The Obelisk Presents: THE BEST OF 2019

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

the obelisk best of 2019

[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

Make no mistake, my friends. 2019 was the year it went off the rails.

Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.

I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?

In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.

Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.

A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.

Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.

Here we go:

The Top 50 Albums of 2019

#50-31

50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays of Light
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English

Where to order What To Write A College Essay Abouts? Take a look here, the best research papers writing site will do your assignment from scratch on time. Notes legit research paper writing services with Expert Ph.D. Get help with your thesis today!!! Writers Special discounts, friendly customer service, money-back guarantee. : Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.

30. Sun Blood Stories, Haunt Yourself

sun blood stories haunt yourself

Self-released. Reviewed Sept. 6.

Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.

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

Church of the Cosmic Skull Everybodys Going to Die

Released by Septaphonic Records. Reviewed Dec. 10.

I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.

28. Devil to Pay, Forever, Never or Whenever

devil to pay forever never or whenever

Released by Ripple Music. Reviewed Nov. 4.

With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.

27. Howling Giant, The Space Between Worlds

howling giant the space between worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.

26. Saint Vitus, Saint Vitus

saint vitus saint vitus

Released by Season of Mist. Reviewed March 19.

I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?

25. Ealdor Bealu, Spirit of the Lonely Places

ealdor bealu spirit of the lonely places

Self-released. Reviewed July 10.

Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.

24. Yatra, Death Ritual

yatra death ritual

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

Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.

23. Ecstatic Vision, For the Masses

ecstatic vision for the masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.

22. Beastwars, IV

beastwars iv

Released by Destroy Records. Reviewed June 27.

But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.

21. Eternal Black, Slow Burn Suicide

eternal black slow burn suicide

Self-released. Reviewed June 7.

With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.

20. Candlemass, The Door to Doom

candlemass the door to doom

Released by Napalm Records. Reviewed Feb. 22.

It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan Längquist that made the album as a whole as powerful as it was. Pairing Längquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had Längquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.

19. Nebula, Holy Shit

nebula holy shit

Released by Heavy Psych Sounds. Reviewed June 13.

Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.

18. Valley of the Sun, Old Gods

valley of the sun old gods

Released by Fuzzorama Records. Reviewed May 21.

This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.

17. Kadavar, For the Dead Travel Fast

Kadavar For the Dead Travel Fast

Released by Nuclear Blast. Reviewed Oct. 28.

In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge à la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.

16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

mammoth weed wizard bastard yn ol i annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.

15. Magic Circle, Departed Souls

magic circle departed souls

Released by 20 Buck Spin. Reviewed April 3.

They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.

14. Spaceslug, Reign of the Orion

Spaceslug Reign of the Orion cover

Released by BSFD Records. Reviewed Nov. 22.

Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.

13. Green Lung, Woodland Rites

green lung woodland rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.

12. Lo-Pan, Subtle

lo-pan subtle

Released by Aqualamb Records. Reviewed May 9.

My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.

11. Roadsaw, Tinnitus the Night

roadsaw tinnitus the night

Released by Ripple Music. Reviewed June 12.

While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.

10. Worshipper, Light in the Wire

worshipper light in the wire

Released by Tee Pee Records. Reviewed April 24.

I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.

9. Solace, The Brink

solace the brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.

8. Brume, Rabbits

brume rabbits

Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.

Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.

7. Mars Red Sky, The Task Eternal

mars red sky the task eternal

Released by Listenable Records. Reviewed Sept. 20.

This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.

6. Kings Destroy, Fantasma Nera

Kings Destroy Fantasma Nera

Released by Svart Records. Reviewed March 15.

Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” on its own is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.

5. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.

4. Blackwater Holylight, Veils of Winter

blackwater holylight veils of winter

Released by RidingEasy Records. Reviewed Sept. 26.

Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.

3. Slomatics, Canyons

Slomatics Canyons

Released by Black Bow Records. Reviewed May 15.

Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.

2. Year of the Cobra, Ash and Dust

year of the cobra ash and dust

Released by Prophecy Productions. Reviewed Oct. 24.

My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.

2019 Album of the Year

1. Monolord, No Comfort

monolord no comfort

Released by Relapse Records. Reviewed Sept. 12.

Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s Vænir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.

The Top 50 Albums of 2019: Honorable Mention

You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.

Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:

Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, Híbrido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.

Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?

Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.

The Top 20 Debut Albums of 2019

green lung woodland rites

1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles

Hire the best see it here in Canada by EssayServiceWriter.com! High-quality. No plagiarism. Stricly Confidential. Prices start at just 15C$ per page. Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the Sün, Burning Gloom, Temple of the Fuzz Witch.

Buy essay online at professional service. Order custom research academic papers from the best trusted company. Just find a great help for Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to

The Top 20 Short Releases of 2019

geezer spiral fires

1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake

You can get the best http://tk2you.com/shop/?help-on-dissertation-50-shades-of-grey today. We offer the highest quality and lowest prices. Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.

personal statement for college samples http://futablog.com/cesar-chavez-essay/ Plagiarism Free essay of friendship thesis and dissertation addis ababa university Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.

