Please note: These are not the results of the Readers Poll, which is ongoing. If you haven’t added your list yet, please do.

This was a hard list to put together. The top three have been set in my mind for probably the last month, but trying to work my way backwards from there was a real challenge — what’s a top 10 record, a top 20 record, a top 30, honorable mentions and all the rest. I’ve never done a full top 30 before, always 20, but the truth is there was just too much this year to not expand.

I’m still juggling numbers even as I put together this post, and I’m sure that by the time I’m done several records will have switched places. That’s always how it seems to go. What I’m confident that I have is a list accurately representing critique and my own habits, both what I gravitated toward in listening throughout the year and what I feel is noteworthy on a critical level. This site has always been a blend of those two impulses. It’s only fair this list should be as well.

Before we dig in, you should note this is full-length albums only. I’ll have a list of short releases (EPs, singles, demos) to come, as well as a special list of debut releases, since it seemed to be a particularly good year for them. And since I’m only one person, I couldn’t hear everything, much as I tried.

Okay. Here we go:

30. Orange Goblin, Back from the Abyss

Released by Candlelight Records. Reviewed on Nov. 17.

The kings of London’s heavy scene offered more powerhouse heavy rock with their eighth album and second for Candlelight, and their rabid and ever-growing fanbase ate it up. Back from the Abyss proved yet again that few can attain the kind of vicious force that seems to come so natural to Orange Goblin, and made it clear their domination shows no signs of losing momentum.

 

29. Mos Generator, Electric Mountain Majesty

Released by Listenable Records. Reviewed on March 14.

A darker affair from Port Orchard, Washington’s Mos Generator, Electric Mountain Majesty still found its core in the songwriting led by guitarist/vocalist Tony Reed. They’re a band with some changes on the horizon, and I’ll be interested to hear what hindsight does to these songs. As it was, the hooks and downer vibes may have been in conceptual conflict, but the execution was inarguable.

 

28. Pilgrim, II: Void Worship

Released by Metal Blade Records. Reviewed on April 15.

Richer in the listening than 2012’s Misery Wizard debut, Pilgrim‘s II: Void Worship nonetheless held firm to the doomly spirit that’s made the Rhode Island outfit such a sensation these last couple years. Its longer songs, “Master’s Chamber,” “Void Worship” and the emotionally weighted “Away from Here,” were particularly immersive, and they remain a bright spot in doom’s future.

 

27. John Garcia, John Garcia

Released by Napalm Records. Reviewed on July 7.

His long-awaited solo debut, John Garcia‘s John Garcia offered memorable tracks culled from years of songwriting from the former Kyuss, Slo Burn, Unida and Hermano frontman, performed in the classic desert rock style he helped define. I’m not sure it was worth trading a second Vista Chino record for, but it was hard to argue with “The Blvd” and “All These Walls.”

 

26. Swans, To be Kind

Released by Mute/Young God Records. Reviewed on May 9.

An overwhelming two-disc barrage from a relentless creativity that, more than 30 years on from its first public incarnation, is still to be considered avant garde. I’m not sure planet earth realizes how lucky it is to have Swans running around unleashing all this chaos, but I hope they don’t stop anytime soon. To be Kind was brutal and beautiful in like measure.

 

25. Alunah, Awakening the Forest

Released by Napalm Records. Reviewed Oct. 14.

I initially made this list without Alunah‘s excellent third album and Napalm Records, but when it came down to it, not having the UK four-piece on here haunted me to the point where I had to come back in and swap them out with somebody else. Just couldn’t live with myself for not giving this record its due, which, to be frank, I’m still not since it should be higher on the list than it is. At least it’s here though, so the mistake is somewhat corrected.

 

24. Greenleaf, Trails and Passes

Released by Small Stone Records. Reviewed on April 25.

The follow-up to Greenleaf‘s stellar 2012 outing Nest of Vipers (review here) brought lineup changes and stripped away many of the textural elements of the band’s sound — guest appearances, arrangement flourishes — in order to get back to a classic heavy rock sound and translate better to the stage. With guitarist Tommi Holappa‘s songwriting ever at the core, it would be unfair to call the process anything but a success.

 

23. Earth, Primitive and Deadly

Released by Southern Lord Recordings. Reviewed on Sept. 9.

Most of the headlines went to the fact that Primitive and Deadly had vocals, where the generally-instrumental Earth had avoided singers for 18 years prior, but even putting aside Mark Lanegan and Rabi Shabeen Qazi, whose performance on “From the Zodiacal Light” was the high point of the record, presented Earth‘s always progressive tensions in a rawer, heavier production, and was a joy for longtime fans.

 

22. Ogre, The Last Neanderthal

Released by Minotauro Records. Reviewed on March 10.

Six years and one breakup later, Portland, Maine, doom trio Ogre returned with The Last Neanderthal, neither afraid to revel in Sabbathian traditionalism or rock out a more upbeat cut like opener “Nine Princes in Amber.” For bassist/vocalist Ed Cunningham, guitarist Ross Markonish and drummer Will Broadbent, it was a welcome resurgence of pretense-free heavy riffs and grooves.

 

21. The Wounded Kings, Consolamentum

Released by Candlelight Records. Reviewed on Jan. 30.

Of course, at the time we didn’t know it would be the final outing from this lineup of UK doomers The Wounded Kings, whose guitarist/founder Steve Mills has now reunited with original vocalist George Birch, but Consolamentum was a hell of a closing statement anyway for this era of the band, showcasing their murky, increasingly progressive style still waiting for wider appreciation.

 

20. Floor, Oblation

Released by Season of Mist. Reviewed on April 22.

Wasn’t sure where to put Floor‘s reunion offering, Oblation, on this list at first, since I kind of fell off listening to it as the year went on, but I’ve gone back to it over the last couple weeks and it has held up to the revisit, whether it’s songs like the extended “Sign of Aeth” or shorter, catchy pummelers like “Rocinante” or “War Party.” Floor‘s 2002 self-titled holds an untouchable legacy in heavy rock, but I think the years will prove Oblation a worthy successor. Nobody knew what they had with Floor at the time either.

 

19. Druglord, Enter Venus

Released by STB Records. Reviewed on Feb. 14.

Little on 2011’s Motherfucker Rising (review here) or their 2010 demo (review here) prepared for the kind of assault that Druglord‘s Enter Venus brought to bear. Four stomp-laden slabs of tectonic crash and distortion, vocals buried under and calling up from the amp-bred fog. The Virginian trio were in and out on the 27-minute 12″ release, but had enough heavy for a record twice as long, and the tinges of darkened psychedelia made their songs like a lurking presence just on the edge of consciousness, a threat waiting to be unleashed.

 

18. Ararat, Cabalgata Hacia la Luz

Released by Oui Oui Records. Reviewed on April 4.

For the sheer variety of Ararat‘s third album in rockers like “Nicotina y Destrucción,” “El Hijo de Ignacio,” the experimentalism of “El Arca” and the piano-driven “Los Viajes” and the acoustic closer “Atalayah,” and the assured, flowing manner in which the Argentina trio pulled it all off, Cabalgata Hacia la Luz should be higher on this list than it is. Part of that might be my frustration at my apparent inability to buy a copy, but don’t let that take away from the quality of the material here, which is wonderfully chaotic, memorable and engaging, rushing in some places and stopping to weep in others.

 

17. Radio Moscow, Magical Dirt

Released by Alive Naturalsound. Reviewed on May 29.

You won’t hear me deny that Radio Moscow‘s primary impact is as a live band, but their fifth album, Magical Dirt, managed to bring forth much of their psychedelic blues presence in “Death of a Queen,” “Before it Burns” and “Gypsy Fast Woman,” the blinding rhythmic turns and wah-soaked guitar supremacy of Parker Griggs front and center throughout. Together with bassist Anthony Meier (also Sacri Monti) and drummer Paul Marrone (also Astra and Psicomagia), Radio Moscow are hitting their stride as one of heavy rock’s most powerful power trios. One never knows what to expect, but hopefully they keep going the way they are.

 

16. Apostle of Solitude, Of Woe and Wounds

Released by Cruz del Sur. Reviewed on Nov. 6.

Four years isn’t the longest time I’ve ever waited for a record to come out, but in the case of Indianapolis’ Apostle of Solitude, it felt like an especially long stretch. Their third full-length and first for Cruz del Sur, Of Woe and Wounds followed the anticipation-building Demo 2012 (review here) and a couple splits and brought aboard bassist Dan Dividson and guitarist/vocalist Steve Janiak (also Devil to Pay), who fit well with drummer Corey Webb and guitarist/vocalist Chuck Brown to result in a payoff worthy and indicative of the time that went into its making. Hands down one of the finest acts in American doom.

 

15. Stubb, Cry of the Ocean

Released by Ripple Music. Reviewed on Nov. 24.

Stubb‘s second long-player, also their debut on Ripple, gets a nod for the sense of progression it brought in answering the potential of the trio’s 2012 self-titled debut (review here), guitarist/vocalist Jack Dickinson, bassist Peter Holland and new drummer Tom Fyfe expanding the scope to include more heavy psych influence and soul along with the fuzz riffs and steady rolling while giving no ground in terms of the level of craft at work. Cry of the Ocean has become one of those albums where all I have to do is look at a title, be it “Cry of the Ocean Pt. I” or “Sail Forever” or “Heartbreaker,” and the song is immediately stuck in my head. With these tracks, that’s not at all a complaint.

 

14. Brant Bjork and the Low Desert Punk Band, Black Power Flower

Released by Napalm Records. Reviewed on Nov. 10.

