Posted in Reviews on April 11th, 2025 by JJ Koczan
A friendly reminder that the end of the week is not, in fact, the end of the Quarterly Review, which will continue through Monday and Tuesday. That brings the number of releases covered to 70 total, which feels like plenty, and should hopefully carry us through a busy Spring release season. I’m thinking June for the next QR now but don’t be surprised if that turns into July as we get closer. All I know is I wanna do it before it’s two full weeks again.
As always, I hope you’ve found something that speaks to you in all this 10-per-day nonsense. If not, first, wow, really? Second, it ain’t over yet. Maybe today’s your day. One way to know.
Quarterly Review #41-50:
Dead Meadow, Voyager to Voyager
You may be mellow-vibes, but unless you’re “Not the Season,” Dead Meadow have one up on you forever. While Voyager to Voyager, which is the L.A. band’s eighth or ninth LP depending on what you count, comes with the tragic real-world context of bassist Steve Kille‘s 2024 passing, he does feature on the long-running trio’s first offering through Heavy Psych Sounds, and whether it’s “The Space Between” or the shuffle-stepping “The Unhounded Now” or the pastoral “A Question of Will” and the jangly strum of “Small Acts of Kindness” later on, guitarist/vocalist Jason Simon, Kille and drummer Mark Laughlin celebrate the ultra-languid take on heavy, psychedelic and shoegazing rock that’s made Dead Meadow a household name for weirdos. Not that they’re not prone to a certain wistfulness, but Voyager to Voyager is vibrant rather than mournful, and the title-track is an album flow unto itself in just eight minutes. If you can slow your manic-ass brain long enough to sit and hear it front-to-back, you’re in for a treat.
There is a sense of stepping out as Irish troubadour Seán Mulrooney makes his full-length solo debut with This is My Prayer on Ómós Records. Mulrooney is best known for residing at the core of Tau and the Drones of Praise, and for sure, pieces of This is My Prayer are coming from a similar place, but where there was psychedelic meander for the band, under his own moniker, Mulrooney brings a clarity of tone and presence to lyrics ranging from spiritual seeking to what seems to have been an unceremonious breakup. With character and emotion in his voice and range in his craft, Mulrooney sees a better world on “Ag Múscliaghacht” and posits a new masculinity — totally needed; trainwreck gender — in “Walking With the Wind,” meets indie simplicity with lap steel in “Jaguar Dreams” and, in closer “The Pufferfish,” pens a fun McCartney-style bouncer about tripping sea life. These are slivers of the adventures undertaken in singer-songwriter style as Mulrooney hones this solo identity. Very curious to see where the adventure might take him.
Issued in 2024, Sun Dog is the third MaidaVale long-player, and with it, the Swedish heavy psychedelic rockers showcase six years’ worth of growth from their second album. Melancholic of mood in “Fools” and “Control” and the folkish “Alla Dagar” and “Vultures,” Sun Dog starts uptempo with the Afrobeat-influenced “Faces,” drifts, shreds, then drifts again in “Give Me Your Attention,” dares toward pop in “Daybreak” and fosters a sense of the ironic in “Wide Smile is Fine” and “Pretty Places,” the latter of which, with a keyboardier arrangement, could’ve been the kind of New Wave hit that would still be in your head 40 years later. The nine-songer (10 if you get “Perplexity,” which was previously only on the vinyl) doesn’t dwell in any single space for too long — only “Wide Smile is Fine” and “Vultures” are over four minutes, though others are close — and that lets them balance the downer aspects with forward momentum. MaidaVale are no strangers to that kind of movement, of course, but Sun Dog‘s mature realization of their sound feels so much more vast in range.
Here come Causa Sui with another live album. And I’m not saying the only reason the thankfully-prolific Danish psychedelic treasures, heavyjazz innovators and El Paraiso label honchos are only releasing a complement to 2023’s Loppen 2021 (review here) to rub in the fact that I’ve never been lucky enough to catch them on a stage — any stage — but I am starting to take it personally. Call me sensitive. In any case, despite feeling existentially mocked by their chemistry and the fluidity of “Sorcerer’s Disciple” or the 22-minute “Visions of a New Horizon,” the hour-long set is glorious as one would expect, and though Loppen 2024 is a blip on the way to Causa Sui‘s forthcoming studio album, In Flux, especially when set alongside their previous outing from the same Christiania-based venue, it highlights the variable persona of the band and the reach of their material. Someday I’ll see this goddamn band.
Underlying the grit and stoner drawl of “El Rey del Mundo de los Muertos” is the lurching progression of Black Sabbath‘s “Sweet Leaf,” and that reinterprative ethic comes to the strutting Pentagrammery of “La Verdad es Tu Ataud” as well, but in the tonal density and the way their groove snails its way into your ear canal, the vibe Fulanno bring to Nosotros Somos el Fin del Mundo is in line with stoner doom traditionalism, and the revelry is palbale in the slow nod of the title-track or the horror samples sprinkled throughout or the earlier Electric Wizard-style languidity of “El Nacimiento de la Muerte.” They save an acoustic stretch in reserve to wrap “Desde las Tinieblas,” but if you think that’s going to clean your soul by that point then you haven’t been paying attention. Unrepentantly dark, stoned and laced with devil-, death-and riff-worship, Nosotros Somos el Fin del Mundo further distinguishes Fulanno in an always crowded Argentinian underground, and dooms like a bastard besides.