Postwax

I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:

  • Elder, The Gold and Silver Sessions
  • Daxma, Ruins Upon Ruins
  • Besvärjelsen, Frost
  • Big Scenic Nowhere, Dying on the Mountain
  • Domkraft, Slow Fidelity
  • Lowrider, Refractions

And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.

Looking Ahead to 2020

A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:

1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.

Thank You

Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.

I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.

More to come.

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Live Review: HØSTSABBAT 2019 Night One in Oslo, Norway, 10.04.19

Posted in Reviews on October 5th, 2019 by JJ Koczan

hostsabbat 2019 poster square

Before Show

Well, the church is still beautiful, not that there was any doubt. The Thesis Clinic offers check over here in which our PhD thesis proofreaders in UK remove the spelling and grammatical errors from the document. Kulturkirken Jakob, secularized — because in Norway, state might occasionally trump church — with its high-ceiling grandeur and broad wood floor and walls lined with benches that at some point were pews. I’d been holed up in the hotel since yesterday afternoon, mostly sleeping, stumbling through the last of the Quarterly Review and reading about baseball, the news, Star Trek, and so on. Trying to be, essentially, as quiet as possible as though if I weren’t, I’d be politely asked to leave the country. The next two days would assure any quota for volume was met, anyhow.

Research Paper Qualitative Essay Writer Generator - Title Ebooks : Essay Writer Generator - Category : Kindle and eBooks PDF - Author : ~ unidentified Skraeckoedlan, which is now a word I’ve typed often enough that my phone knows it, were soundchecking on the altar stage when I walked in. The stage itself was higher and the fest added another bar down toward the front of the big room, which seems like a prudent move. Downstairs in the crypt, http://home.advanced-online.com/creative-writing-topics-for-college-students/ - 100% non-plagiarism guarantee of custom essays & papers. choose the service, and our experienced scholars will do your order Suma were prepping to kick off the first night of We are the Scholarship Essay Helps provider company. Our PhD writers provide academic writing services at cheap rates to students from US,UK and Høstsabbat 2019 with a noise soaked basement gig in what’s been also transformed into an art gallery. More visual art this year as well, and there’s a live painting event scheduled for tomorrow early that I’m going to see if I can make.

The only variable in that is finishing this review in time, to be honest.

But it’s only moments now until doors, then about an hour till the first band. People running around looking anxious, nervous, excited. Maybe it’s just me. That will I’m sure smooth out to a good energy as things get rolling and everyone ends up where they’re supposed to be. On the couch in back of the crypt, typing on my phone, that’s kind of where I feel like I am.

After Show

Wow. Well then. That was, uh, something special that I just saw. I feel like I was trying to pry open my jaw from the clenched position it’s been in for the last I don’t even know how long, and tonight was the prybar that finally did the job. Even the last 15 minutes or so of How follow site Reviews Can Help You Make Your Choice Students from all over the world struggle with college assignment writing. Ufomammut, that last shot of adrenaline. Wow.

The answer of course is obvious — the start — but I feel like I’m not even sure where to start on this one, or how I could hope to convey exactly what went down this evening and tonight in any meaningful way. Holy shit. You think you have a pretty good idea what you’re getting and then it just gets trampled on. I am lucky to be here.

I don’t know what else to tell you that doesn’t come down to that. Here’s a little bit of how it went:

SUMA

SUMA (Photo by JJ Koczan)

You know the thing about post-metal? It’s got rules. You have to headbang a certain way. You have to riff a certain way. You have to take it so seriously all the time. One of the many reasons to like Sweden’s this page - Making a custom dissertation means work through lots of stages Entrust your task to us and we will do our best for you SUMA is they very much seem to recognize that for the bullshit it is. Yeah, they’re post-metal, I guess, but with an inflection straight out of noise rock that makes them so much less strictly adherent to the tenets of the genre — any genre, really — and they’re all the more satisfying to watch because of it. I stood in back in the basement, closed my eyes and just let wave after crushing wave of riffs absolutely bury me in volume. What a start to the weekend. It was like scrubbing away all the bullshit of your existence, your work, your school, the petty dramas that make up your every day, and entering communion with something else. Something loud. Call it catharsis. Call it detox. I don’t really care. It has never been this easy to go site. It's also safe as well. We guarantee you 100% plagiarism-free content and confidentiality. SUMA set the tone and vibe immediately for 2013 the Write My Law School Paper. all rights reserved. Høstsabbat while also giving everyone who followed the challenge of living up to their standard. I am lucky to be here.