Brant Bjork has worn many hats, literal and figurative, over the years, whether it’s drummer in Kyuss or Fu Manchu, producer, solo artist or bandleader. With Brant Bjork and the Low Desert Punk Band, he steps once again into the latter role, and with guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, presents not only on his heaviest record to date, but what could easily begin a sustainable full-band progression that can go just about anywhere his songwriting wants to take it. “Stokely up Now,” “That’s a Fact Jack,” “Controllers Denied” and “Boogie Woogie on Your Brain” made for some of 2014’s best in desert rock, and Black Power Flower was an stellar return for Bjork to his “solo” work.

 

13. Dwellers, Pagan Fruit

Released by Small Stone. Reviewed on May 22.

An earlier version of this list had Pagan Fruit at a lower number, but I couldn’t live with it not being closer to the top 10. Salt Lake City’s Dwellers pushed deeper into laid back psych and blues on their second album, and in doing so, crafted an atmosphere entirely their own. From “Creature Comfort” down to “Call of the Hollowed Horn,” with triumphs along the way like “Rare Eagle,” “Totem Crawler” (“Ohh, my queen… To whom, I crawl…) and “Son of Raven,” Pagan Fruit became a staple of my 2014, building off their 2012 debut, Good Morning Harakiri (review here), but presenting their stylistic growth with a confidence and poise that can only come from a band who’ve figured out what they want to be doing and how they want to do it. Front to back, Pagan Fruit sounds like an arrival.

 

12. The Golden Grass, The Golden Grass

Released by Svart Records. Reviewed on March 25.

What made Brooklyn trio The Golden Grass‘ self-titled debut such a special released wasn’t just that it was heavy, or that the tracks were catchy, or that guitarist Michael Rafalowich and drummer Adam Kriney could harmonize over Joe Noval‘s warm-toned basslines. That was all great, don’t get me wrong, but what really stood out about The Golden Grass was its irony-free positivity, the way it was able to capture an upbeat, sunshiny feel without having to smirk about it on the other side of its mouth. It was self-aware, to be sure — knew what it was doing — but the way I see it, consciousness only makes the stylistic choices more impressive. Add to that the nuance they brought to ’70s revivalism, and all that stuff about catchiness and the harmonies, and there just wasn’t a level on which the album didn’t work.

 

11. The Well, Samsara

Released by RidingEasy Records. Reviewed on Sept. 22.

My appreciation continues to grow for The Well‘s Samsara, which successfully pulled together influences from garage doom and heavy psychedelia while crafting an identity for the Austin, Texas, three-piece at once raw and melodically accomplished, guitarist Ian Graham and bassist Lisa Alley sharing vocals to classic effect on “Refuge” while otherwise trading off lead position to bolster variety in the material. The high point might’ve been the eight-minute “Eternal Well,” on which Graham, Alley and drummer Jason Sullivvan conjured some of their grooviest demons, but the hooks of “Mortal Bones,” “Trespass” and the attitude-laced “Dragon Snort” were no less engaging. One of many strong releases from their label this year — Slow Season, The Picturebooks, etc. — they seemed to come ready to serve notice of a stylistic movement underway.

 

10. Montibus Communitas, The Pilgrim to the Absolute

Released by Beyond Beyond is Beyond. Reviewed on Dec. 4.

Peruvian psych adventurers Montibus Communitas more or less blew my mind when I heard their late-2013 offering, Harvest Times earlier this year, and the narrative, conceptual 2014 release, The Pilgrim to the Absolute, is even more of an achievement in its portrayal of improvised exploration, sonic ritualism and open creativity. The weaving of longer pieces against shorter ones with the various steps along the path as presented in the titles, some journeying, some arriving, some descriptive, almost all accompanied by nature in one form or another, gives The Pilgrim to the Absolute an almost impressionistic quality, so that even as you listen to it, you engage it as much as it carries you along its vibrant, breathtaking progression en route to the closing title-track, which is a destination every bit worthy of the journey. This is the most recently reviewed inclusion on this list, but Montibus Communitas‘ latest readily earns its place in the top 10. It is unique in its surroundings.

 

9. Fu Manchu, Gigantoid

Released by At the Dojo Records. Reviewed on May 14.

Looking back at the last two Fu Manchu records, 2007’s We Must Obey and 2009’s Signs of Infinite Power, it seemed reasonable to expect the groundbreaking SoCal fuzz foursome to put out another collection of big-sounding riffs in a big-sounding production. Nothing to complain about, but probably not a landmark. By going the other way completely — stripping their buzzed-out riffing down to its punkish core thanks in no small part to recording with Moab‘s Andrew Giacumakis — Fu Manchu served up a raw reminder both of where they came from and how top notch their songwriting remains. Reissuing their earliest work and being on their own label might’ve had something to do with it, but whatever it was, the 35 minutes of Gigantoid was as efficient a heavy rock outing as one could hope from an already legendary band, whether it was the hook-prone opening salvo of “Dimension Shifter,” “Invaders on My Back,” “Anxiety Reducer” and “Radio Source Sagittarius” or the righteous ending jam “The Last Question.”

 

8. The Skull, For Those Which are Asleep

Released by Tee Pee Records. Reviewed on Nov. 5.

Given the origins of The Skull — ex-Trouble members Eric Wagner, Jeff “Oly” Olson and Ron Holzner joining with Lothar Keller and a series of other guitarists, finally Matt Goldsborough, working essentially as a tribute band to their former outfit — I think not only did the quality of the material and performance on For Those Which are Asleep surprise, as well as the classically doomed feel that resonates throughout the album, but the sheer heartfelt nature of songs like “Sick of it All,” “Send Judas Down” and the title-track itself. This wasn’t a cynical attempt to make a go of an already set legacy. It was an expression of appreciation both for what they accomplished as Trouble and a desire to continue that work. The Skull‘s whole thing has been that they’re “more Trouble than Trouble,” and in their lineup that’s been true since they brought Olson on board. For Those Which are Asleep demonstrated that the classic spirit of that band is alive and well, its address has just changed. Moreover, it’s the beginning of a new progression for that spirit, and I hope it continues.

 

7. Blood Farmers, Headless Eyes

Self-released on CD, LP on PATAC Records. Reviewed on March 24.

Nineteen years after releasing their self-titled debut, New York’s Blood Farmers contended for 2014’s comeback of the year with their sophomore outing, Headless Eyes — a morose, horror-obsessed six-track collection that on “Night of the Sorcerers” owed as much to Goblin as to Sabbath. The closing cover of David Hess‘ theme from The Last House on the Left, “The Road Leads to Nowhere,” was a late bit of melodic flourish to add depth, but how could the highlight be anything other than the 10-minute title-track itself, with its samples from the 1971 horror flick The Headless Eyes, bassist Eli Brown in a call and response with lyrics comprised of lines directly taken from the movie? That after playing shows the last several years, Blood Farmers managed to get a record out was impressive enough. That Headless Eyes turned out to be the year’s best traditional doom release was an entirely different level of surprise. I wouldn’t hold my breath waiting for their third, but Brown, guitarist David Szulkin and drummer Tad Leger gave plenty to chew on with Blood Farmers‘ second. It was better than would’ve been fair to expect.

 

6. Lo-Pan, Colossus

Released by Small Stone. Reviewed on Oct. 7.

A lot of what you need to know about Lo-Pan‘s fourth album you learn in the first five seconds of opener “Regulus.” There’s no fancy intro, no time wasted, nothing to take away from the directness of the song itself. Tones are crisp — the verse is already underway — and guitar, bass and drums are laser-focused in their forward movement. Even when vocalist Jeff Martin enters the song, roughly six seconds later, his arrival comes with no indulgence, no pomp. Colossus is easily Lo-Pan‘s most immediate work to date, and throughout, Martin, guitarist Brian Fristoe (since replaced by Adrian Zambrano), bassist Scott Thompson and drummer Jesse Bartz retain that focus no matter where the material takes them, delivering a clinic in how to kick as much ass as possible at any given moment on cuts like “Marathon Man” and “Eastern Seas,” or even bringing in guest vocalist Jason Alexander Byers, who also designed the album cover, for a spot on “Vox.” They had a hard task in following up 2011’s Salvador (review here), but the Columbus, Ohio, unit stood up to the challenge and met it and everyone else head-on.

 

5a. All Them Witches, Lightning at the Door

Self-released. Reviewed on Sept. 25.

What to do with All Them Witches‘ Lightning at the Door? The Nashville four-piece released the album last fall digitally, but it wasn’t until this September that it saw a physical manifestation. In fact, if you go back, it was included on the Top 20 of 2013 as well. Which is the release date? I don’t know. What I know is that in terms of the sheer amount of time spent listening, I put on Lightning at the Door more than any other record this year. From where I sit, that alone gets it a place in the top five. Yeah, it might be a cop-out to do a “5a,” but sometimes exceptions have to be made, and All Them Witches have proved to be nothing if not exceptional in their still relatively brief, jam-laden history, the psych-blues dynamic between bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, Fender Rhodes specialist Allan van Cleave and drummer Robby Staebler pushing them quickly to the fore of American heavy rock’s innovators, their natural, improv-sounding material feeling brazen and exploratory while reshaping the elements of genre to suit their needs. One can only see this dynamic developing further as they continue to grow as a live band, so Lightning at the Door may just be the start, and that’s perhaps most exciting of all.

 

5. Witch Mountain, Mobile of Angels

Released by Profound Lore. Reviewed on Aug. 20.

A beautiful, stunning work made even more powerful by the honesty driving it. Portland, Oregon’s Witch Mountain completed a trilogy with the Billy Anderson-produced Mobile of Angels that brought about some of the best doom of this young decade, their 2011 return from a years-long hiatus, South of Salem (review here) serving as the foundation for a stylistic progression that continued on the following year’s Cauldron of the Wild (review here) and onto Mobile of Angels itself as the four-piece’s most accomplished album to date. The reason it feels like such a concluding chapter is because of the departure of vocalist Uta Plotkin, whose voice helped establish Witch Mountain both on stage and in the studio, leaving founders Rob Wrong (guitar) and Nathan Carson (drums) with the sizable task of finding a replacement. That situation will be what it will be, but Mobile of Angels remains a gorgeous, lonely testament. Plotkin gives a landmark performance on “Can’t Settle” and “The Shape Truth Takes,” which in the context of what was happening in Witch Mountain at the time ring with a truth that’s rare in or out of doom, and she seems to have left the band just as they were hitting their finest hour. So it goes.