Because the age we live in permits such a thing and it tells you something about the music, I’m going to cut and paste the credits for Israeli duo Ze Stoner‘s debut EP/demo, Desert Buddhist. Dor Sarussi is credited with “bass guitar, spaceships, vocals,” while Alexander Krivinski handles “didgeridoo, spaceships, drums, and percussion.” How tripped out does a band need to be to have two members credited with “spaceships,” you ask? Quite tripped out indeed. Across the 12:09 “Part I – The Awakness” (sic) and the 11:41 “Part II – The Trip,” and the much-shorter 1:41 finale “Part III – The Enlightenment,” Ze Stoner take the meditative doom of Om or an outfit like Zaum and extrapolate from it a drone-based approach that retains a meditative character. It is extreme in its capacity to induce a trance, and as Desert Buddhist unfolds, it plays as longer movements tied together as a single work. There is massive potential here. One hopes Sarussi, Krivinski, their spaceships and didgeridoo are just beginning their adventures in the cosmos.
Oslo-based newcomers Arv aren’t shy about what their sound is trying to do. Their debut album, Curse & Courage, arrives via the wheelhouse of Vinter Records and brings together noise-laced and at-times-caustic hardcore with the atmospherics, echoing tremolo and churning intensity of post-metal. They lean to one side or the other throughout, and “Wrath” seems to get a bit of everything, but it’s a harder line to draw than one might think because hardcore as a style is all urgency and post-metal very often brings a more patient take. Being able to find a place in songwriting between the two, well, Arv aren’t the first to do it, but they are impressively cohesive for Curse & Courage being their first record, and the likes of “Victim,” the overwhelming rush of “Forsaken” earlier on and the more-ambient-but-still-vocally-harsh closing title-track set up multiple avenues for future evolution of the ideas they present here. Too aggressive to be universal in its appeal, but makes undeniable use of its scathe.
I’m not sure what’s going on in “Erotik Fvel P.I.M.P.,” but there’s chicanery a-plenty throughout Fvzz Popvli‘s fourth full-length, Melting Pop, which is released in renewed cooperation with Heavy Psych Sounds. Hooks, fuzz, and the notion that anything else would be superfluous pervade the Indiana Jones-referencing “Temple of Doom” and “Telephone” at the outset, the latter with some choice backing vocals, and they kick the fuzz into overdrive on “Salty Biscvits” with room besides for a jangly verse. Running an ultra-manageable 30 minutes, the album breaks in half with four songs on each side. “Kommando” leads off the second half with dirtier low end tone ahead of the slower-rolling “Ovija,” which shouts and howls and is all kinds of righteously unruly, where “Cop Sacher” punks at the start and has both gang vocals and a saxophone, which I can say with confidence nothing else among the 70 records in this Quarterly Review even tried let alone pulled off, and they close with due swagger and surprising class in “The Knight.” Part of Fvzz Popvli‘s persona to this point has been based in rawness, so it’s interesting to hear them fleshing out more complex arrangments, but at heart they remain very much stoner rock for the glory of stoner rock.
The tone worship is there, the working-class-dude stoner swing is there, and the humor that might result in a song like “Hypertension” — for which no less than Bob Balch of Fu Manchu sits in — so when I compare Rust Bucket to Maryland’s lost sons Earthride, please know that I’m not talking out of my ass. The Minnesota-based double-guitar five-piece revel in low end buzz-tone, and with no-pretense groove, throaty vocals and big personality, that spirit is there. Doesn’t account for the boogie of “Keep Us Down,” but everybody’s gotta throw down now and then. They shift into a sludgier mood by the time they get around to “The Darkness” and “Watch Your Back,” but the idea behind this first Rust Bucket feels much more like a bunch of guys getting together to hammer out some cool songs, maybe play some shows, do a record and see how it goes. On paper, that makes Rust Bucket an unassuming start, but its anti-bullshit stance, steady roll and addled swing make it a gem of the oldschool variety. Much to their credit, they call the style, “fuzzy caveman dad rock.” They forgot ‘bearded,’ but otherwise that about sums it up. Maybe the beard is implied?
It is appropriate that Mountain Dust named their third LP after themselves, since it finds them transcending their influences and honing a cross-genre approach that’s never sounded more their own than it does in these nine songs. From the densely-weighted misdirect of “Reap” with its Earth-sounding drone riff through the boogieing en route to the mellower and more open soul-showcase “Waiting for Days to End” — backing vocals included, see also “It’s Already Done” on side B — and the organ in “Vengeance,” the dynamic between the Graveyard-style ballad “This is It” and the keyboard/synth-fueled instrumental outro “All Eyes But Two,” Mountain Dust gracefullly subverts retroist expectations with individualized songwriting, performance and production, and this material solidifies the Montreal four-piece among the more flexible acts doing anything in the sphere of 1970s-style heavy rock. That’s still there, understand, but like the genre itself, Mountain Dust have very clearly grown outward from their foundations.