Skraeckoedlan

Skraeckoedlan (Photo by JJ Koczan)

When Swedish melo-prog-fuzz four-piece Professional Write My Paper Colleges catering for clients worldwide at all career levels - Established in 2003 Skraeckoedlan got added to this festival earlier this year, I didn’t dare hope to think I’d see them. They’re a band I’ve dug since the first time I heard their 2011 debut,  Äppelträdet (review here), and their approach has only grown richer with time, as 2015’s Sagor (review here) and 2019’s Eorþe (review here) demonstrate so plainly. But I never expected to catch a live set. Never mind the band standing on a frickin’ altar in a cathedral blazing through their material like it’s another day down at the Office of Kickass, I didn’t imagine a scenario when they and I would be in the same place. I’m glad to have been so wrong about that, because standing there watching them only confirmed the fandom I’ve had for their work over the course of this decade, and really, they’ve only gotten better as they’ve gone on. I may never get the chance to see them again, but after watching them tonight at Høstsabbat, I feel like asking to would be greedy anyhow. I am lucky to be here.

Yatra

Yatra (Photo by JJ Koczan)

This is Yatra‘s first European tour. Something tells me it will not be their last. The Baltimorean trio hit the road hard domestically in the US following the January release of their debut album, Death Ritual (review here), through Grimoire Records, and they reportedly began recording the follow-up to that over the summer. Well, that’s nifty, but in the meantime, here they are pairing with Sunnata on a tour this site is co-presenting and for all the stops they’ve made in New York this year — I can think a couple — Høstsabbat 2019 is my first time seeing them. I feel late to that party, but I’m late to most parties, so I’ll get over it. Nonetheless, as I had suspected, they’re a killer live act, and at least the debut album only tells part of that tale. On stage — or in basement, as it were — they tap into a primal energy, like they’re excavating the very roots of sludge metal. Oh yeah, and Dana Helmuth‘s vocals sound like Jeff fucking Walker from peak-era Carcass, so that ain’t exactly hurting their cause either. Yatra have the potential to lead a revival nastier, more brutal sludge in the US. This tour is only going to make them stronger, as they all will. I am lucky to be here.

Electric Eye

Electric Eye (Photo by JJ Koczan)

Hail the rock på Norska! Across the street (right out the door), at the Verkstedet bar, the entire bill was Norwegian, but Electric Eye would be the lone Norge representatives on the altar, and for what it’s worth — plenty — they brought a sonic spirit that reached far beyond international borders. Also beyond the borders of the atmosphere. I don’t know if it would be appropriate to call their take on space rock entirely mellow, but it was subtle in a way that allowed other influences to creep in almost before you realized they were there. It was a stark contrast, energy-wise, to the rawness Yatra had wrought downstairs, but Electric Eye made the most of their engaging style and gave Høstsabbat a cosmic push that was more than welcome. I had wanted to check out Kosmos Brenner, who last-minute took the spot of Superlynx after a death in the family assured they wouldn’t make it, but after I popped out for a second, I found myself strangely drawn back to the ethereal mysteries being pondered on the big stage. I’ll admit they’ve been around for more than six years and I’d never heard them before. Lesson learned. That lesson? I’m lucky to be here.

Stuck in Motion

Stuck in Motion (Photo by JJ Koczan)

This past April, when I was fortunate enough to see Enköping, Sweden, trio Stuck in Motion at Roadburn (review here), they played as a four-piece, with keys in addition to the guitar, bass and drums. At Høstsabbat, they added percussion as well to their hippie-vibing jams, so there were five of them crammed into the basement stage area — it’s not a stage, as such, but it’s where the gear goes — but if they felt packed in, that did nothing to slow their good times. Retro-fied psychedelic blues, all pastoral and dreamy, but still earthbound enough to tear into a Hendrixian solo every now and again (and again), their stuff made for easy-to-listen vibes, and a soothing bit of respite from some of the day’s more crushing contributors — a complement to Electric Eye in that, but less motorik and more flow. Before they played “Are You Ready to Fly” from their 2018 self-titled debut (review here), they indeed checked in with the crowd to see if the room was ready to fly, and I heard no murmurings to the contrary. That self-released LP has been a little under-radar as yet, but given how full the crypt was for their set, I can’t help but wonder what the reception for their next one will be when it arrives, hopefully sooner than later. I am lucky to be here.

Sunnata

sunnata (Photo by JJ Koczan)

It was hard not to feel like the church was built specifically for Sunnata. The Polish meditative heavy psych ritualists came out with incense and harem pants (respect) and were clear in their concept from the outset, tapping into the spirit of acts like Om and My Sleeping Karma, while still retaining a harder edge to their sound beneath the harmonized vocals of guitarists Szymon Ewertowski and Adrian Gadomski. Special mention should be given as well to bassist Michal Dobrzanski and drummer Robert Ruszczyk, whose ability to build tension was readily apparent in the band’s latest album, Outlands (review here), which came out last year, but whose doing so on stage was nothing short of physically affecting. You felt the churn in your stomach, and when they hit into a payoff, the relief was genuine. Exhale. They’re on tour with Yatra, as noted, but I put Sunnata in the same category of bands I never imagined being able to see live but was absurdly to do so. One recalls their days rocking out fuzzy as Satellite Beaver, and the ongoing evolution they set to roll with the transition they made becoming Sunnata. Their spaciousness, looking inward and outward simultaneously, was an immersive joy to behold. Again, exhale. I am lucky to be here.