 

4. Conan, Blood Eagle

Released by Napalm Records. Reviewed on Jan. 22.

In all of heavy, there is no assault so severe as Conan‘s. With their second full-length and debut on Napalm Records, the UK trio solidified the two sides of the preceding 2012 outing, Monnos (review here), in constructing material that, fast or slow, short or long, retained an epic feel melded with their ungodly tonality and memorable songwriting. Their first recording at guitarist/vocalist Jon Davis‘ Skyhammer Studio, it affirmed Conan‘s will to conquer in its two massive bookends, “Crown of Talons” and “Altar of Grief,” and in the High on Fire-worthy gallop of “Foehammer” — a bludgeon commandingly wielded by Davis, bassist/vocalist Phil Coumbe and drummer Paul O’Neil, the latter to of whom have since left the band to be replaced by longtime-producer Chris Fielding and Rich Lewis, respectively. What effect the changes might have on the band — except apparently more touring, which isn’t a bad thing — have yet to be seen, but Conan are already in the process of writing a follow-up to Blood Eagle, so it doesn’t seem like it’ll be all that long until we find out. With Davis still steering the band in songwriting and overall direction, one severely doubts they’ll be fixing what obviously isn’t broken anytime soon. None heavier.

 

3. Wo Fat, The Conjuring

Released by Small Stone Records. Reviewed on June 18.

Dallas riff-rockers Wo Fat have grown steadily over the course of their five albums, from the nascent heavy roll of 2006’s The Gathering Dark, to the hooks of 2008’s Psychedelonaut (review here), the jamming that started to surface on 2011’s Noche del Chupacabra (review here) and was pushed further on 2012’s The Black Code (review here). And their approach has been as steady as the frequency of their releases. In making The Conjuring, the three-piece were simply engaging the next step in their progression, but the material on the five-track/48-minute outing goes further than just that. Putting aside (momentarily) the 17-minute closer “Dreamwalker,” the other cuts, “The Conjuring,” “Read the Omens,” “Pale Rider from the Ice” and “Beggar’s Bargain” each found a place for themselves in pulling together jammed-sounding elements with a memorable construction, and when guitarist/vocalist Kent Stump, bassist Tim Wilson and drummer Michael Walter did kick into “Dreamwalker,” they hit on not only their longest piece yet, but their most accomplished showcase of the chemistry that has developed between them. That song is a beast unto itself, but as has been the case with Wo Fat each time out so far in their career, there’s nothing on The Conjuring to give the impression the band can’t or won’t continue to keep going on the path that’s worked so well for them on this point. They’ve spent the last eight years on the right track and have yet to waiver. The Conjuring should be played at top volume for anyone who contends there’s no life left in heavy rock and roll.

 

2. Mars Red Sky, Stranded in Arcadia

Released by Listenable Records. Reviewed on March 11.

Mars Red Sky‘s second LP and first for Listenable, Stranded in Arcadia was originally supposed to be recorded in the California desert, but visa problems kept the French trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Matgaz in Brazil, where they’d previously been touring. Thus, “stranded in Arcadia,” which is basically another way of saying “lost in paradise.” Can’t say the Bordeaux three-piece didn’t make the most of it, though. Songs like “The Light Beyond” and “Hovering Satellites” — not to mention the utter melodic bliss of “Join the Race” — took cues from their 2011 self-titled debut (review here) in terms of memorable songwriting and melodic craft, but added to that heft and tonal richness more of a psychedelic vibe, so that not only was there fuzz and wah, but a spacious world in which the songs took place. With Kinast on lead vocals, the sneaky boogie of “Holy Mondays” became a highlight, and the one-two swing ‘n’ stomp of “Circles” and “Seen a Ghost” were a perfect demonstration by the band of the various sides of their sound, particularly following after the dreamy instrumental “Arcadia,” an echoing jam distinguished by Pras‘ wistful guitar lead and coming before the closing “Beyond the Light,” which reprises the opener’s resonant unfolding. It probably wasn’t the record they intended to make, but Stranded in Arcadia became one of my go-to albums for 2014, and like the best of any given year’s output, I’ve no doubt it will transcend the passage of time and continue to deliver for years to come. Hell, I was barely done with the debut when this one came out.

 

1. YOB, Clearing the Path to Ascend

Released by Neurot Recordings. Reviewed on Sept. 3.

“It’s time to wake up.”

Can’t imagine this is any great surprise. Not only did Clearing the Path to Ascend — YOB‘s seventh album and first for Neurot — produce my pick for song of the year in its sprawling, emotionally weighted 18-minute closer, “Marrow,” but in the three full-lengths the Eugene, Oregon, trio of drummer Travis Foster, bassist Aaron Rieseberg and guitarist/vocalist Mike Scheidt have released since the latter reformed the band after breaking it up following 2005’s The Unreal Never Lived, all three have been my album of the year. The Great Cessation was in 2009, and Atma was in 2011. Consistency aside, I’ll point out specifically that each of the same three records has earned that position, perhaps Clearing the Path to Ascend most of all for its progressive feel, moving past genre even at its most raging moment, second cut “Nothing to Win,” the chorus of which proved that among everything else YOB could be, they could be anthemic. The cosmic, spiritual questing that has always been present in their songs, that feeling of searching, showed up in opener “In Our Blood,” but even there, it was evident YOB were pushing themselves beyond what they’ve done before, rewriting their own formulas incorporating lessons from their past in among their other points of inspiration. “Unmask the Spectre” could have easily been an album closer itself, with its patient exploration and feverishly intense payoff, but with the melodic progressivism of “Marrow” and the soul poured into every second of that track, every verse and chorus, solo and build — including the Hammond added to the last of them by producer Billy Barnett — YOB created a landmark both for themselves and the increasing many working under their influence. I’ve said on several occasions (bordering on “many” at this point) that YOB are a once-in-a-generation band, and it feels truer in thinking of Clearing the Path to Ascend than it ever has. Without a doubt, album of the year and then some.

 

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Honorable Mention

First, special note to Colour Haze‘s To the Highest Gods We Know. I’ve decided to count it as a 2015 release since the vinyl will be out in Spring, but otherwise surely it would earn a place on this list. Blackwolfgoat‘s Drone Maintenance also deserves note.

A few other honorable mentions:

Mothership, Mothership II — It’s hard to argue with a classic heavy rock power trio kicking ass. I won’t try.

Sólstafir, Ótta — They were originally on the list proper but had to be moved to make room for Alunah. I didn’t really get to know this record in 2014 anyway.

Ice Dragon, Seeds from a Dying Garden — Boston experimental psych/garage doomers continue to defy expectation. May their weirdness last forever and continue to produce material so satisfying.

Truckfighters, Universe — I thought at some point I’d go back to Universe again, but never really did. A problem with me more than the album.

Steak, Slab City — An impressive debut following two strong EPs.

Godflesh, A World Lit Only by Fire — I never got a review copy, so I never reviewed it. Its name is here because I’m a fan of the band and glad they’re back.

Thou, Heathen — Just recently purchased this and am only getting to know it, but a ridiculously strong album.

Corrosion of Conformity, IX — Everybody who gets a boner whenever Pepper Keenan is mentioned in connection with this band has missed out. This record and the self-titled kick ass.

Spidergawd, Spidergawd — Holy shit they’re over here! No they’re over there! No wait over here again! Oh my god I’ve just gone blind!

Monster Magnet, Milking the Stars — I wasn’t sure what to do with this since technically it’s not a new album, mostly reworked songs from the last one. I still listened to it a ton though, whatever it is.

Slomatics, Estron — Another one I’m just getting to know, but am very much digging.

Electric Wizard, Time to Die — People seem to do this thing where Electric Wizard puts out a record, everyone slathers over it for a few months and then spends the next two years talking about how it sucked. I guess I’ll be on the ground floor with not having been that into Time to Die.

Pallbearer, Foundations of Burden — Had to put their name somewhere on this list or someone would burn my house down. Album of the year for many.

The list goes on: Monolord, Comet Control, Mammatus, Triptykon, Eyehategod, Fever Dog, Moab, Karma to Burn, Atavismo, Grifter, 1000mods, Megaton Leviathan, Wovenhand, Mr. Peter Hayden, Primordial, and many more.

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Before I check out and go sit in a corner somewhere to try and rebuild brain power after this massive dump of a purge, I want to sincerely thank you for reading. If you check in regularly, or if you’ve never been to the site before, if you don’t give a crap about lists or if you’re gonna go listen to even one band on here, it’s fantastic to me. Thank you so much for all the support this site receives, for your comments, for sharing links, retweeting, whatever it is. I am a real person — I’m sitting on my couch at this very moment — and being able to do this and have people see it and be a part of it with me is unbelievable. I realize how fortunate I am. So thank you. Thank you.

Thank you.

More to come as we close out 2014. I’ll have a list of short/split/demo releases, a year-end podcast, a list of the best debuts, a round up of the best live shows I saw, as much more as time allows. Please stay tuned.

And again, thank you. If I left anyone off the list, I hope you’ll let me know in the comments and contribute your own top albums, however many there are, to the Readers Poll.