Posted in Features on December 20th, 2018 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.
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It just wouldn’t be a year if it wasn’t completely overwhelming, right?
2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.
But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.
I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.
Thanks in advance for reading. Here we go:
[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]
Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.
The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.
Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.
There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universewas in every way a worthy successor.
It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.
Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.
I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.
It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.
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22. Spaceslug, Eye the Tide
Released by BSFD Records and Oak Island Records. Reviewed June 29.
Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.
Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.
Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.
The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.
The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.
“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.
No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike Dean, Woody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.
It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.
It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.
After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.
The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.
You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.
Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.
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10. Gozu, Equilibrium
Released by Blacklight Media / Metal Blade Records. Reviewed April 4.
Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.
The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.
Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.
Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.
Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.
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5. YOB, Our Raw Heart
Released by Relapse Records. Reviewed June 7.
Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.
I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.
They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.
In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.
Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.
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The Next 20
Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.
31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney
Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.
Honorable Mention
This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:
Alms, Act One
Ape Machine, Darker Seas
Belzebong, Light the Dankness
Black Moon Circle, Psychedelic Spacelord
Blackwater Holylight, Blackwater Holylight
Bong, Thought and Existence
Carpet, About Rooms and Elephants
Churchburn, None Shall Live… The Hymns of Misery
Deadbird, III: The Forest Within the Tree
Dead Meadow, The Nothing They Need
Death Alley, Superbia
Drug Cult, Drug Cult
Dunbarrow, II
Electric Citizen, Helltown
Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
Evoken, Hypnagogia
Funeral Horse, Psalms for the Mourning
Fuzz Evil, High on You
Graven, Heirs of Discord
Graveyard, Peace
Green Dragon, Green Dragon
Green Druid, Ashen Blood
Here Lies Man, You Will Know Nothing
High Priestess, High Priestess
Horehound, Holocene
IAH, II
JIRM, Surge ex Monumentis
Killer Boogie, Acid Cream
Lonely Kamel, Death’s Head Hawkmoth
MaidaVale, Madness is Too Pure
Moab, Trough
Mountain Dust, Seven Storms
Mouth, Floating
Mr. Plow, Maintain Radio Silence
T.G. Olson, Earthen Pyramid
Onségen Ensemble, Duel
Orango, Evergreen
Owl, Nights in Distortion
Pushy, Hard Wish
Rifflord, 7 Cremation Ground/Meditation
River Cult, Halcyon Daze
Rotor, Sechs
Somali Yacht Club, The Sea
Sumac, Love in Shadow
Sundrifter, Visitations
Svvamp, Svvamp II
Thou, Magus
Thunder Horse, Thunder Horse
Weedpecker, III
Special Note
Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:
Alice in Chains, Rainier Fog
Judas Priest, Firepower
Best Short Release of the Year
Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:
Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:
All Them Witches, Lost and Found
Alunah, Amber & Gold
Canyon, Mk II
Demon Head, The Resistence
Destroyer of Light, Hopeless
Ecstatic Vision, Under the Influence
Godmaker & Somnuri, Split
Holy Mushroom, Blood and Soul
King Buffalo, Repeater
Minsk & Zatokrev, Split
Sleep, Leagues Beneath
Stonus, Lunar Eclipse
Sundecay, Gale
Looking Forward
A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:
Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.
Okay, That’s It
Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.
Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.
So thanks.
If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.
And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.
Posted in Reviews on December 12th, 2018 by JJ Koczan
Not to get off topic here, but it’s December, and god damn, I hate the fucking holidays. Christmas, even if you believe in the religious significance of the day, is pure garbage. I like giving presents well enough, don’t particularly enjoy receiving them, but even if you put aside the whole “oh it’s so commercial ‘now'” thing, like there was a time anyone now living ever saw when it wasn’t, it isn’t fun. The meal sucks. It’s dark. It’s cold. The songs are fucking endless and terrible — yes, all of them — and the whole experience is just a bummer the whole way through. If there was actually a war on it, I wish they’d drop the bomb and incinerate the entire thing.
Take Thanksgiving, make it start in November and end in December. A month-long festival for the season. You can even give gifts at the end, if you want. It could be like Ramadan, or, probably more likely and much on the opposite end of the spectrum, Oktoberfest.
There. Problem solved. Have a great day, everyone. Let’s do some reviews.
Quarterly Review #71-80:
BongCauldron, Tyke
Biscuit, Corky and Jay of BongCauldron return less than 12 months out from their Binge LP (review here) with Tyke (on APF), three more cuts of weed-eating, dirt-worshiping, weed-worshiping, dirt-eating sludge, fueled as ever by fuckall and booze and banger riffs — and yes, I mean “banger” as in “bangers and mash.” There’s a lead that shows up in closer “Jezus Throat Horns” and some vocal melody that follows behind the throaty barks, but for the bulk of the three-tracker, it’s down to the business of conveying dense-toned disaffection and rolling nod. “Pisshead on the Moon” opens with a sample about alcohol killing you and works from its lumber into a bit of a shuffle for its midsection before hitting a wall in the last minute or so in order to make room for the punker blast of “Back up Bog Roll,” which tears ass and is gone as soon as it’s there, dropping some gang vocals on the way, because really, when you think about it, screw everything. Right? “Jezus Throat Horns” might be offering a bit of creative progression in closing out, but the heart of BongCauldron remains stained of finger and stank of breath — just the way it should be.