Yuri Gagarin

Yuri Gagarin (Photo by JJ Koczan)

In the words of Bernie Sanders: “Look.” I stood in front of two of the three of this festival’s stages all day, and at no point was there a crowd press like there was for Yuri Gagarin. I got to the crypt 20 minutes before they were slated to go on and already people were packed in. Very clearly a band whose reputation was preceding them. It’s been four years since the Gothenburg cosmonauts issued their second long-player, At the Center of All Infinity, through Kommun2 and Sulatron, but their out-the-airlock-into-the-void vibes were quick to remind that time is a human construct and space rock is not. Reaching into the great cosmic throb, they launched with “Sonic Invasion 2910” from their 2013 self-titled and proceeded into oblivion — though I’m not sure it was actually “Oblivion”; that’s on the second record — with the sheer delight of not-entirely-peaceful exploration. About two songs into their set, before I stood up from taking pictures and rolled my numb-ass ankle, I had the thought that I’ll never be able to see Hawkwind in their prime, but now I’ve seen Yuri Gagarin as up close as I could ever hope to see any band. I think some of what they played was new, but don’t quote me on that. Either way, as noted: time, irrelevant. They ruled. I am lucky to be here.

Ufomammut

Ufomammut (Photo by JJ Koczan)

Holy fucking shit, Ufomammut. I’ve had the pleasure a few times over the years, but this was hands-down the best I’ve ever seen the Italian cosmic doom masters play. They began with a few renditions in the style of their recent XX (review here) offering of revamped older material in quieter form — “Satan,” “Mars,” etc. — but what they did with that was gradually use it to build into the heavier portion of the set, so that each successive piece pushed a little further. First it was Urlo and Poia on stage, the former on keys/noise/vocals, the latter on guitar, then Poia joined in for cymbal washes, then drums, then the guitars got louder, then the drums got harder, then the vocals got shoutier until it seemed like the crowd was going to fucking riot if someone didn’t launch into a riff. But 20 years on, Ufomammut know exactly how to put people where they want them, so when they did get heavy, it was glorious. All the more so for the tension they’d built leading up to it. With a projector going on the high church stage, they absolutely laid waste to the room, like a consuming sonic burst of interstellar force. It was impossible to stand there and not be swept up by it. I kept telling myself it was time to go back to the room and start writing, but I couldn’t leave. How many times in your life do you get to see shows like this? They ended, of course, with “God,” and there was nowhere to go after that anyway, so what the hell. It was amazing. Like the entirety of day one at Høstsabbat, I had a pretty good idea of what to expect going into Ufomammut‘s set, and my expectations were thoroughly squashed. I am lucky to be here.

The Next Morning

Achy, but up for it. Took me a while to let myself go to sleep, but I got there eventually, was only up a couple times overnight, which is pretty good for me at this point. Hotel breakfast downstairs had free coffee, so I indulged in two triple-doubles — three double espressos, times two — and feel reasonably conscious. Could stand and will have a shower and that will help as well.

Though it seems inevitable that at some point Høstsabbat will add a third day to the proceedings, be it a pre-show Thursday or a full day Sunday, whatever, the quality-over-quantity at this festival makes it all the more unreal. Every band has something to offer, and though this year with the third stage there are inevitably things you won’t get to see all of if you see at all, the sense of curation and purpose that’s gone into its making is nothing if not palpable. My conclusion remains that I’m lucky to be here.

Some more pics after the jump. Thanks for reading.

Read more »

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Skraeckoedlan, Witchrider, Parasol Caravan & Electric Hydra Added to Truckfighters’ Fuzz Festival #1

Posted in Whathaveyou on June 12th, 2019 by JJ Koczan

fuzz festival logo

As the initial promise was eight bands and there are now eight bands confirmed, I’m going to hazard the guess that the lineup for Truckfighters‘ Fuzz Festival #1 this December in Stockholm is complete. The second round of adds includes SkraeckoedlanWitchriderParasol Caravan and Electric Hydra, following up on the initiaL announcement, which included Truckfighters — obviously — GreenleafDeville and Motorowl. I think I noted last time around that I had been kicking around the idea of doing an Obelisk All-Dayer in Sweden, and indeed, Debaser Strand was a venue I had been looking at. This pretty much kills that idea. I was thinking June, not December, but how many festivals does one venue in Stockholm hold when there haven’t really been any there before? You see my point.

I’ll go back to the drawing board and figure something out, and maybe do something somewhere else. We’ll see.

And in the meantime, good for Truckfighters, not only doing the reunion thing after a shortlived hiatus, but coming back with something new on offer as well.