There was one ticket left when I arrived at the Great Scott in Allston to see Earth on tour supporting their new album, Primitive and Deadly. Much to the venue’s credit, the show was sold out but not oversold, Plenty warm up front, but in back by the end of the night one could claim some semblance of personal space if desired and still see Seattle’s droniest on stage. Doors were at nine with just two bands on the bill — Earth and fellow Seattleites King Dude opening — and it would be over an hour before anyone went on. So, if you were looking to drink or, say, stare at inane bullshit on your phone, there was plenty of time to do it.

In the studio, King Dude is a solo-project of Book of Black Earth guitarist/vocalist TJ Cowgill, but live he led a trio dressed in a look that might appear in a catalog as “Heartland Gestapo,” matching black button-downs with collar pins, black pants, short hair calling to mind Baptist righteousness and fascist regimentation as was likely the intent as they played in front of a backdrop of a painted-black and tattered American flag. The songs were Americana-derived neofolk, tales of fire and brimstone and drinking out of some alternate universe USA, guitar, keys, cello, drums. I’m not sure where Cowgill got his Southern accent, but he was enough of a charmer on stage to get two whiskys, one bought from the bar and a mini someone else had apparently snuck in. Well enough earned.

If you’ll permit me a minute to wax critical, one of the most respectable aspects of Earth‘s long tenure — their first demo surfaced in 1990 and but for a stretch between 1997-2003, they’ve been going since — is the relentlessness of their pursuit. Go see Earth for one album and then another and you’ll get two different shows. Guitarist Dylan Carlson, as the founder and driving force, has in the last decade built and continued to refine a legacy that seems no more solidified now than it was nine years ago when they released their landmark comeback full-length, Hex; Or Printing in the Infernal Method. It is a constant work in progress, shifting and remaking itself each time out. And perhaps because their music can be so raw — the repetition of riff cycles, steady drum plod of Adrienne Davies and the steadiness of their instrumental flow — that progression is all the more evocative and encompassing.

As they took the stage at the Great Scott, Carlson provided the news that Primitive and Deadly (review here), which came out Sept. 1 on Southern Lord, took only a week to become their highest-selling release to date. He thanked the crowd and then began the set with “Badger’s Bane” and “Even Hell has its Heroes” from that record, the album’s weightier production translating excellently live through Carlson‘s tone, Davies‘ swinging-arm march and the fills of bassist Don McGreevy, also of Master Musicians of Bukkake, who doesn’t play on the new full-length but took part in 2008’s The Bees Made Honey in the Lion’s Skull (discussed here) and had no trouble making the parts his own or fitting in alongside Davies as the rhythmic complement to Carlson‘s swaying guitar work.

Of course, a major distinguishing factor of Primitive and Deadly is the inclusion of vocals — Mark Lanegan and Rabi Shabeen Qazi (Rose Windows) guest — and while he had a mic on stage for thanking the crowd, they kept “There is a Serpent Coming” instrumental, that song coming out of “Old Black” from 2011’s Angels of Darkness, Demons of Light I (review here) and moving into “The Bees Made Honey in the Lion’s Skull,” which Carlson noted was their prior highest-seller and especially popular with female fans. I wondered how or why that might be the case as Carlson, Davies and McGreevy continued their droneout, the groove of the older material hitting not quite as heavy as that of the newer, reminding that whatever weight might reside in their tones or evocations, Earth is still far from being a “metal” band.

The new album’s opener, “Torn by the Fox of the Crescent Moon” served as the first installment of a closing duo with “Ouroboros is Broken” as the finisher, Carlson noting that they were the band’s newest and oldest songs, respectively. They paired together well, with the latter being somewhere between the reinvented textures of its appearance on 2007’s Hibernaculum EP and the original from 1991’s Extra-Capsular Extraction. Whatever version it was, it made a rolling cap on a set that didn’t so much celebrate the entire scope of Earth‘s career — at some point, particularly as they’re hinging on their 25th year, one imagines a retrospective live set of one form or another will happen — but emphasized the vitality of the work they’re doing now, their continued relevance and expanding influence. Given the expanse of time they’ve covered and the years and decades their growth has encompassed, it’s even easier to appreciate the restlessness underlying their evolution and the irony that so much of their reputation is for the stillness in their material. Still maybe, but never stagnant.

I had no line of sight to Davies, but there are a couple more pics after the jump. Thanks for reading.

Read more »

The headline for Earth‘s 10th album, Primitive and Deadly, will always be that it was the one where they brought back vocals. It’s inevitable. That was the story of the record even before anyone heard it. And not even just that there were vocals at all — Earth‘s last with them was 1996’s Pentastar: In the Style of Demons — but that they were bringing in guests to perform: Mark Lanegan of Screaming Trees, Queens of the Stone Age and The Mark Lanegan Band fame and Rabi Shabeen Qazi of psych rockers Rose Windows. This turnabout in methodology is made much more than novelty by the execution of the songs themselves, but even if one hasn’t heard them, interest is bound to be piqued. In fact, there’s much more to Primitive and Deadly (released, as ever, by Southern Lord) than the human voice. While sections of it are flat-out beautiful in their lush, tonally rich sprawl, guitarist/founder Dylan Carlson leading the way through the six tracks with his trademark slow rolling drone rock riffs as bassist Bill Herzog rumbles in time to Adrienne Davies‘ drums, it’s also Earth‘s heaviest offering in over 15 years and certainly since they made their return with 2005’s landmark Hex: Or Printing in the Infernal Method. That record has been the foundation point for their progression throughout the last decade, subsequent outings like 2008’s The Bees Made Honey in the Lion’s Skull, 2010’s reinterpretation of their earliest work, A Bureaucratic Desire for Extra-Capsular Extraction (review here), and the 2011/2012 improv two-parter, Angels of Darkness, Demons of Light I (review here) and II (review here), and on a certain level it is for Primitive and Deadly as well, but as the title seems to hint, there’s a wiping-the-slate happening across these six extended tracks/49 minutes that leans back to something rudimentary in Earth‘s sound. That’s not to say the album lacks ambience, just that the ambience feels like it’s punching you in the face — relatively speaking.

That’s true immediately on opener “Torn by the Fox of the Crescent Moon,” which crashes into its chugging central riff with a jarring immediacy. Primitive and Deadly is clearly structured for a 2LP, with two shorter songs on sides A and C and one longer song on sides B and D, but anywhere you go and from whatever angle you might want to approach it, the sound is much bigger than one might be used to from Earth. Herzog is a deep-toned bassist and the production — the album was recorded at various points with Mathias Schneeberger, Dave Catching (who assisted) and Randall Dunn (who also mixed and contributed Moog) — brings out a rawness in their sound that their most recent output seems to have pulled away from. If these songs are Earth hitting reset, they’re not by any means forgetting the lessons they’ve learned over the last 10 years, and their sound is as evocative and atmospheric as ever, even if given a more pointed direction with the inclusion of vocals, the first of which arrive from Lanegan on the revivalist themed “There is a Serpent Coming.” His gravelly voice is perfect for Pentecostal forebodings, and there are a couple awkward syllabic turns, but there’s no denying the pairing works. Lanegan is given two songs, side A’s “There is a Serpent Coming” and side C’s “Rooks across the Gate,” which as tracks two and five lead the way into and out of the meat of the album, and Qazi is given one, side B’s 11-minute “From the Zodiacal Light,” but it’s her cut that turns out to be the highlight of both the vocalized half (cleverly spread out through the tracklisting) and of Primitive and Deadly as a whole. Her voice fits the material more smoothly, and she rides the groove of the song — as quintessential Earth as Earth get — in such a way that as the listener, being carried along by it is inevitable. That’s not to mention the resonance of Qazi‘s voice itself, somewhere between breathy and masterful. Hers is the prevailing impression of the album, and she reminds us that the only element missing from Angels of Darkness, Demons of Light — which Carlson positioned as Earth‘s homage to classic psych-folk — was the human otherworldliness.

Late in “From the Zodiacal Light,” Carlson swirls out a psychedelic lead that presages some of what’s to come with side C’s “Even Hell Has its Heroes,” a slightly more gradual start to the second LP’s opener than appeared on the first. Two guest guitarists appear on Primitive and Deadly, Brett Netson and Jodie Cox. I don’t know which of them it might be having a blues jam over the 9:43 “Even Hell Has its Heroes,” and frankly, if you told me it was both I’d probably believe you as there are a number of different tones layered in particularly as the song approaches its midsection, but it’s as close to classic heavy rock as Earth has ever come. The slow progression maintained by Davies, Herzog and Carlson might be a dirge were it not for the extra guitar — a languid march is punctuated by well-mixed bell hits — but as it stands, “Even Hell Has its Heroes” is more glorious than mournful. It is complemented on side C by Lanegan‘s second appearance, “Rooks across the Gates,” a more subdued roller on which he offers a traditional sort of ballad storytelling amid rising tides of guitar and the steady rhythm. He appears for two verses to recount the tale and is gone again, an echo disappearing into a singularly hypnotic moment in the second half with undulating waves of amp noise rumbling out the conclusion on a fade. It seems by the time they get there that there can’t possibly be much for closer “Badgers Bane” to say that Earth haven’t already expressed at one point or another, but in addition to complementing “From the Zodiacal Light” on guitar, the closer also seems to be most tying Primitive and Deadly to Earth‘s modus of this past, productive decade, unfurling its 12:28 runtime patiently as always and continuing to find room to experiment as a long fadeout past the four-minute mark leads to an ambient midsection of vague echoes grounded only by Davies‘ drum march until the song eventually makes a return, shortly after seven minutes in, and carries through past the nine-minute mark, at which point the final chord is sustained into a section of noise and straight droning that closes out. In the final minutes, Earth demonstrate that not only are they willing at this point to most directly engage with their audience — i.e. by adding vocals — but also to continue to push their material well beyond the point of accessibility. It’s ultimately the blend of both that makes “Badgers Bane” such a fitting wrap for Primitive and Deadly, since it underscores the unceasing creative impulse at the heart of what Earth has done. Their influence has spread far and wide from their Seattle roots, but Earth have never stopped progressing or pushing themselves, and even more than who’s singing on what tracks, that’s what stands out about their 10th full-length.