Oh yes. Most definitely. From the Sabbath swing behind the chugging “Love the Drugs” and the march of “Wicked Witch” through the what-would-happen-if-Danzig-was-interesting “Summer Spells” and fuzzed-out post-punk shouts of “Videodrone” en route to the nine-minute “Curtains at the Mausoleum,” London four-piece Black Helium make heavy psychedelic songcraft into something as malleable as it should be on their Riot Season debut, Primitive Fuck, holding to underlying structures when it suits them and touching on drone bliss without ever really completely letting go. Opener “Drowsy Shores” is hypnotic. The aforementioned “Curtains at the Mausoleum” is hypnotic. Even the chug-meets-effects-blowout closing title-track is hypnotic, but on the handclap-laced “Do You Wanna Come Out Tonight?” or “Videodrone,” or even “Summer Spells,” there are hooks for the listener to latch onto, life-rafts floating in the swirling tonal abyss. The truth? There isn’t a primitive thing about it. They’re not so much lizard-brained as astral-planed, and if you want a summation of their sound, look no further than their name. It’ll make even more sense when you listen. Which you should do.
The immediate association in terms of riff is going to be Sleep. “Drop Dead,” the 10-minute first of two songs on Earthbong‘s debut Demo 2018, rolls out with pure Dopesmoker-ism and follows the model of gradual unfolding of its weedian sludge riffery. No complaints. The Kiel, Germany, trio are obviously just getting their start, and since it’s a demo and not the “debut EP” that so many otherwise demos try to position themselves as, I’ll take it. And to boot, “Drop Dead” ultimately departs its Sleepy environs for altogether more abrasive fare, with Bongzilla-style screams and an increasingly aggressive shove, the drums crashing like the cymbals did something wrong, and feedback capping into the start of “Wanderer,” which is shorter at seven minutes and opens its assault earlier, the vocals no less distorted than the guitar or bass. There’s some space in a solo in the second half, but Earthbong again twist into harsh, crusty doom before letting feedback carry them out to the demo’s finish. Growing to do, but already their violence seethes.
Grunge, noise rock and Queens of the Stone Age-style melody-making collide on Walk to the Moon, the debut full-length from German four-piece Sir Collapse, sometimes on disparate cuts, like the noisy intro given to the album by “Lower Principles,” and sometimes within the same song, as in the later “Like Me.” A jangly swing in “Mono Mantra” and the Nirvana-esque hook there soon gives way to the desert-hued thrust of “One Man Show” and the early ’90s fuzz of “Happy Planet Celebration,” while “The Great Escape” leads the way into some measure of evening out the approach in “Like Me,” “Too Late,” “Hey Ben” and “The Family,” unless that’s just the band acclimating the listener to their style. Fair enough either way. Sir Collapse round out with a return to the uptempo push shown earlier, giving their first LP an impressive sense of symmetry and whole-work presentation as layers of vocals intertwine with melody alternately lush and raw, sounding very much like a band who know the parameters in which they want to work going forward. So be it.
Organ-soaked Baltimorean garage doomers Alms enter the conversation of 2018’s best debut albums with Act One on Shadow Kingdom, a collection rife with choice riffing, dynamic vocals and a nuanced blend of heft and drama. That a song like “The Toll” could be both as traditional sounding as it is and still modern enough to be called forward-thinking is nothing short of a triumph, and in the stomping “The Offering,” Alms cast forth a signature chorus that stands out from the tracks surrounding without departing the atmosphere so prevalent in their work. “Dead Water” at the outset and “For Shame” build a momentum through side A that the five-piece of keyboardist/vocalist Jess Kamen guitarists Bob Sweeney (also vocals) and Derrick Hans, bassist Andrew Harris and drummer Derrick Hans expand in the second half of the record, winding up in the early gruel of “Hollowed” only to resolve the album with speedier swing and as sure a hand as they’ve guided it all along. At six songs and 33 minutes, Act One unmistakably leaves the audience wanting more, and indeed, the plot may just be starting to unfold.
It is a sharp, biting 27-minute run, but Swamp Mama isn’t just thrown together haphazardly. Alberta-based sludge metallers Haaze build a song like “35 Indians” to a head over the course of a deceptively efficient 4:44, following opening track “Beast of the Bog” with a developed sense of craft underlying the outward negativity of their sound. I’ll give the band bonus points for finishing side A with a song called “Stereotypically Doomed,” but more for the crash cymbal that seems to devour the mix. There’s a trashy undercurrent to the subsequent title-track, and as it finishes its pummel, it relinquishes ground to the acoustic interlude, “The Mechanic,” which I’m just going to assume is named for the Charles Bronson movie. That of course sets up the most extreme cut included in closer “AL,” which layers fierce growls and screams atop a rhythm clearly designed for maximum assault factor. A little more metal than sludge, it nonetheless remains tonally consistent with what comes before it, giving Swamp Mama a vicious ending and a feel that’s all the more lethal for it.