Dig it:

fuzz festival 1 poster

New bands announced for Truckfighters Fuzz Festival in Stockholm

We are happy to announce:

SKRAECKOEDLAN – Sweden. Norrköpings, finest stoner rock band. Recently released the stunning album ‘Eorþe’ they will deliver an experience out of the ordinary.
https://www.facebook.com/SKRAECKOEDLAN/

WITCHRIDER – Austria. The occult stoner sound from Graz will sound in Stockholm. Can not be anything but good music since these guys are born in the same town as Arnold Schwarzenegger.
https://www.facebook.com/witchriderband/

PARASOL CARAVAN – Austria. Classic stoner sound with a magic groove all the way from Linz. Yeah not just one but two bands from the country famous for the mountains and the stoner rock ;)
https://www.facebook.com/parasolcaravan/

ELECTRIC HYDRA – Sweden. Energetic garage style stoner rock. A great reason to show up early on the night of the festival!
https://www.facebook.com/electrichydra666/

With previously announced acts TRUCKFIGHTERS, GREENLEAF, DEVILLE and MOTOROWL the line up is now complete. Not time enough for more bands in one night. It’s gonna be a super rad evening as we guarantee every band on the bill is stellar. We intend to make this an annual event so grab your ticket and support the fuzzy scene. The sooner we sell out the bigger the plans for 2020 editions will become.

https://www.facebook.com/events/2228095327452231/
http://www.truckfighters.com/festival

Skraeckoedlan, “Creature of Doggerland” official video

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Høstsabbat 2019 Adds Skraeckoedlan to Lineup

Posted in Whathaveyou on February 22nd, 2019 by JJ Koczan

hostsabbat 2019 banner

Oh yes. Most certainly yes. Just a week after announcing Papir for its lineup this October, Oslo-based festival Høstsabbat 2019 taps into a different flavor of the progressive with Sweden’s Skraeckoedlan. The Swedish four-piece also recently announced the arrival of a new bassist and a tour with Vokonis (info here), and their third and latest LP, Eorþe (review here), is out now in Fuzzorama and an early-year highlight in tone and execution alike. These guys continue to be underappreciated in my book, and I look forward to seeing them in Oslo for the first time after having been a fan going back to their recently-reissued 2011 debut, Äppelträdet (review here). They’ve done nothing but kill it ever since.

They join a lineup headed by Ufomammut with more still to be announced — like another headliner — and from here on out will be a big reason I’m looking forward to getting back to Norway this Fall.

The fest’s announcement follows, as per the social medias:

hostsabbat 2019 skraeckoedlan

Finally we have the pleasure of welcoming the Swedish giants in Skraeckoedlan to Høstsabbat!

It’s been a long time coming. This band has nothing but gained reputation and following since their debut in 2010. We can’t get away from mentioning their stunning debut album “Äppelträdet”, which already is a classic amongst the fans.

With their recent epos “Earth”, released last Friday, cemented their place as pioneers of spaced out, psychedelic stoner rock. In collab with the Swedish writer Nils Håkanson, they have painted their own universe, with the first half of the album portraying the underworld, and the latter describing what’s happening on the surface of the Earth, amongst mammoths, octopuses and otherwordly creatures.

Make no mistake, this is a masterpiece, and we are proud to have them come play Høstsabbat with this effort in their back pockets. Sweden has proven their magic again.

MUSIC
SPOTIFY: http://bit.ly/SFskraeck
YOUTUBE: http://bit.ly/YTskraeck

http://bit.ly/HSfestivalpass

NEWSLETTER
http://bit.ly/NLhostsabbat

SPOTIFY PLAYLIST – HØSTSABBAT 2019
http://bit.ly/HS2019playlist

https://www.facebook.com/events/274561413173994/
https://www.facebook.com/hostsabbat/
http://hostsabbat.no/

Skraeckoedlan, “Creature of Doggerland” official video

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Skraeckoedlan Announce New Bassist; Touring with Vokonis

Posted in Whathaveyou on February 18th, 2019 by JJ Koczan

skraeckoedlan

I happen to know for a fact that Skraeckoedlan vocalist/guitarist Robert Lamu has the winged deer from the cover of Dozer‘s Through the Eyes of Heathens tattooed on his arm, so it’s easy to imagine he’s good and stoked to share the stage with Skraeckoedlan‘s usually-not-all-that-active countrymen forebears. That’s badass in itself, but word that Skraeckoedlan will share the stage this Spring with fellow badass Swedes Vokonis, will play Desertfest London 2019 and are welcoming a new bassist even as they release their third album, Eorþe (review here), on Fuzzorama only broaden the scope of awesomeness surrounding them at this point. The moral of the story? It’s a good week to be in Skraeckoedlan.

The following is culled from social media and the PR wire:

skraeckoedlan tour

Swedish fuzz-fictioneers SKRAECKOEDLAN announce Desertfest London appearance and Spring Tour with Vokonis

People of Earth!

We are super excited to welcome our new band member and bass player extraordinaire. Skraeckoedlan is once again a 4 piece.

Please give Erik Berggren the warmest of welcomes.