Earth, “From the Zodiacal Light”

Earth on Thee Facebooks

Primitive and Deadly at Southern Lord

Right now, you’re probably saying to yourself, “Wait, what? These people are going to be on Earth‘s next record?” I don’t know. I doubt it. This is a wishlist. It goes like this:

Earth release their new album, Primitive and Deadly, Sept. 2 on Southern Lord Recordings (preorders are here). I’ll have a review up in the next week or two, but if you’ve ever listened to the massively-influential Seattle mainstays, you know they’ve been instrumental for the bulk of their run to date. For the first time, the new album brings in guest vocalists — the venerable Mark Lanegan (ex-Screaming Trees, etc.) and Rabia Shaheen Qazi (Rose Windows) — on a few choice selections. The results, as you’d expect and as you’ve probably heard by now, are stellar.

I had the record on just now and was daydreaming about what a new avenue Earth — founding guitarist Dylan Carlson, longtime drummer Adrienne Davies and bassist Bill Herzog — have opened for themselves. Of course, if time has proved anything, it’s that Earth work best following their own creative whims and drives, but it wasn’t long before I had a handful of voices I thought would work really well if they wanted to continue pursuing a partially vocalized approach.

Should you have a name to add, please feel free to leave a comment. Here’s who I came up with:

1. Ann Wilson

Okay, so maybe I’m breaking out the big guns right way, but how badass would Ann Fucking Wilson sound on an Earth track? Then and now, her voice is so powerful, moving and I just think she’d nail any part given to her and bring the spaciousness in Earth‘s signature drone-rock approach to an operatic level. I know she’s done most of her work in more traditional structures — Heart could be pretty out there, but still — but you can’t tell me she wouldn’t absolutely kill it in collaboration with her fellow Seattle-ites. Plus you might convince her to break out some flute, and that’s a bonus.

2. Marianne Faithfull

I admit this one’s kind of a reach, but one-time Rolling Stones collaborator Marianne Faithfull shares one thing in common with Earth‘s sound, and it’s a lasting resonance. Faithfull‘s voice can be so uplifting or so, so sad, and either side that she brought to Earth, it would work. It really would. It sounds really crazy, but I’m telling you straight up, it would absolutely work and be amazing, and you’d call me up or text me or whatever and like, “Dude, you were right, this is killer,” and then we’d get together and high-five about it, which would also be awesome.

3. Mark Lanegan

But wait, doesn’t Mark Lanegan already sing on Primitive and Deadly? Yeah, he does. It’s fucking great. They should do it again sometime.

4. Sera Timms

The former Black Math Horseman and current Ides of Gemini vocalist seems to carry an ethereal sensibility with her wherever she goes. Certainly that was the case on Field of the Host (review here), the 2013 debut outing from her solo-project Black Mare, and I’d say it holds up on Ides of Gemini‘s new one, Old World/New Wave (review here) as well. Timms does a lot of fascinating work with echoing effects and layering, and has a lot of experience in open structures and droning sounds, so even aside from the otherworldly folkishness of her approach, she seems like a natural fit.

5. Dylan Carlson

Stay with me on this. Yeah, he sang on 1996’s Pentastar: In the Style of Demons, but after almost 20 years of going the other way, Earth have switched it up and decided to incorporate singers. As the founder of the band, doesn’t Dylan Carlson deserve a say? I think he’s more than earned it, and I don’t even care if he doesn’t want to sing. Let him do a spoken word retelling of his grocery list, it doesn’t matter. It just seems to me that if this is something Earth are going to pursue for any amount of time going forward, it’s as worthwhile for them to look inward as outward in challenging themselves.

Earth‘s Primitive and Deadly is out Sept. 2 on Southern Lord, and they’ll begin a US tour with King Dude two days later (dates here). More info at the links.

Earth on Thee Facebooks

Primitive and Deadly preorders at Southern Lord

Southern Lord Recordings

Ever ones for hand-delivering their groundbreaking drone, Earth have announced that they’ll follow their extensive upcoming European tour in support of their 10th album, Primitive and Deadly, with a corresponding jaunt across the US beginning Sept. 4, just two days after the record is set to release on Southern Lord. I’ll be interested to see who winds up on tour with the band, considering some of the varied personnel said to show up in the material, but if they come even moderately close to capturing the sound of “From the Zodiacal Light,” which you can hear below, it’ll be a win. Actually, it’ll probably be a win anyway. It’s fucking Earth. Some bands you just have to trust know what they’re doing.

The PR wire has dates for your calendar-marking enjoyment:

EARTH Confirms US Tour Dates In Conjunction With Release Of Primitive And Deadly LP

With the next phase of EARTH’s ongoing evolution coming closer to actuality, as their tenth studio LP, Primitive And Deadly, is set to see North American release on September 2nd, the group announces the next phase of international touring in support of the album, in the form of a month-long US tour.

With the band’s treks through Japan, Australia and New Zealand behind them, and their trek into Europe set to begin late this month, EARTH will bring their new material to American fans. From September 4th, commencing in their hometown of Seattle, the new venture will see the band winding counter-clockwise around the entire perimeter of the country through October 3rd, the last show taking place in Boise, Idaho. With twenty-five performances confirmed, additional shows are expected to be added in the coming days. Direct support for EARTH on the entire trek will be provided by dark folk act, King Dude.

With Primitive And Deadly, for the first time in their diverse career, EARTH’s founding guitarist Dylan Carlson and long term cohort, drummer Adrienne Davies allow themselves to be a full-on rock band. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Primitive And Deadly also brings forth the band’s first vocal contributions since 1996’s Pentastar LP, and first in the band’s second incarnation, with guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows), who transform these thundering, organic songs into something approaching traditional pop structures. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California at Rancho de la Luna where EARTH recorded after hours of meditation on each track’s central theme. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (Sunn O))), Wolves In The Throne Room, Eagle Twin). Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock.

Preorders for Primitive And Deadly will be available in the next few days. Stand by for further live and album news transmissions from the EARTH family.

EARTH Tour Dates:
European Tour:
7/31/2014 Off Festival – Katowicw, Poland
8/01/2014 UT Connewitz – Leipzig, Germany
8/02/2014 Lido – Berlin, Germany
8/04/2014 Super Uho Festival – Sibenik, Croatia
8/05/2014 Arena – Vienna, Austria
8/07/2014 Schlacthof – Wiesbaden, Germany
8/08/2014 Bogen F – Zurich, Switzerland
8/09/2014 Point Ephemere – Paris, France
8/10/2014 Zuiderpershuis – Antwerp, Belgium
8/11/2014 Tivoli – Utrecht, Netherlands
8/13/2014 Whelans – Dublin, Ireland
8/14/2014 CCA – Glasgow, UK
8/15/2014 Gorilla – Manchester, UK
8/16/2014 Jabberwocky Festival – London, UK

US Tour w/ King Dude:
9/04/2014 Crocodile – Seattle, WA
9/06/2014 Shakedown – Bellingham, WA
9/07/2014 Doug Fir – Portland, OR
9/08/2014 Midtown Barfly – Sacramento, CA
9/09/2014 Catalyst Atrium – Santa Cruz, CA
9/10/2014 Bottom Of The Hill – San Fransisco, CA
9/11/2014 Hollywood Forever Cemetary – Los Angeles, CA
9/12/2014 SD Music Thing Fest – San Diego, CA
9/13/2014 Yucca Tap Room – Tempe, AZ
9/14/2014 Sister – Albequerque, NM
9/16/2014 Red 7 – Austin, TX
9/17/2014 Club Dada – Dallas, TX
9/18/2014 One Eyed Jacks – New Orleans, LA
9/19/2014 Drunken Unicorn – Atlanta, GA
9/20/2014 Kings Barcade – Raleigh, NC
9/21/2014 Rock N Roll Hotel – Washington, DC
9/23/2014 Great Scott – Allston, MA
9/24/2014 Saint Vitus – Brooklyn, NY
9/26/2014 Boot And Saddle – Philadelphia, PA
9/27/2014 Midpoint Music Fest – Cincinnati, OH
9/28/2014 Pygmalion, Music Fest – Urbana, IL
9/29/2014 Empty Bottle – Chicago, IL
9/30/2014 Record Bar – Kansas City, MO
10/01/2014 Larimer Lounge – Denver, CO
10/03/2014 Neurolux – Boise, ID

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Earth, “From the Zodiacal Light”

Before I even start, let’s get one thing out of the way. I want a new Sleep album too. My not including them on this list isn’t due to the fact that I don’t think a new Sleep album is a good idea, but just because I haven’t seen anything about it being recorded or released in the next five-plus months. If it hits on Jan. 1, 2015, I’ll be the happiest Baby New Year you ever saw, but that’s a different list altogether.

Ditto that Om and High on Fire. The latter were writing as of May, and I know Om did some recording way back in January, but I’ve yet to see solid word of new records at all, let alone before the end of the year. Either or both or all three may happen, but until I see some hint of it, all I can go on is the info I can find.

Seriously though, how badass would it be if all three put out albums before the New Year? That excitement is kind of what this list is about. Some of these records I’ve heard, but most I haven’t, so it’s just basic speculation about what I think could be some of the best releases in the next couple months. You’ll note that while there are plenty of dates TBA, nothing listed arrives in November, so as 2014 winds down, there’s bound to be even more quality stuff than appears here.

In fact, I struggled to take things out to get it down to 30. And it still goes to 31! I figured no one would mind. They’re numbered, but the list is in alphabetical order.

If I left something out you’re dying to hear, please let me know in the comments.

