Brink (52)
4. Nebula, Holy Shit (47)
5. Hippie Death Cult, 111 (39)
6. Howling Giant, The Space Between Worlds (38)
7. Leeds Point, Equinox Blues (37)
8. Torche, Admission (37)
9. Baroness, Gold & Grey (36)
10. Irata, Tower (32)
10. The Devil And The Almighty Blues, Tre (32)
11. Lo-Pan, Subtle (31)
11. Saint Karloff, Interstellar Voodoo (31)
11. Tool, Fear Inoculum (31)
11. Yatra, Death Ritual (31)
12. Valley Of The Sun, Old Gods (29)
13. Colour Haze, We Are (26)
13. Crypt Trip, Haze County (26)
14. Cult Of Luna, A Dawn To Fear (25)
14. Kadavar, For The Dead Travel Fast (25)
15. The Well, Death And Consolation (23)
16. Saint Vitus, Saint Vitus (23)
17. Bask, III (22)
18. Hazemaze, Hymns Of The Damned (21)
18. Horseburner, The Thief (21)
18. Sacri Monti, Waiting Room For The Magic Hour (21)
19. Black Mountain, Destroyer (20)
19. Lord Vicar, The Black Powder (20)
19. Magic Circle, Departed Souls (20)
19. Mars Red Sky, The Task Eternal (20)
19. Opeth, In Cauda Venenum (20)
19. Spirit Adrift, Divided By Darkness (20)
19. Yawning Man, Macedonian Lines (20)
19. Year Of The Cobra, Ash And Dust (20)
20. Russian Circles, Blood Year (19)
20. Candlemass, The Door To Doom (19)

Honorable Mention:
Crypt Sermon, The Ruins of Fading Light (18)
Duneeater, No Gas No Good (17)
Holy Serpent, Endless (17)
Zed, Volume (17)
Pelican, Nighttime Stories (17)
Roadsaw, Tinnitus the Night (17)

Notes: Alright, that’s enough. There might be one or two more that would add up to 17 votes, but with a list of 20 that actually has 36 records on it, you’ll pardon me if I feel less inclined to chase down all of them. As ever, things get a little more jumbled in the raw vote tally, though with the surplus of inclusions, the variety of styles and the sheer glut of stuff, I feel like this list kind of represents the year that was 2019 in some more accurate respects, being totally overwhelming and whatnot. In any case, the top five is the same, and I’m glad to see that Howling Giant catch on with people as well. That’s a good record, even through Green Lung would seem to have ‘Debut of the Year’ on lockdown. That’s something else I agreed with.

That’s it, friends. Thanks for reading, thanks for reading, thanks for reading. And if you voted, thanks for voting! It is hugely appreciated. Special thanks to Slevin for, as ever, organizing the app that runs and tallies all the votes, because I remember doing it by hand and it was a nightmare even when there were far fewer submissions. That too is deeply appreciated.

Plenty to look forward to in 2020, but before I turn you over to all the individual lists, I wish you a glorious year and either inner peace or an honorable death in battle, whichever you should happen to lie with your personal preferences.

Love, love, love.

Lists follow the jump, and here’s the jump:

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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. S√āVER, 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 S√āVER 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 L√§ngquist that made the album as a whole as powerful as it was. Pairing L√§ngquist’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 L√§ngquist 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‚Äôs¬†Rough Times¬†(review here) or 2015‚Äôs¬†Berlin¬†(review here). Instead, it strikes a balance with a more sinister edge √† 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 ‚ÄúMatgaz‚ÄĚ 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‚Äôs¬†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 V√¶nir¬†(review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas J√§ger, bassist Mika H√§kki 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, H√≠brido, 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, √ėresund 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. S√āVER, 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 S√ľn, 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 S√āVER 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
  • Besv√§rjelsen, 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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The Obelisk Show on Gimme Radio Playlist: Episode 25

Posted in Radio on December 6th, 2019 by JJ Koczan

the obelisk show banner

As this is the final episode of The Obelisk Show… of the year — ha! gotcha — as well as being the 25th episode, it seemed only fair to make it a special one. As such, it’s a recap of Some of a Little Bit of the Best of 2019. Barely a snippet, really, but a digestible snippet as compared to, say, the full Top However Many list that’ll go up around here in the coming weeks.

This was a fun one to put together, and, frankly, easy. Yeah, I keep a running tally of what I think are any given year’s best records as the year plays out, but I pulled most of these just off the top of my head. Some are more recent, post-June, and some are from earlier in the year, but it’s all high-quality stuff, and though it by no means represents everything awesome that’s come my way — let alone all the stuff I’ve missed; Boris walks by and waves (on their way to the next Quarterly Review, anyhow) — it’s a fun look at some of a little bit of it. Hence the silly title.