Skraeckoedlan live:
02.23 Malmö SE Plan B (Stad I Mörker)*
03.16 Göteborg SE Truckstop Alaska*
03.23 Köpenhamn DK Beta*
04.20 Borlänge SE Broken Dreams (w/ Dozer)
05.03 London UK Desertfest
05.17 Umeå SE Droskan (Make it Sound)*
05.18 Vilhelmina SE Folkets Hus*
06.01 Sundsvall Aveny (Club Deströyer)
* with Vokonis

Heading into 2019 with the help of Fuzzorama Records, Skraeckoedlan steer a course to Eorþe, their first album in over three years and undoubtedly their most progressive. With the big metal riffs of new single ‘Kung Mammut’ riding shotgun alongside the more introspective and explorative moments of songs like ‘Mammutkungens Barn’ and ‘Angra Mainyu’, the trio have cut a definitive and spellbinding record of light and dark. In addition to the CD and standard vinyl editions, Eorþe will also come in a limited-edition box set which sees the album split across two gatefold vinyl records; Earth: Above and Earth: Below. The set will come packed with pieces of merchandise that revolve around the story and feature alternative artwork.

Skraeckoedlan:
Robert Lamu – Vocals/Guitar
Henrik Grüttner – Guitar
Erik Berggren – Bass
Martin Larsson – Drums

http://www.skraeckoedlan.com/
http://instagram.com/skraeckoedlan
https://www.facebook.com/SKRAECKOEDLAN/
http://twitter.com/skraeckoedlan
http://www.fuzzoramarecords.com/
https://www.facebook.com/Fuzzorama
https://twitter.com/fuzzorecords

Skraeckoedlan, “Creature of Doggerland”

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Desertfest London 2019 Adds 29 Bands to Complete Lineup; Madness Ensues

Posted in Whathaveyou on February 5th, 2019 by JJ Koczan

What am I even supposed to say here other than ‘yes please?’ As Desertfest London 2019 rounds out its lineup and once again demonstrates its willful growth year after year, I’ll tell you this: there are a lot of bands listed below, and a lot of good bands. And if you’re reading this and you’re in London or you’re fortunate enough that you’re going to be in London for this festival, I know you’re hip to where it’s at. I get that. But seriously, if you don’t know, there re a few really must-see bands here, and it’s not all Amenra headlining. That’s great, and I’m sure it’ll be super-intense and very cool and all that.

But I’m telling you: don’t sleep on seeing High Priestess, BlackWater HolyLight, Worshipper, Salem’s Bend, Skraeckoedlan and Great Electric Quest. Some of those names are kind of buried near the bottom of this announcement, but really, you’d only be doing yourself a favor if you caught them. Let’s put Zed in that category too, and when they’re done, tell them I said hi. You probably already know all this, but I just wanted to highlight the point, since there’s a lot here and it’s easy to get overwhelmed. I get that too.

Kudos to the Desertscene team for focusing on what matters — the music — even amid pulling double-duty in putting together the first-ever Desertfest NYC, the lineup for which is still in progress. This fest looks amazing and I wish I could say I was going. Quite simply, it’s been too long.

Here’s the announcement:

desertfest london 2019 final announcement

Amenra to headline Saturday at DESERTFEST LONDON 2019 + day tickets and 28 more bands announced!

Showcasing the best of what the underground has to offer is at the core of DESERTFEST LONDON and this year’s line-up is the most eclectic, yet satisfying to date by ticking those “wish-list old school desert rock” boxes with Fu Manchu and Witch at The Roundhouse, whilst pushing the boundaries of heavy with the likes of HHY & The Macumbas and Grave Miasma. Year after year it’s about offering up a diverse bill that allows for discovery, whilst celebrating the musical foundations of the festival, and the final Saturday headliner and remaining 28 acts do just that.

DESERTFEST LONDON /// 3-5th May, 2019 in London
Weekend and day tickets on sale at this location

Desertfest are honoured to reveal that the incomparable AMENRA will celebrate their 20-year anniversary across the London weekend this May, bringing their uniquely atmospheric sound as headliners of Saturday’s mainstage and, for the first time in the UK, an even more intimate side of the band takes place at The Underworld on Sunday with solo performances from CHVE & SYNDROME. We would be proud to have Amenra headline Desertfest on any year, but to have them on the year they celebrate their 20th anniversary makes it all the more special for us and also the band themselves.

Desertfest are also pleased to announce a stage takeover from the mighty Riding Easy Records, the righteous west coast label will not only bring the sun (we hope) but a hefty dose of fuzzed out riffs from their roster. Headlined by rock’n’rollers ELECTRIC CITIZEN who refuse to be pigeonholed with a 70s proto-metal sound that chimes into psychedelic realms. Street-doom killers R.I.P will hit the UK for the first time and vocalist Fuzz is ready to bring it hard and loud. Completing the stage showcase are 80s punk heavy metal hybrids ZIG ZAGS, hazy Swedish doom newcomers ALASTOR and the low and slow psych goth-rock sounds of BLACKWATER HOLYLIGHT.

If that wasn’t enough Desertfest also adds thunderous space-rock psychedelic masters MONKEY3 to upcoming proceedings, the unforgiving primitive metal sounds of THE SECRET and LA party starters THE SHRINE, who haven’t graced DF with their amped up stoner-skate vibes for well over 5 years.