Thanks in advance for reading:

 

1. Alunah, TBA (Sept.)

Birmingham’s Alunah, like several others below, are a holdover from the Most Anticipated Albums list back at the start of the year. The difference between now and then is that, while its title still hasn’t been revealed so far as I know, their Napalm Records debut has been recorded, mixed and mastered, the latter by Tony Reed, the former by Greg Chandler of Esoteric, and given a September release date. Two years after Alunah made riffy doom sound easy on their sophomore outing, White Hoarhound (review here), I look forward to hearing how they’ve grown and shifted in their approach to warm-sounding tones and memorable hooks. They’ve set a pretty high standard for themselves. Alunah on Thee Facebooks, Napalm Records.

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2. Apostle of Solitude, Of Woe and Wounds (Oct.)

These guys. I don’t mind telling you it was a thrill when Indianapolis doomers Apostle of Solitude were announced as having signed to Cruz del Sur to release their third album, Of Woe and Wounds, this fall. Their second outing, 2010’s Last Sunrise (review here), didn’t get the attention it deserved, but the handful of songs they’ve made public since have shown much promise, and as the first Apostle of Solitude full-length to feature guitarist/vocalist Steve Janiak (also Devil to Pay) in harmony with guitarist/vocalist Chuck Brown — the band is completed by bassist Dan Davidson and drummer Corey Webb — this is definitely going to make for a doomly autumn. Apostle of Solitude on Thee Facebooks, Cruz del Sur Music.

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3. Blackwolfgoat, Drone Maintenance (Aug. 26)

Recorded late last year at Amps vs. Ohms in Boston, the third album from Maple Forum alum Blackwolfgoat — the prog-drone alter ego of guitarist Darryl Shepard (Milligram, Black Pyramid, The Scimitar, Roadsaw, etc.) — is the project’s most expansive outing yet, and it seems Shepard is moving more in a song-based direction, rather than some of the building loops of the past two offerings. Of course, there will be plenty of those as well, but watch out for some acoustic guitar, and deep-in-the-mix vocals, as they could easily hint of things to come. Or Darryl could turn it on its head and do a calypso record. Either way, I’m on board with no pretense of impartiality. Blackwolfgoat on Bandcamp, Small Stone’s Bandcamp.

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4. Blues Pills, Blues Pills (Aug. 5)

The much-heralded Swedish/French/American psych-blues conglomeration Blues Pills will make their self-titled debut (short review here) next month, and while it’s probably going to be a bigger deal in Europe than in the States — at least until Nuclear Blast brings them over here for a tour, then the country is going to go apeshit for them — the songwriting and soulful execution of their tracks justifies the hype. There’s a bit of retro posturing to what they do, some Graveyard shuffle (it feels inevitable at this point with a ’70s-influenced band), but the grooves are easy to dig into and the potential is basically limitless for where they want to go. It’s scary to keep in mind, but this is just the beginning. Blues Pills on Thee Facebooks, Nuclear Blast.

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5. Bongripper, Miserable (July 7)

You may notice something strange about the date above for a list of upcoming albums in that July 7 was yesterday. Well, Chicago’s Bongripper posted their new three-track full-length monster Miserable on their Bandcamp for stream and download ahead of the vinyl’s arrival, and it was just too righteous to leave out. Those seeking landmark riffing need look no further than the 19-minute centerpiece “Descent,” which meters out stomp enough that future “scientists” will study its footprint, and closer “Into Ruin” (28:25) is guaranteed to be the heaviest half-hour you’ll spend today. Miserable feels like a no-brainer, but maybe that’s just because Bongripper have such a propensity for pounding skulls into mush. Bongripper on Thee Facebooks, Miserable on Bandcamp.

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6. Botanist, VI: Flora (Aug. 11)

I feel like I missed a couple numbers from San Francisco-based environmentalist black metal unit Botanist along the way, but they’ll nonetheless issue VI: Flora on The Flenser next month, furthering their marriage of destruction and beauty and insistent percussive expression. The spaces Botanist — a one-man project from Robert Martinelli — create feel ritualistic without the dramatic posturing that pervades much of the genre, and sound, somewhere between raging and mournful, is hypnotic. Whatever your expectation might be, Martinelli seems pleased to use it to their advantage, and ultimately, defy it. Post-human, hammered dulcimer-laden black metal. It would be harder for Botanist to not be unique. Botanist on Thee Facebooks, The Flenser.

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7. Brant Bjork, TBA (TBA)

When Brant Bjork‘s next album might show up, I don’t know. I know he’s signed to Napalm, and I know the photo above was snapped as he finished some vocals before going on tour with his Low Desert Punk band that includes guitarist Bubba DuPree, bassist Dave Dinsmore and drummer Tony Tornay, but whether or not the album they made is the funk-inspired Jakoozi that’s been in the offing for a while, or another collection of songs, and if Napalm will get it out before the end of the year remain a mystery. I do find it interesting that for his first “solo” outing post-Vista Chino (that band being on hiatus), Bjork has assembled a new band to work with rather than record multiple instruments himself, but no matter who’s involved, when it’s Brant Bjork writing the songs, it’s gonna be high rock from the low desert. Can’t wait to dig into whatever comes. Brant Bjork on Thee Facebooks, Napalm Records.

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8. Earth, Primitive and Deadly (Sept.)

The headline for Earth‘s new album is it’s the one where they experimented with vocalists. And hey, if you’re going to toy around with the idea, you might as well get Mark Lanegan involved. The former Screaming Trees frontman is one of several singers appearing on Primitive and Deadly, due in September on Southern Lord, and it would appear that Earth‘s sound — always evolving, always somehow changing — is about to take another considerable turn. Fortunately, the Seattle band, led by guitarist Dylan Carlson and now approaching their 25th year, have long since proven worthy of trusting with their own direction. Earth will never be huge, by the simple nature of what they do, but their influence resounds and the quality of their output is unmatched. Earth on Thee Facebooks, Southern Lord Recordings.

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9. Electric Wizard, Time to Die (Sept.)

“Wake up baby/It’s time to die.” So goes the title-track hook of Electric Wizard‘s new album and Spinefarm Records debut, Time to Die. As ever, it’s simple, hateful, drenched-in-fuzz misanthropy, and Electric Wizard revel in it accordingly. Their witchcult continues to grow in their native UK and abroad, and while their last two records have divided some listeners, they’ve invariably gained more ground than they’ve lost. A legal dispute with Rise Above finds them on the new label, and if there’s even the slightest chance that change will bring them to the US for a tour, I’ll take it. Expect 66 minutes of glorious filth. Electric Wizard on Thee Facebooks, Spinefarm Records.

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10. Fever Dog, Second Wind (TBA)

Palm Desert youngsters Fever Dog have been kicking around the last few years finding their sound in varying elements of heavy rock and psychedelic experimentation. Most recently, they impressed with the single “Iroquois” (review here) taken from their new album Second Wind, and in looking forward to the full-length, I’m eager to learn how their style has solidified and what sort of vibes they conjure over its course. They’ve shown plenty of propensity for jamming in their prior work, so hopefully there’s a bit of that on hand as well. I’ve said before they’re a trio of marked potential, and nothing I’ve yet heard has dissuaded me from that impression. Fever Dog on Thee Facebooks, Fever Dog on Bandcamp.

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11. Goat, Commune (Sept. 23)

Somehow, a band from Sweden who dress up in tribal costumes (problematic) and play Afrobeat psychedelia became a very, very big deal. I couldn’t explain it if I wanted to, and I won’t try, but I know that when Sub Pop releases Goat‘s second album, Commune, it’s going to be to a flurry of hype and heaps of critical fawning. It would be tempting to call Goat a novelty act, but their 2012 debut, World Music (discussed here), showcased a legitimately creative musical approach to go with the visual aspects of their presentation, and I find the fact that I have no idea what to expect from Commune to be refreshing. Goat on Thee Facebooks, Sub Pop Records.

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12. Grifter, The Return of the Bearded Brethren (Aug. 11)

UK heavy rockers Grifter will make a welcome resurgence on Ripple Music with The Return of the Bearded Brethren, an album that builds on the straightforward, catchy sounds of their 2011 self-titled label debut (review here) and takes their infectiousness to new places lyrically, such as exploring issues of aging via an ode to Princess Leia from Star Wars. That particular brand of humor and is writ large on Grifter‘s second Ripple outing, and the trio set to work refining their take without losing the engaging feel of their self-titled. It feels like a long three years since that record hit, and I’ll be glad to have a follow-up in-hand. Grifter on Thee Facebooks, Ripple Music.

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13. Ice Dragon and Space Mushroom Fuzz, New Blue Horizon/A Peak into the Future (TBA)

Unclear at this point whether Boston outfits Ice Dragon and Space Mushroom Fuzz collaborated on New Blue Horizon/A Peak into the Future, or if it’s a split. Either way, the prolific acts make a sound pairing. Both are vehemently creative and exploratory, psychedelic and progressive each in their way, and if what’s presumably a single finds them working together, all the better, but even if not, new material from either is nothing to balk at, particularly when topped off by such gorgeous artwork. Neither act is ever long from putting something out, so to have them come together one way or another makes a weird brand of sense, which I’m relatively sure the songs will as well. Ice Dragon on Thee Facebooks, Space Mushroom Fuzz on Thee Facebooks.

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14. Ides of Gemini, Old World New Wave (Sept. 16)

Ides of Gemini‘s 2012 Neurot Recordings debut, Constantinople (discussed here), established the three-piece as freely inhabiting either side of the imaginary line between ambience and heaviness, J. Bennett and Kelly Johnston providing sometimes minimal, sometimes consuming foundations for vocalist Sera Timms (ex-Black Math Horseman, also Black Mare) to cast ethereal melodies. What Old World New Wave will hold sound-wise, I don’t yet know, but Ides of Gemini‘s otherworldly resonance and ultra-patient approach makes it well worth finding out. Ides of Gemini on Thee Facebooks, Neurot Recordings.