Copenhagen four-piece The Sledge boasts the three former members of heavy rockers Hjortene in guitarist/keyboardist/vocalist Palle, drummer/vocalist Kim and bassist Claus, so while they’ve revamped their identity and gone on to add vocalist Magnus Risby — who appears here on “179 Liars” and “Yet Untitled” — perhaps its somewhat disingenuous to consider their first album under the new moniker, On the Verge of Nothing, a debut. Issued through Kozmik Artifactz, the record collects eight tracks produced by Anders Hansen (who also worked with Hjortene) and mixed by Matt Bayles, and in listening to the cuts with Risby in the lead spot, the vibe taps into a thicker take on late-era Dozer with no less righteous melodicism. That, however, is just a fraction of the total story of On the Verge of Nothing, which taps earlier desert idolatry on “Death Drome Doline” and brings in none other than Lorenzo Woodrose himself for guest spots elsewhere. People in and out of the lineup through different tracks should make the LP disjointed, but as ever, it’s the songwriting that holds it together, and one can’t discount the core band’s experience playing together as a part of that either. Debut or not, it’s an impressive offering.
One tends to think of serenity and peaceful drift when it comes to Danish heavy psych rockers Red Lama, but as the seven-piece band quickly turn around follow-up to their 2018 sophomore LP, Motions (discussed here), cuts like opener “Time” and “RLP” unfold with a particular sense of urgency, the former seeming to showcase an acknowledgement of sociopolitical circumstances in Europe and beyond in a way that seems to readjust their focus. That’s a tidy narrative, but if it’s a case of priorities being rebalanced, it’s striking nonetheless. To coincide, “RLP” has a heavier roll in its second half, and while second cut “State of the Art” and closer “Tearing up the Snow” both make their way past the five-minute mark with post-rocking pastoralia and dreamy melodies, there remains a feeling of a tighter focus in the tracks that could portend a new stage of the band’s development or could simply be a circumstance of what’s included here. The next album will tell the tale.
Fronted by Andy Fernando of Don Fernando, Full Tone Generator‘s debut long-player, Valley of the Universe, nonetheless bears the unmistakable hallmark of the Californian desert — in no small part because that’s where it was recorded. Fernando and guitarist/bassist/backing vocalist Brad Young traveled to that famed landscape to record with Bubba DuPree and Brant Bjork at Zainaland Studios, only to have the latter end up playing drums and contributing backing vocals as well to the eight-tracker. Not a bad deal, frankly. The key reference sound-wise throughout Valley of the Universe is Kyuss, particularly because of Bjork‘s involvement and Fernando‘s vocal style, but the slow-rolling “I Only Love You When I’m Loaded,” 59-second blaster “No Future” and the ending jam duo of “Preacher Man” and “Never to Return” make the ground their own, the latter with some surprise screams before it bounces its way into oblivion as though nothing ever happened. They’ve got the vibe down pat, but Full Tone Generator do more as well than simply retread desert rock’s founding principles.
Keys give Montreal four-piece Mountain Dust a tie to classic heavy blues and they use that element well to cast their identity in the spirit of a post-retro modern feel, details like the backing vocals of “White Bluffs” and the waltzing rhythm held by the snare on “Witness Marks” doing much to add complexity to the persona of the band. “You Could” goes over the top in its boozy regrets, but the dramas of “Old Chills” are full in sound and satisfyingly wistful, while closer “Stop Screaming” offers a bit of twang and slide guitar to go along with its sense of threat and consuming seven-minute finish. Tight songwriting and clean production do a lot to give Seven Storms a professional presentation, but ultimately it’s the band itself that shines through in terms of performance and as Mountain Dust follow-up their well-received 2016 debut, Nine Years, they sound confident in their approach and ready to flesh out in multiple directions while maintaining a central character to their sound that will be familiar to the converted enough to be a work of genre while setting the stage to become all the more their own as well.
Posted in Whathaveyou on May 14th, 2018 by JJ Koczan
If you’ve got three minutes and are looking for a good time, click play at the bottom of this post to check out ‘Inside the Rift,’ the newly posted single from Quebecois heavy rockers Mountain Dust. You might recall the four-piece were recently added to Freak Valley 2018 and they’ll also appear at Sweden’s Muskelrock, supporting their new album, Seven Storms, which sees release this Friday, May 18, as the follow-up to 2016’s Nine Years, which was picked up by the venerable Kozmik Artifactz for LP/CD issue. Well, if you do or don’t, it happened.
Laced with organ and a kind of latter-day Graveyardy soul, like I said, it’s three minutes of a good time. Hell, you’ve got three minutes. Don’t pretend you don’t.