We also welcome back our long-time partners Human Disease Promo/When Planets Collide for another takeover of The Underworld on Saturday. Topping the bill, the riff muscle of Savannah, Georgia is brought back to The Underworld by the mighty bruisers BLACK TUSK. Dropping in straight underneath we’re living the doom dream of olde with Chicago legends in THE SKULL. Glasgow gives us two offerings this year in the form of explosive riff n roll filth-party heads ACID CANNIBALS, and to lower the tone whilst severely twisting some melons we also welcome their fellow city dwellers HEADLESS KROSS. As ever we chose to open up with a cataclysmic attack, hence why we’ve invited Brighton’s bleak hardcore oblivionists KALLOUSED to set the day into fittingly venomous motion. Bring your ear plugs, it’s gonna be a floor shaker!

And finally, Desertfest round off with the brilliant SKRAECKOEDLAN, BLANKET, SALEMS BEND, SURYA, HIGH PRIESTESS, ZED, KUROKUMA, GREAT ELECTRIC QUEST, PSYCHLONA, VIDEO NASTIES, ONE FOR SORROW, WORSHIPPER, MOUNTAIN CALLER & 1968 all added to the monumental 2019 line-up.

DESERTFEST LONDON /// 3-5th May, 2019 in London
All tickets on sale at this location

http://www.desertfest.co.uk/
https://www.facebook.com/DesertfestLondon
https://www.instagram.com/desertfest_london/
https://twitter.com/DesertFest

BlackWater HolyLight, BlackWater HolyLight (2018)

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Review & Track Premiere: Skraeckoedlan, Eorþe

Posted in Reviews on January 11th, 2019 by JJ Koczan

skraeckoedlan earth

[Click play above to stream the premiere of Skraeckoedlan’s translated-lyric video for “Creature of Doggerland.” Their new album, Eorþe, is out Feb. 15 on Fuzzorama Records. Preorders are here.]

I generally assume that if I’m writing about something, you already know about it because you’re cooler than I am, because, frankly, that’s how it usually works. But if you haven’t heard of Skraeckoedlan — especially if you don’t live in Sweden — there’s a decent chance it’s because they sing in Swedish. The fuzz rockers have parted with bassist Tim Ångström since their 2015’s Sagor (review here) with Robert Lamu moving from guitar to bass in addition to vocals, while Henrik Grüttner handles the lone guitarist role as well as more vocals and Martin Larsson remains on drums. One might think the band’s third album and first for Fuzzorama Records, Eorþe, would be more stripped down as a result, but the truth is it’s the most progressive record they’ve made in the decade they’ve been together. Their 2011 debut, Äppelträdet (review here) — also recently reissued by The Sign Records from the original release on Transubstans — blended fuzz-drenched tonality with a post-Mastodon style of metal, but they’ve only grown more since then, and as they align with Fuzzorama, they continue an association with sadly-defunct countrymen Truckfighters that extends all the way back to the recording of their first album.

Indeed, one might look at Eorþe as inheriting the mantle of fuzzprog that the last couple Truckfighters albums were working toward, running a fluid nine songs and 54 minutes with a greater depth of melody and broader sonic reach than they’ve ever shown. Songs like “Mammutkungens Barn,” the earlier highlight “Kung Mammut,” the 10-minute “Elfenbenssalarna” and the acoustic closer “Peggys Sång” demonstrate the range of their composition, while even a song like the under-four-minute “Tentakler & Betar” finds a way to hit new ground with vocal harmonies and a pointedly forward thrust. Whether it’s an extended piece like “Creature of Doggerland” (note the English title), or the opener “Guldåldern” or the drum-led beginning of “Angelica,” Eorþe wants nothing for heft either in tone or construction — indeed, tone has been a strength of Skraeckoedlan all along and very much remains one — but even as they hold onto their stylistic weight, they turn into a more nuanced and individualized unit.

When it comes right down to it, Eorþe is Skraeckoedlan reestablishing themselves after a change in their dynamic. The shift from two guitarists to one, even covered in the studio by layering guitar tracks and whatever else, is not a minor one. It affects songwriting as well as how the material is played. And Skraeckoedlan pull that off, no question. For a band who’ve been around for 10 years and have experience recording and touring, that’s not a huge surprise. They should know what they want to sound like — at least to some basic degree — and be able to make that happen. Fine. Where Eorþe really succeeds though is in not only finding Skraeckoedlan make this claim on who they are as a band, but in moving their sound forward from where it was three years ago. Their work is richly textured and in listening to the melody in the chorus of “Mammutkungens Barn,” one can hear their heritage in Scandinavian metal coming through in more than just the language they’re using, but like the grunge-style opening riff of that song — reminds of something from the early-mid ’90s; is it Sonic Youth? — they bring each of their influences into a context that is their own.

They did the same on Äppelträdet in imagining a fuzz-metal stomp in the first place, but with just about every move they make on Eorþe, they do so with a greater scope and identity born of the maturity of their composition. As a result, Eorþe isn’t just Skraeckoedlan‘s finest hour, but a way forward for them in this new incarnation that builds on what they’ve done before. In the tension of “Guldåldern” or the atmosphere of the penultimate instrumental “Angra Mainyu,” their ability to craft a flow and mood across disparate elements brought into a single presentation is engrossing, and the confidence with which they execute the material is what allows them to carry the audience along every step of the way. LamuGrüttner and Larsson are in absolute control of their sound in these tracks, and the potential that always seemed to be residing in their sound has begun to bear fruit accordingly.