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15. John Gallow, Violet Dreams (Aug. 4)

Frontman of Blizaro and Orodruin guitarist John James Gallo adds a ‘w’ to his last name and steps out solo on the I, Voidhanger Records release, Violet Dreams, the title hinting at some of his on-his-sleeve affinity for Italian psych-doom master Paul Chain and Swedish legends Candlemass. Gallo‘s work in Blizaro has a tendency to lean toward the progressive and cinematic, but as John Gallow, the focus is more on classic doom riffing and darkened metallurgy. As one would expect, he’s well in his element on the hour-long album, and I hope he decides to call the next one Ancient Theatre. Also note the incredible artwork of Costin Chioreanu. John Gallo on Thee Facebooks, I, Voidhanger Records.

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16. John Garcia, John Garcia (Aug. 5)

A long-discussed solo debut for the former Kyuss frontman following a stint alongside Brant Bjork in Vista Chino, John Garcia‘s John Garcia (review here) finds the singer right in his comfort zone, topping desert rock riffs with his trademark guttural vocals. To be perfectly honest, I’m not sure I’d trade a second Vista Chino outing for it if given the choice — that band seemed to be on course for a sound of its own, separate from Kyuss‘ legacy, and that struck me as worth pursuing — but these songs have a similar enough production style that it’s easy to think of the one as an offshoot of the other, and of course Garcia calls his shots well throughout. John Garcia on Thee Facebooks, Napalm Records.

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17. King Buffalo, TBA (TBA)

Including King Buffalo here was pretty speculative on my part, but I dig the Rochester, NY, outfit and didn’t want to leave the prospect of their STB Records debut long-player out. It probably won’t land until 2015 — the future! — but their demo (review here) still gets regular plays around these parts, and I’m very much looking forward to catching them with similarly-minded Nashville blues rockers All Them Witches when they tour together next month. Whatever King Buffalo‘s recording/release plans might be, they’re definitely one to keep an eye on in the back half of this year. King Buffalo on Thee Facebooks, STB Records.

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18. Kings Destroy, Kings Destroy (TBA)

Love these guys, love this band. I make no bones about it. Their third record, self-titled and produced as the last two were by Sanford Parker, is as close as they’ve yet come to capturing their live sound, and while they’ve yet to nail down an exact release date, they have a couple very cool tours in the works for this fall, including dates next month with Eric Wagner‘s Blackfinger, that will make a fitting lead-in to their best outing yet. I’ve heard this and had the chance to see some of the material live, and they’ve outdone themselves again, which, considering the esteem in which I continue to hold their 2013 sophomore full-length, A Time of Hunting, is really saying something. Kings Destroy on Thee Facebooks, War Crime Recordings.

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19. The Kings of Frog Island, V (Fall)

Easily one of the LPs I’m most eager to hear over the next few months, and specifically on vinyl. The Kings of Frog Island have shown themselves to be so dedicated to the format that their early-2013 album, IV (review here), was presented as two bundled sides even digitally. They recently gave a taste of what their fifth album will in-part hold via a video for “Sunburn” and I’m told more jamminess ensues elsewhere to complement that track’s easygoing flow and platter-ready hook. All the better. The Kings of Frog Island on Thee Facebooks, The Kings of Frog Island on YouTube.

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20. Lonely Kamel, Shit City (Sept. 9)

I’d be lying if I said part of my immediate interest in Oslo heavy rockers Lonely Kamel‘s fourth record wasn’t due to the cheeky title, but it’s been three years since the Napalm Records four-piece released their last album, Dust (track stream here), and as they’ve put in plenty of road-time, it doesn’t seem unreasonable to go into this time around with elevated anticipation. I’m not sure you could get away with calling an album Shit City unless you meant business. Got my fingers crossed that’s precisely the case with Lonely Kamel. Lonely Kamel on Thee Facebooks, Napalm Records.

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21. Lo-Pan, Colossus (Oct. 7)

Fucking a. Doing the research for this list was the first I’d seen the Jason Alexander Byers cover art for Lo-Pan‘s fourth album, Colossus, or its Oct. 7 Small Stone release date. I haven’t heard the tracks yet — they recorded in Brooklyn back in March, and while I got 2012’s Salvador (review here) pretty early, the Columbus four-piece seem to be keeping a tighter lid on the follow-up — and I can’t help but feel like that’s my loss. Judging by what I’ve heard of the material live, Lo-Pan have dug further into their individual brand of riff-led soulful heavy, and I’ve got a high wager that a few months from now, Lo-Pan‘s latest will make an appearance on another list. More to come. Lo-Pan on Thee Facebooks, Small Stone Records.

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22. Novembers Doom, Bled White (July 15)

One of doom’s most fascinating and largely ignored progressions is that of Chicago melancholists Novembers Doom, who, when they started out 25 years ago, did so largely as a death metal band, and then moved on to pioneer an American interpretation of what’s commonly thought of as European doom, until, over their last several records, as they’ve started to move back to a more extreme, double-kick-drummed style. Bled White, on The End Records, continues along this path, but especially in the cleaner vocals of frontman Paul Kuhr there remain shades of the morose emotionality that typified what’s now become their mid-period doom idolatry. Unheralded, Novembers Doom keep exploring deeper, darker terrain. Novembers Doom on Thee Facebooks, The End Records.

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23. Pallbearer, Foundations of Burden (Aug. 19)

Foundations of Burden is unquestionably among the second half of 2014’s most anticipated albums. Arkansas-based doom four-piece Pallbearer will mark its release with extensive European and North American tours, and where their 2012 Profound Lore debut, Sorrow and Extinction (review here), came out and caught listeners off-guard with its unabashed emotional core, their sophomore outing finds them positioned at the forefront of American doom. Already the hype machine is rolling out the red carpet for the Billy Anderson-produced Foundations of Burden, but no one can say these guys haven’t put their work in, and the record is indeed one to look forward to. Pallbearer on Thee Facebooks, Profound Lore Records.

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24. The Skull, TBA (TBA)

For The Skull to put out an album of original material is a unique challenge. Their earlier-2014 first single (stream/review here) found them standing up to it on the new song “Sometime Yesterday Mourning,” but at least half the point of the band since its inception has been to pay homage to legendary doomers Trouble, from whence vocalist Eric Wagner, bassist Ron Holzner and drummer Jeff “Oly” Olson come. For their Tee Pee Records debut full-length — yet untitled and hopefully out before 2015 — it’ll be most interesting to see how guitarists Matt Goldsborough (ex-Pentagram) and Lothar Keller (Sacred Dawn) rise to the occasion of building off some of doom metal’s most celebrated tones. Fingers crossed on this one. The Skull on Thee Facebooks, Tee Pee Records.

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25. Snail, Feral (TBA)

Nothing has been formally announced yet, but on Small Stone Records‘ website, they list Snail‘s Feral among their upcoming releases. It would make a suitable pairing, the West Coast riffers having previously worked with MeteorCity on their 2009 post-reunion outing, Blood (review here), prior to independently releasing 2012’s Terminus (review here), and Small Stone seems like a good home for their fourth overall record and return to form as a trio, which was their original incarnation before their original dissolution circa 1994. How they expand on the heavier crunch of Terminus remains even more a point of fascination, and surely their cult following will be glad to find out. I know I will. Snail on Thee Facebooks, Small Stone Records.

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26. Steak, Slab City (Sept. 9)

After two strong EPs in 2012’s Disastronaught (review here) and 2013’s best-title-ever-boasting Corned Beef Colossus (review here), it’s time for London stoner rockers Steak to step up their game for their Napalm Records debut full-length. The four-piece headed to the Californian desert to record Slab City, and so it’s fair to think some of that atmosphere may have worked its way into the material. Would be an awfully long way to go, otherwise. In either case, Steak have showcased considerable songwriting chops already, now it’s just a matter of sustaining it for a full album’s runtime and keeping enough variety in their approach. I have no doubt they’re ready for this next step. Steak on Thee Facebooks, Napalm Records.

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27. Stubb, Cry of the Ocean (TBA)

It is with simple, unabashed warm feelings that I look forward to hearing Cry of the Ocean, the second long-player and Ripple Music debut from UK riffers Stubb. They’ve traded out drummers since 2012’s self-titled (review here), bringing aboard Tom Fyfe with guitarist/vocalist Jack Dickinson and bassist/vocalist Peter Holland, but I’m excited to hear what changes and shifts in sound Cry of the Ocean might have in store to match its provocative title. Goes without saying the photo above isn’t the final artwork, but instead Tony Reed‘s mastering sheet from back in May when he worked on the tracks. No solid release date yet, but hopefully soon. Stubb on Thee Facebooks, Ripple Music.

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28. Torche, TBA (TBA)

Torche‘s new album and Relapse Records debut was originally slated for the end of the summer. Given that no official word has come out about a title or anything like that and the members of the band have been busy with other projects, it seems unlikely as of now that they’ll hit that target, but after something of a break so frontman Steve Brooks could focus on the resurgent trio Floor, Torche are in fact getting going again, beginning with their first tour of Australia this fall. Maybe their LP will be out by the time they go and maybe it won’t, but word on the street is that whenever the thing arrives, it’s gonna be heavy, which I have no problem believing. Torche on Thee Facebooks, Relapse Records.

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29. The Well, Monomyth (Late Summer)

I’ve been waiting since the March announcement that Austin trio The Well signed with RidingEasy Records for further word of their debut full-length, Monomyth (pretty sure that’s not the cover above), but thus far to no avail. Their 2012 single, Seven (review here), was a repeat-listen thriller, and anticipation abounds for what sort of psychedelic garage riffing they’ll conjure up for the album itself. It’s been a couple months at this point, and maybe it’ll be 2015 before Monomyth gets out, but screw it, a boy can hope. The Well on Thee Facebooks, RidingEasy Records.