Dig it:
Mountain Dust has just released the second cut from their sophomore album Seven Storms, which is set to come out May 18. A European Tour will follow the release.
The new song “Inside The Rift” has the same captivating storytelling and sonic energy that attracted fans to their debut album Nine Years (2016) – released on Kozmik Artifactz Records. It features a guest vocal appearance from Mikey Heppner (Priestess).
The songs on Seven Storms reference new influence from the soundtracks of science-fiction TV shows and old Western films, and Mountain Dust use a variety of instruments to create interesting new textures and soundscapes. Vocalist Brendan Mainville’s lyrical imagery paints vivid pictures of both pain and triumph.
When the new record drops on May 18th, Mountain Dust head to Europe for a run of 17 shows across 8 countries including stops at 2 festivals – Freak Valley in Germany, and Muskelrock in Sweden.
Their debut record Nine Years (2016) was nominated for Rock Album of the Year at home in Quebec, Canada, and caught the attention of German-based record label Kozmik Artifactz. The resulting partnership has helped Mountain Dust spread their music into areas of Europe they will visit during their spring 2018 tour.
Check out tour dates, and their new song “Inside The Rift” below:
May 24 – Antwerp, Belgium May 25 – Lyon, France May 26 – Piacenza, Italy May 27 – Mantia, Italy May 29 – Liege, Belgium May 30 – Netphen, Germany May 31 – Copenhagen, Denmark June 01 – Tyrolen, Sweden June 02 – Berlin, Germany June 03 – Wroclaw, Poland June 04 – Brno, Czech June 05 – Prague, Czech June 06 – Chemnitz, Germany June 07 – Wurzburg, Germany June 08 – Hagen, Germany June 09 – Paris, France June 10 – Le Havre, France
Mountain Dust is: Vocals / Lyrics / Guitar: Brendan Mainville Organ / Synthesizer / Guitar: Patrick Bennett Bass: Hal Jaques Drums / Percussion: Blair Youngblut Guest Vocals: Mikey Heppner
Posted in Whathaveyou on March 26th, 2018 by JJ Koczan
Time marches on and the lineup for Freak Valley 2018 only grows more substantial. I won’t take anything away from Wolf People (whose Ruins album currently sits in my Amazon cart awaiting purchase) or Steak or No Man’s Valley or Mountain Dust here, who’ve all joined the ranks, but the highlight here has to be the addition to doom legends Candlemass to the Freak Valley 2018 melange. If you haven’t seen them in the last few years, the Swedish innovators are absolutely dead-on on stage, and though it’s coming up on six years since they released their last full-length, they still do nothing but kill when it comes to delivering a set.
I wrote the announcement for them and everyone else that you’ll find below, as posted by Freak Valley on the social medias:
Freaks, assemble!
Gather ‘round – it’s time for the next round of adds to our already-sold-out, already-massive 2018 incarnation of FREAK VALLEY FESTIVAL! It’s got legends with ancient dreams and upstarts with tales of red rains, but before we dive in, we’d like to personally thank each and every one of you for making Freak Valley 2018 a sell-out months in advance. It warms our freaky hearts to know you feel as passionately about this as we do, and we can’t wait to welcome everyone to Freak Valley 2018 on May 30!
Alright, enough mushy stuff. Time to welcome Candlemass, Wolf People, Steak, Mountain Dust, and No Man’s Valley to the lineup!
CANDLEMASS
Since Epicus Doomicus Metallicus, nobody has doomed quite like the Swedish legends in Candlemass. Bassist Leif Edling has spent decades conjuring riffs that have become classics, and from that first album in 1986 through the new EP House of Doom coming in May, they’ve never failed to deliver Sabbath-worthy vibes and a groove all their own. There’s only one Candlemass and we couldn’t be more stoked to have them as part of Freak Valley 2018!
WOLF PEOPLE
In 2016, UK psychedelic four-piece Wolf People released their third album, Ruins, and told a tale of an earth without people. The buzz and the spaciousness through which the band created these unpopulated soundscapes were gorgeous, and still somehow tied to a folkish pulse. They’re not to be missed when they take the Freak Valley stage, and if you think you know the reaches of psychedelia, think again.
STEAK
As meaty as their name, these UK riff aficionados have been dominating Britain and beyond for years now, and their welcome to Freak Valley can only be called overdue. Their second album, No God to Save, came out on Ripple Music last year and absolutely blew us away with in following up 2014’s desert homage Slab City, as Steak came more into their own and their groove became even more lethal.
MOUNTAIN DUST
With cuts like “Evil Deeds” and “Tale of the Red Rain,” Montreal’s Mountain Dust proffered organ-laced blues across their 2016 debut, Nine Years, and blew away listeners and critics alike with the force and soul of their delivery. They’ve got a new record in the works for this year and will hit Freak Valley as part of their first-ever European tour, so don’t miss on these up and comers while you’ve got the chance to catch them now!
NO MAN’S VALLEY
Few first albums hit us as hard as the heavy blues of No Man’s Valley’s Time Travel upon its release in 2016. Like The Flying Eyes and All Them Witches before them, the interplay of keys and guitar and tales of witches gave a classic atmosphere to the Netherlands outfit’s work, and their memorable songwriting only made even more of an impression. We’re keeping our fingers crossed they show off some new material!