Skraeckoedlan have generally kept to a unifying science-fiction thematic over their years, writing about monsters and in this case specifically, mammoths and beasts that may or may not have tentacles and tusks, etc., but whether or not a given listener speaks Swedish, there’s no mistaking the intent of their craft. They are a band who have worked diligently to hone their approach, and while Eorþe is dense, and not a minor undertaking at 54 minutes long, they remain accessible through their use of melody and rhythmic momentum. The fluidity of Eorþe is not to be understated, and while I don’t know if they’re telling a unified story in the lyrics, the underlying point is that the album itself is unified, and the trio are unified in their mission to grow as a band. They have. They do. One hopes they’ll continue to.

In the largesse-laden instrumental stretches of “Elfenbenssalarna,” Skraeckoedlan make clear not only how they’ve developed, but that their commitment is to keep evolving as a creative force, and that the impact that was so much of their initial appeal remains an important factor in what they do. Listening to Eorþe, one can only be glad that’s the case, but the truth is that Skraeckoedlan have expanded their aesthetic to the point that they’re about so much more than just the volume at which one hears them. The melody, the quick turns, the ambience of Eorþe have just as much of an effect on the overarching experience of the songs as the fuzzy tones, shouts and consistent sense of lumber. Whatever it is that has one hearing them, though, they’re a band who deserve more attention than they’ve gotten, and regardless of whatever language barrier there might be with a broader public, Skraeckoedlan break through it like one of the tentacled mammoths of their own creation.

Skraeckoedlan’s website

Skraeckoedlan on Instagram

Skraeckoedlan on Thee Facebooks

Skraeckoedlan on Twitter

Fuzzorama Records

Fuzzorama on Bandcamp

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The Obelisk Show on Gimme Radio Recap: Episode 07

Posted in Radio on January 7th, 2019 by JJ Koczan

gimme radio logo

I wanted to get a little weird. You know, the last episode of The Obelisk Show on Gimme Radio was some of the best tracks from 2018, but in addition to some new stuff, some 2019 stuff — cuts from Skraeckoedlan and Thunderbird Divine — I wanted to make sure I included some songs that people might’ve missed in 2018. In fact, with Melody Fields early on in the playlist, that was a record I missed completely until I put up one or the other of the year-end lists and someone pointed it out to me on Thee Facebooks. It’s an awesome record. On the show, I mistakenly said it was released through World in Sound. The LP was on Kommun 2 and the CD was on Sound Effect. Credit where it’s due, because that record rules.

Likewise, “it rules” was also a running theme. Black Helium was a standout from that 100-album Quarterly Review that I did in December, and being able to stand out among 99 other releases certainly seems worth highlighting to me. I was digging the Horehound record as I was getting ready to review it, and Skraeckoedlan I’m also getting ready to cover (maybe later this week?), while Faith in Jane I haven’t had the chance to review yet but those guys are great. Also from the Quarterly Review was Child, Space Coke and Carpet, while Goblinsmoker belong to the UK’s ever-growing swath of bands with silly names and a destructive bent. And then at the end I wanted to space out like I used to do with the podcasts — just have it hit a point and go far out and not come back. Jam into the reaches. Plus it gave me an excuse to talk about Øresund Space Collective’s AR/VR artwork for Kybalion, which it awesome in its own right.

The odd-track-out I suppose is Witchcraft, but I talk about that on the show. It’s kind of a new-classic in my mind and something I wanted to focus on this episode. We’re moving into a new year and Witchcraft’s self-titled came out 15 years ago. I think the only reason it’s not already considered classic heavy is because it’s still so relevant, it hasn’t even allowed for that kind of distance yet. But make no mistake, that’s a classic album.

Anyway, considering I had to record the voice breaks on my phone because my internet was so craptastic at the time that I couldn’t go directly into Gimme’s back end software like I’m supposed to, I thought the show came out pretty well. If you listened, I hope you agree. And if you missed it, I hope you can catch the replay.

Here’s the playlist:

The Obelisk Show Ep. 07 – 01.06.19

Greenbeard Kill to Love Yourself Onward, Pillager
Skraeckoedlan Kung Mammut Eorþe
BREAK
Melody Fields Trädgränsen Melody Fields
Faith in Jane Mountain Lore Countryside
Horehound Sloth Holocene
Foot Sweet Stuff Buffalo
Child The Other Song I
BREAK
Witchcraft No Angel or Demon Witchcraft
Black Helium Summer Spells Primitive Fuck
Space Coke Kali Ma L’Appel du Vide
Rifflord The Other Side 7 Cremation Ground/Meditation
Goblinsmoker Toad King Toad King
Thunderbird Divine Qualified Magnasonic
BREAK
Øresund Space Collective Smooth Future Kybalion
Carpet Selene About Rooms and Elephants
Deep Space Destructors Floating Visions from the Void

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Jan. 20. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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