I’ll be truthful and say I kind of miss doing this every other week, but it’s been once a month now for a couple months and I guess that’s fine. Gimme Radio has a couple other heavy rock-minded shows — John Brookhouse from Worshipper, Matt Bacon come to mind — but I’m still a little out there from that stuff, and I kind of like it that way. It’d be dishonest otherwise.

In any case, show’s on at 1PM today, and if you get to listen, I certainly appreciate it. Airs at http://gimmeradio.com

Here’s the full playlist:

The Obelisk Show – 12.06.19

Nebula Let’s Get Lost Holy Shit
Monolord The Last Leaf No Comfort
Slomatics Telemachus, My Son Canyons
BREAK
Mars Red Sky Hollow King The Task Eternal
Blackwater Holylight Seeping Secrets Veils of Winter
Earth An Unnatural Carousel Full Upon Her Burning Lips
Mammoth Weed Wizard Bastard The Spaceships of Ezekiel Yn Ol I Annwn
Roadsaw Along for the Ride Tinnitus the Night
Lo-Pan Ascension Day Subtle
BREAK
Saint Vitus Remains Saint Vitus
Orodruin Letter of Life’s Regret Ruins of Eternity
Destroyer of Light Dissolution Mors Aeterna
Lord Vicar The Temple in the Bedrock The Black Powder
Goatess Goddess Blood and Wine
Yatra Smoke is Rising Death Ritual
BREAK
Inter Arma The Atavist’s Meridian Sulphur English

The Obelisk Show on Gimme Radio airs every first Friday of the month at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Jan. 3, I think. Thanks for listening if you do.

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The Obelisk Show on Gimme Radio Playlist: Episode 24

Posted in Radio on November 8th, 2019 by JJ Koczan

the obelisk show banner

It’s been forever since there was an episode of¬†The Obelisk Show on Gimme Radio, but I’m glad to say that there was never any chance of it not continuing eventually. At least not one that I was told about — ha. Gimme had a bunch of specials booked, and well, if it’s me or the dude from Enslaved, or really anybody, I can’t really put up much of a fight that I should be given preference. I’m the dude who plays heavy rock on a metal station, and I’ve got a pretty good timeslot to do it. Yeah, I’m gonna get picked off in favor of special episodes. No worries. I kind of needed a break anyway.

So maybe think of this as the start of Season 2 of¬†The Obelisk Show. I know that¬†all the¬†The Next Generation-era¬†Star Trek shows operated with 24-episode seasons, but I don’t think anyone will begrudge me one fewer.¬†Enterprise might’ve had a 23-episode season somewhere in there. I’d have to check. Either way, Season 2 picks up pretty much where Season 1 left off: a butt-load of new music and me nerding out about Colour Haze.

I talk a bit about the H√łstsabbat fest in Norway that I went to last month, give the Brume record a plug and am a total geek for Al Cisneros’ bass tone on that new Om live release, so yes, pretty much the show is getting caught up with what’s been going on around here while it was off the air. A bit of shaking off the rust, but the playlist rules and I tried not to screw it all up too badly on mic. I haven’t heard the finished product yet, so we’ll see if it was a success. In any case, I hope you dig it.

The Obelisk Show on Gimme Radio airs at 1PM Eastern today.

Listen at: http://www.gimmeradio.com

Here’s the full playlist:

The Obelisk Show – 11.08.19

 

All Them Witches 1×1 1×1* 0:05:51
Ufomammut Satan XX* 0:03:12
Colour Haze Tempel Tempel 0:08:30
BREAK
Brume Scurry Rabbits* 0:10:58
Kadavar Children of the Night For the Dead Travel Fast* 0:05:59
The Lone Madman Häxan Let the Night Come* 0:07:29
Ogre King of the Wood Thrice as Strong* 0:05:41
Orodruin Letter of Life’s Regret Ruins of Eternity* 0:05:14
BREAK
Monolord Larvae No Comfort* 0:09:38
Bask Rid of You III* 0:04:40
Grin Helix Translucent Blades* 0:05:23
Om State of Non-Return BBC Radio 1* 0:08:22
Deaf Radio Dance Like a Reptile Modern Panic* 0:04:19
Devil to Pay 37 Trillion Forever, Never or Whenever* 0:03:10
BREAK
Clouds Taste Satanic Second Sight Second Sight 0:20:21
Total runtime: 1:48:47

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Nov. 22. Thanks for listening if you do.