Freak Valley Festival 2018 // No Fillers – Just Killers
Line-up 2018: OM, Russian Circles, Candlemass, Karma To Burn, My Sleeping Karma, MY BABY, Mars Red Sky, SUMAC, LUCIFER, Wolf People, Yuri Gagarin, Dýse, The Freeks, SACRI MONTI, Steak, Black Bombaim, Year of the Cobra, Purple Hill Witch, Ouzo Bazooka, Ruff Majik, Toke, Humulus, KALEIDOBOLT, Rage of Samedi, Nap, No Man’s Valley, Mountain Dust
Posted in Features on December 15th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
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Of all the lists I do to wrap up or start any given year, this is the hardest. As someone obviously more concerned with first impressions than I am and thus probably better-dressed once said, you only get one chance at them. For bands, that can be a vicious bite in the ass on multiple levels.
To wit, you put out a great debut, fine, but there’s a whole segment of your listeners who’re bound to think you’ll never live up to it again. You put out a meh debut, you sell yourself short. Or maybe your debut is awesome but doesn’t really represent where you want to be as a band, so it’s a really good first impression, but a mistaken one. There are so many things that can go wrong or go right with any LP, but with debuts, the stakes are that much higher because it’s the only time you’ll get the chance to engage your audience for the first time. That matters.
And when it comes to putting together a list of the best debuts of the year, how does one begin to judge? True, some of these acts have done EPs and singles and splits and things like that before, and that’s at least something to go on, but can one really be expected to measure an act’s potential based on a single collection of songs? Is that fair to anyone involved? Or on the other side, is it even possible to take a debut entirely on its own merits, without any consideration for where it might lead the band in question going forward? I know that’s not something I’ve ever been able to do, certainly. Or particularly interested in doing. I like context.
Still, one presses on. I guess the point is that, like picking any kind of prospects, some will pan out and some won’t. I’ve done this for enough years now that I’ve seen groups flame or fade out while others have risen to new heights with each subsequent release. It’s always a mix. But at the same time, it’s important to step back and say that, as of today, this is where it’s at.
And so it is:
The Obelisk Presents: The Top 20 Debut Albums of 2016
1. King Buffalo, Orion
2. Elephant Tree, Elephant Tree
3. Heavy Temple, Chassit
4. Holy Grove, Holy Grove
5. Worshipper, Shadow Hymns
6. Vokonis, Olde One Ascending
7. Wretch, Wretch
8. Year of the Cobra, In the Shadows Below
9. BigPig, Grande Puerco
10. Fuzz Evil, Fuzz Evil
11. Bright Curse, Before the Shore
12. Conclave, Sins of the Elders
13. Pale Grey Lore, Pale Grey Lore
14. High Fighter, Scars and Crosses
15. Spirit Adrift, Chained to Oblivion
16. Bellringer, Jettison
17. Church of the Cosmic Skull, Is Satan Real?
18. Merchant, Suzerain
19. Beastmaker, Lusus Naturae
20. King Dead, Woe and Judgment
Honorable Mention
There are many. First, the self-titled from Pooty Owldom, which had so much weirdo charm it made my head want to explode. And Iron Man frontman Dee Calhoun‘s acoustic solo record was technically a debut. And Atala‘s record. And Horehound. And Mother Mooch. And Domkraft. And Spaceslug. And Graves at Sea? Shit. More than a decade after their demo, they finally put out a debut album. And Second Grave‘s full-length would turn out to be their swansong, but that doesn’t take away from the quality of the thing. There were a lot of records to consider in putting this list together. As always, it could’ve been a much longer list.
For example, here are 20 more: Swan Valley Heights, Arctic, Blues Funeral, Teacher, Psychedelic Witchcraft, Nonsun, Duel, Banquet, Floodlore, Mindkult‘s EP, Mountain Dust, Red Lama, Red Wizard, Limestone Whale, Dunbarrow, Comacozer, Sinister Haze, Pants Exploder, Akasava, Katla and No Man’s Valley. That’s not even the end of it. I could go on.
Notes
It was a fight to the finish. There’s always one, and as late as yesterday I could be found kicking back and forth between King Buffalo and Elephant Tree in the top spot. What was it that finally put King Buffalo‘s Orion over Elephant Tree‘s self-titled? I don’t know. Ask me tomorrow and the answer might be completely different.
They had a lot in common. Not necessarily in terms of style — King Buffalo basked in spacious Americana-infused heavy psych jams while Elephant Tree proffered more earthbound riffing and melodies — but each executed memorable songs across its span in a way that would be unfair to ask of a debut. The potential for what both bands can turn into down the line played a part in the picks, but something else they share between them is that the quality of the work they’re doing now warrants the top spots. Orion and Elephant Tree were great albums, not just great first albums.