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30. Witch Mountain, Mobile of Angels (Sept.)

Please note: The original cover art with this post was not final and has been replaced with the above band photo.

Portland, Oregon’s Witch Mountain have spent much of the two years following their 2012 third LP, Cauldron of the Wild (review here) on tour in the US and abroad, playing fests, headlining, supporting, but generally putting in a lot of time. As such, Mobile of Angels, which will be out on Svart in Europe and Profound Lore in North America, comes as the end product of a considerable touring cycle. Has all that gigging worn Witch Mountain into the ground, or will they rise above it with metal-loving doom-blues supremacy? They’ve got a vinyl-ready 38 minutes on tap for September and if they’ve ever been in a position to make their case, it’s now. Watch out for the killer sway in “Can’t Settle,” the title of which seems a fitting theme for the band. Witch Mountain on Thee Facebooks, Profound Lore Records.

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31. YOB, Clearing the Path to Ascend (Sept. 2)

Yet again — as was the case back in January — alphabetical order forces me to end with YOB, whose seventh full-length and Neurot debut might just be my most anticipated of all on this list. The recently-unveiled Orion Landau cover speaks to a brooding sentiment, and from the one time I was fortunate enough to hear it to-date, the four-track album from the Eugene, Oregon, natives corresponds to its visual side in being a more aggressive push than was 2011’s Atma (review here), but also more exploratory and contemplative in its approach. Now statesmen in American doom and the forebears of a cosmic-minded sound, YOB stand ready to showcase a creative progression that has yet to find its end point. YOB on Thee Facebooks, Neurot Recordings.

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Other Notable Mentions

Just a couple of these I’d be remiss if I didn’t note. Some were carried over from earlier this year, others just come up along the way. Not sure on all the release dates, but these are worth keeping an ear out for:

Acid King — Were listed in January, but their record has a Feb. 2015 release date.

Bright Curse — Second album recorded at Skyhammer Studios.

Brothers of the Sonic Cloth — My understanding is the album is done and they’re waiting to secure a label. Seems like a good occasion for Southern Lord to step forward, if not Profound Lore or Neurot.

Eggnogg — Not sure if it’s their full-length, You’re all Invited, or something else that’s coming, but whatever. More stoner-funk riffing needs to be had.

40 Watt Sun — There was some word of this early in the year, but nothing since.

Godflesh — Their first in 15 years, A World Lit Only by Fire, will be out Oct. 7. A fuckup not including them on the list proper.

It’s Not Night: It’s Space — Eagerly awaiting the Small Stone debut from this instrumental outfit, but it might be next year.

Karma to Burn — New album, Arch Stanton, out in August. I emailed for a review promo and never heard back. Always a great feeling.

Larman Clamor — Solo-project from Alexander von Wieding has a new one in the can, but I’m not sure on the release schedule.

Lowrider — They’re working on it, but don’t hold your breath to have it out by December.

The Machine — Kind of a slow year for Elektrohasch, but the new one from these Dutch fuzzers would be a nice way end up.

Nachtmystium — Century Media releases their final album, The World We Left Behind, on Aug. 5.

Orange Goblin — Seriously debated putting them on the list, since I know they’ve recorded, but they seem to be promoting a recent reissue of 2007’s Healing through Fire and their upcoming European tour with Saint Vitus rather than their new album, so unless news comes out about it like this week from Candlelight, I wouldn’t expect it until early in 2015.

Pink Floyd — Believe it when I see it, but I honestly couldn’t care less either way if I tried.

Ruby the Hatchet — Their full-length Tee Pee debut is due sometime in the next couple months.

Sun Voyager — Upstate NY youngsters had hinted at new recordings.

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Again, if I forgot anything — and I’m sure I did — please let me know in the comments.

Thanks for reading.

So you’ve got an Earth record with Mark Lanegan singing on it? Well fucking a. Yes, please. Sign me up.

Details of Earth‘s forthcoming long-player, Primitive and Deadly, come via the PR wire below. Southern Lord will have it out in September, and it seems like yet another fascinating turn in Earth‘s ongoing progression is in store.

More to come I’m sure:

EARTH Reveals Details Of Their Tenth Studio Recording, Primitive And Deadly

International Tour Dates Begin Next Week

EARTH’s career, like its music, has always been a slow, deliberate progression. Each record slightly removed from the last, a constant refinement of a singular vision. Dylan Carlson has remained focused throughout on coaxing moments of strange beauty and reflection from “the riff”. This elemental foundation of rock is refracted, in their earliest recordings, through the prism of sheer volume and feedbacking drone or, in the twin Angels Of Darkness, Demons Of Light set from 2011 and 2012, via a sparse unraveling take on folk.

With Primitive And Deadly, EARTH’s tenth studio collection, Carlson and long term cohort, drummer Adrienne Davies, manage to pull off the trick of completing an Ouroborean creative cycle, twenty-five years in the making, whilst exploring new directions in their music. For the first time in their diverse second act, they allow themselves to be a rock band, freed of adornment and embellishment. As much as Carlson’s guitar has always been the focal point of EARTH’s music, it’s been surrounded by consistently diverse instrumentation. Here the dialog between Carlson and Davies drumming remains pivotal, underpinned by the sympathetic bass of Bill Herzog (Sunn O))), Joel RL Phelps, Jesse Sykes and the Sweet Hereafter) and thickened by additional layers of guitar from Brett Netson (Built To Spill, Caustic Resin) and Jodie Cox (Narrows). Perhaps the largest left turn on Primitive And Deadly, though, is prominence of guest vocalists Mark Lanegan and Rabia Shaheen Qazi (Rose Windows) who transform the traditionally free ranging meditations of EARTH into something approaching traditional pop structures.

On “Rooks Across the Gates,” a song stylistically the closest to the folk inspired modality of Angels Of Darkness, Carlson stretches out into some of his most lyrical playing to date, creating an almost symbiotic relationship between his performance and the vocals of old friend Mark Lanegan. “From the Zodiacal Light,” meanwhile, takes the late 60s San Franciscan/freaked-out jazz-rock transcendence of The Bees Made Honey In The Lion’s Skull and quickly re-appropriates that sound into a musky torch song for the witching hour.

This contradictive tension between a band pushing itself ever-forward whilst surveying their history is reflected in the albums twin recording locales. The foundation of the record was laid in the mystic desert high lands of Joshua Tree, California where EARTH recorded hour after hour of meditations on each tracks central theme at Rancho de la Luna. Upon returning to Seattle these were edited, arranged and expanded upon at Avast with the help of long-term collaborator Randall Dunn (who was previously at the helm for the Hex, The Bees Made Honey In The Lions Skull and Hibernaculum sessions).

Thick, dense and overdriven, melodically rich and enveloping, Primitive And Deadly is EARTH reaffirming their position as a singular point in the history of rock. The album will see worldwide release this September, with a final street date to be announced shortly.

Prior to the album’s release, Southern Lord shall be reissuing Hex; Or Printing In The Infernal Method and The Bees Made Honey In The Lion’s Skull on LP on June 24th in North America.

EARTH shall embark on a run of international tours beginning next week, including June and July dates across Japan, New Zealand, Australia and Europe, followed by another European tour in support of Primitive And Deadly, with much more in store.

EARTH Tour Dates:
6/04/2014 Conpass – Osaka, Japan
6/05/2014 Earthdom – Tokyo, Japan
6/06/2014 Fever – Tokyo, Japan
6/12/2014 Chicks Hotel – Dunedin, New Zealand
6/13/2014 Bodega – Wellington, New Zealand
6/14/2014 Kings Arms – Auckland, New Zealand
6/17/2014 Crowbar – Brisbane, Australia
6/18/2014 Rosemount Hotel – Perth, Australia
6/19/2014 Manning Bar – Sydney, Australia
6/20/2014 Dark Mofo Festival – Hobart, Australia
6/21/2014 Hi-Fi – Melbourne, Australia
7/31/2014 Off Festival – Katowicw, Poland
8/01/2014 UT Connewitz – Leipzig, Germany
8/02/2014 Lido – Berlin, Germany
8/04/2014 Super Uho Festival – Sibenik, Hungary
8/05/2014 Arena – Vienna, Austria
8/07/2014 Schlacthof – Wiesbaden, Germany
8/08/2014 Bogen F – Zurich, Switzerland
8/09/2014 Point Ephemere – Paris, France
8/10/2014 Zuiderpershuis – Antwerp, Belgium
8/11/2014 Tivoli – Utrecht, Netherlands
8/13/2014 Whelans – Dublin, Ireland
8/14/2014 CCA – Glasgow, UK
8/15/2014 Gorilla – Manchester, UK
8/16/2014 Jabberwocky Festival – London, UK

SELECTED EARTH DISCOGRAPHY:
Extra Capsular Extraction (Sub Pop) 1991*
Earth 2: Special Low Frequency Version (Sub Pop) 1993
Phase 3: Thrones and Dominions (Sub Pop) 1995
Pentastar: In the Style of Demons (Sub Pop) 1996
Hex; Or Printing in the Infernal Method (Southern Lord) 2005
Hibernaculum (Southern Lord) 2007
Bees Made Honey in the Lions Skull (Southern Lord) 2008
Angels of Darkness, Demons of Light I (Southern Lord) 2011
Angels of Darkness, Demons of Light II (Southern Lord) 2012
Primitive and Deadly (Southern Lord) 2014
*re-issued as A Bureaucratic Desire for Extra Capsular Extraction (Southern Lord) 2010

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Earth, Angels of Darkness, Demons of Light II (2012)