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Monolord, No Comfort: Truth Found in Time

Posted in Reviews on September 12th, 2019 by JJ Koczan

monolord no comfort

Guitarist/vocalist Thomas J√§ger, bassist Mika H√§kki and drummer Esben Willems, collectively known as Gothenburg’s Monolord, have had an impact on this decade of heavy in a way that few bands who actually belong to it have done. Their rise in influence and stature would seem fast were it not for all the work they’ve put in over the last five-plus years, touring, writing, recording and releasing. A streak of three massively successful outings on RidingEasy Records in 2014’s Empress Rising, 2015‚Äôs¬†V√¶nir¬†(review here) and 2017’s¬†Rust¬†(review here), as well as an increasing tour profile in Europe and the US, led to¬†Relapse Records getting behind the fourth, and the six-track/48-minute¬†No Comfort is the result, recorded by¬†Kim Gravander with mixing by¬†Willems and containing the band’s most atmospheric and complex material to-date. That continues a pattern of growth that¬†Empress Rising set in motion as well as a next-stage-arrival communicated through the greater stylistic reach of¬†Rust, and sure enough,¬†No Comfort takes¬†Monolord‘s sound to places it’s never been, from the¬†Floydian stretch of quiet in the penultimate “Alone Together Forever Divided” to the mournful dirge of “Larvae.”

Those hoping to dig into the riffy primitivism of their earlier work will find a measure of solace — that’s not to say comfort — in opener “The Bastard Son” and the shorter “The Last Leaf,” which follows, but even in those, Monolord dig into hypnotic repetition and aren’t afraid to pull the rug out from under their roll in order to make a statement in terms of mood or feeling. Nor should they be, frankly. Such moves are well in their wheelhouse by now, which only emphasizes the compressed timeline of their growth as a unit. It’s been a half-decade since their first record. Some bands don’t even manage to put out a follow-up in that time.¬†Monolord¬†have made a career, established themselves as one of the most pivotal heavy acts in the world, and in¬†No Comfort, landed at a new echelon of substance and style. Not too shabby.

And there is little mistaking¬†No Comfort as anything other than one of 2019’s best releases. Topped with striking cover art by Alexander Fjelnseth, the offering carries an emotional affect even in the solo in the second half of “The Last Leaf,” an overarching spirit of melancholy residing in its layers in a way that one wouldn’t necessarily anticipate, even after Rust. Make no mistake,¬†Monolord‘s core approach is still based around riffs and the pummeling therewith, but their methods have shifted, are shifting, and even the title No Comfort feels like the declaration of an ideal they’re chasing as they push themselves toward more resonant songcraft. It’s obviously not the way the vinyl would work — that would be three songs on a side, each with two longer songs (the second longer than the first) sandwiched around a shorter one — but if one takes¬†No Comfort in thirds, its progression becomes all the more evident.

monolord

They have always and continue to excel at creating a sense of march.¬†Willems as a drummer is a master of it, and the riffs brought to bear by J√§ger¬†and made even thicker and more vital by H√§kki‘s bass are plenty of dirge fodder to be sure. But even as they plod their way through the side A finale “Larvae” after “The Bastard Son” and “The Last Leaf,” there’s a turn evident toward a doomed melancholy. “Larvae” and the subsequent melodic highlight “Skywards” — it’s (probably past) time to start considering J√§ger as a vocalist rather than a guitar player who sings, even with the steady use of effects on his voice — take the initial shove of the opening duo and prove even more immersive, drawing the listener deeper into¬†No Comfort‘s ambience without giving up the heavy vibe to do so. This ends up as one of the record’s great strengths: Monolord‘s ability to grow without compromising who they are and have been thus far into their tenure.

Those effects on J√§ger‘s vocals play a part in that, as they continue to sound overwhelmed by his riffing, creating a sense of largesse, but it’s clear in every element that makes No Comfort just how in command¬†Monolord are of their craft, and their material here both signals and succeeds in its intent, as “Alone Together Forever Divided” and “No Comfort” add to the sense of longing so prevalent in “Skywards.” “Alone Together Forever Divided” is the shortest track on the outing at just over five minutes, but it’s the structural change that gives it its effect on what surrounds. The bulk of it is quiet, atmospheric guitar set to a mellow roll, quiet and led more by the vocals than a riff, though there’s a definite groove behind, held together by¬†Willems and H√§kki, that moves toward a burst of sonic weight in the second half, a nod taking hold for a time before receding again to let the quiet guitar finish out in contemplative fashion. It’s a marked and purposeful change in approach, essentially turning¬†Monolord‘s methodology on its head, but given how they’ve led into it across the songs prior, including “Skywards,” it also makes sense, and works double as a lead-in for the the 11-minute title-track that rounds out.

With trades in volume as they move through the verses and chorus, the mood on “No Comfort” itself remains primary, and summarizes well the balance of heft and inward-looking sprawl that the songs before have brought together. In linear format — CD/DL — the outward movement of “No Comfort” is even more resounding, but however you take it,¬†No Comfort is the triumph¬†Monolord¬†need at a crucial moment for the band. They have not given up on the root appeal of bashing out wave after wave of dense riff barrage, but they’ve also stayed true to an impulse toward sonic evolution that points the way forward for years to come. Four albums in and just getting started? Maybe. Whatever happens and however¬†No Comfort is received, it is an album that clearly states and meets its own goals. It sets its terms and then brings the listener along its path. It affects the mind of its audience. It is not to be overlooked.

Monolord, “The Last Leaf” official video

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