From there, we see a wide swath of next-generation encouragement for the future of heavy rock, whether it’s coming from Sweden’s Vokonis or Philadelphia’s Heavy Temple, or London’s Bright Curse, or Los Angeles duo BigPig. The latter act’s punkish fuzz definitely benefited from guitarist/vocalist Dino von Lalli‘s experience playing in Fatso Jetson, but one hopes that as the years go on his own multifaceted songwriting style will continue to grow as well.
A few offerings weren’t necessarily unexpected but still lived up to the anticipation. High Fighter‘s EP prefaced their aggro sludgecore well. Ditto that for the grueling death-sludge of Massachusetts natives Conclave. The aforementioned Bright Curse, Merchant, Fuzz Evil, Atala, Bellringer, Holy Grove, Wretch and Worshipper all had offerings of one sort or another prior to their full-length debuts — in the case of Bellringer, it was just a series of videos, while Wretch had the entire The Gates of Slumber catalog to fall back on — but each of those albums offered surprises nonetheless.
It would’ve been hard not to be taken by the songwriting on display from the likes of Holy Grove, Year of the Cobra, Pale Grey Lore and Beastmaker, who between them covered a pretty broad variety of atmosphere but found ways to deliver high-quality crafted material in that. Those albums were a pleasure to hear. Put Boston’s Worshipper in that category as well, though they were just as much a standout from the pack in terms of their performance as what they were performing. Speaking of performance, the lush melodies from Church of the Cosmic Skull and classic progressive flourish were enough to make me a believer. Simply gorgeous. And one-man outfit Spirit Adrift shined, if in that matte-black doom kind of way, on an encouraging collection of modern melancholic heavy that seemed to hint at sprawl to come.
As we get down to the bottom of the list we find Pennsylvania ambient heavy post-rockers King Dead. Their Woe and Judgment was released digitally last year (2015) but the LP came out earlier this year, so I wasn’t quite sure where to place them ultimately. I know they got some mention on the 2015 lists somewhere, but while they’re an act who’ve flown under a lot of people’s radar as yet, I have good feelings about how they might continue to dig into their sound and the balance of bleakness and psychedelic color they bring to their material. They’re slated for a follow-up in 2017, so this won’t be the last list on which they appear in the next few weeks.
—
Like I said at the outset, putting out a debut album is a special moment for any band. Not everyone gets to that point and not everyone gets beyond it, so while a list like this is inherently bound to have some element of speculation, it’s still a worthy endeavor to celebrate the accomplishments of those who hit that crucial moment in their creative development. Hopefully these acts continue to grow, flourish, and build on what they’ve thus far been able to realize sonically. That’s the ideal.
And before I go, once again, let me reinforce the notion that I recognize this is just a fraction of the whole. I’d like it to be the start of a conversation. If there was a debut album that kicked your ass this year and you don’t see it here, please drop a note in the comments below. I’m sure I’ll be adding more honorable mentions and whatnot over the next couple days, so if you see glaring omissions, let’s have ’em.
Posted in Whathaveyou on September 20th, 2016 by JJ Koczan
The interwebs went ape this summer for Mountain Dust‘s debut full-length, Nine Years, and I’m not inclined to argue. Based out of Montreal, the band successfully bring classic sounds forward a few decades, establishing a full sound on cuts like “Running Fool,” which you can hear below. I don’t love the artwork, but cartoon tits are getting on my nerves these days — can’t that shit just be over? — but the successful execution of the tracks brooks no disagreement, as further evidenced by the fact that respected German purveyor Kozmik Artifactz has picked up Nine Years for an early 2017 vinyl release.
They sent the following announcement down the PR wire:
MOUNTAIN DUST Signs With KOZMIK ARTIFACTZ Records
Canadian stoner/psych-blues rockers Mountain Dust have penned a European deal with German label Kozmik Artifactz.
The Montreal based band released their debut full length record titled “Nine Years” independently over the summer, but only online and with an extremely limited pressing of CDs. Since its release, “Nine Years” has been making the rounds in stoner rock circles online, and the international orders have become overwhelming for the band.
“None of us were expecting this type of response when we set out to make this record,” said Mountain Dust frontman Brendan Mainville. “After we put the record online we started getting messages from people all over the world asking how they can get our music on vinyl. Who knew the internet was such a powerful place?” joked Mainville. “Being an independent band, we aren’t equipped to handle the demand we’ve been experiencing, so teaming up with Kozmik Artifactz is exciting, and also a bit of a relief.”
When asked about the signing, the folks at Kozmik Artifactz had this to say about the newest addition to their roster, “Looking for a band that will catch your attention in the first 10 seconds? Here you go! This is exactly what happened when we were surfing Bandcamp for good music one day. The voice, the mood, the feeling, the overall sound … Mountain Dust simply blew us away.”
Following an official release in early 2017, Mountain Dust is planning plenty of live performances support their new record. “Running Fool”, the first single from “Nine Years”, can be heard below.
Tracklisting: 1. Evil Deeds 04:26 2. Aveline 04:36 3. Running Fool 04:26 4. Tale of The Red Rain 06:07 5. Dead Queen 08:53 6. Lonely War 04:11 7. Nine Years 07:33
