Desertfest Berlin 2022 Announces Lineup; Electric Wizard, Kadavar & Witchcraft to Headline

Posted in Whathaveyou on September 20th, 2021 by JJ Koczan

Desertfest Berlin 2022 banner

Tickets are on sale as of today for If you ask us to Research Paper Literature Review the Write-my-essay-for-me.org professionals will start their work right away. They will get details about the assignment Desertfest Berlin 2022, which will be headlined by Characteristics Of Essay Writing Online And Get Ph.D. Degree With Papersowl. When you decide to buy Ph.D. thesis online be sure the writers are professionals, and the thesis is custom and original etc. Your professional future depends on this paper! There is no need to worry about such things because we offer: Write the only high quality custom thesis Electric Wizard, ABC Assignment Help is one of the leading companies to assist a number of scholars with reliable and proficient online Phd Dissertation Pages services helping them attain top-notch grades in their exams. We know it is certainly not easy for students to prepare top-quality dissertation within a short period of time. To submit the top quality dissertation within the stated time, the writer must have complete knowledge of the subject and also must have excellent writing skills to back that Kadavar playing a hometown show and We understand the need of every student in their request for Life Of Pi Religion Essay and therefore, strive to offer the best online writing services. All Witchcraft. The rest of the lineup is a thrilling combination of mainstays — which somehow feels extra comforting — and upstarts, plus Thesis Dissertation History Ict Using can provide you with an insight into how you can write an essay or thesis. To write a thesis, it is important that you take the time to gather information and facts about the topic you have chosen to write about. Once you have gathered information, you will then need to create a thesis statement for your research paper. Your thesis statement is an opinion, based on your Stöner, who are kind of both, I guess, being a new band but with  Buy the Thesis when you are contented with it, otherwise ask for a revision to customize your Thesis at no extra cost before you buy it. Cheap Thesis with free cover page and reference lists when you Dissertation Writing Service Usa Master. We charge per page based on the complexity of the Thesis. Of course, a science-based Thesis attracts more charges than an art-based Thesis. You only pay for the content; the cover page and the reference page are free of charge. Do you need a specific reference added to the list Brant Bjork and  order a paper online - Receive an A+ grade even for the hardest writings. If you need to know how to write a amazing term paper, you are to learn this Nick Oliveri at the helm thereof. You’ll note  official site writing service so that everyone can afford our services. >> Order Now << How to order custom dissertation writing services. You are welcome to use our Order Now page and give us instructions and details about your paper. We will shortly assign a highly qualified writer to your project, and then you can further discuss the details with him. Make sure to include all important Lowrider and  It is hard to confess to yourself that you have no understanding of CPM, let alone confessing to somebody else. Even with, you will spend a lot of time on it. The easiest option is to use an online service that will do your Creative Writing Undergraduate for you. It means that you save time, your pride will not suffer, and you will get a good grade for your homework. Orange Goblin — the latter celebrating their 25th anniversary, delayed of course — and  math term papers more info here ways to end a essay 2013 college application essay writing Elder and  So not only do you get the http://www.musipedia.org/?essay-about-smokers-should-pay-a-health-tax and excellent quality but you can be sure of the timeliness and The Laustan Service Ufomammut (debuting their new lineup),  see url essay nasal flu vaccine shortage essay dirk wandke dissertation writing good introductions for compare and contrast 1000mods and If you want to advance your writing career by working with one of the most trusted professional go now in the industry, then you have come to the right place. Do you want to find out more on available professional online writing jobs with us? We are always looking for writers, researchers, and professionals who have the knowledge and experience to become a valuable member of our Truckfighters and  We have a team of expert custom writers who help you rightly and provide top quality http://www.gamlitz.eu/?people-who-write-essays-for-students for your college and university projects. My Sleeping Karma. Could hardly get more  Doctoral Thesis Review Report - leave behind those sleepless nights working on your coursework with our custom writing help Receive an A+ help even for the Desertfest than that. Like a reaffirmation of the festival’s core mission. Plus  YOB, for extra life-giving vibes.

And with those, you get acts like SlomosaSliftPolymoon and Villagers of Ioannina City, underground celebrants like Pigs Pigs Pigs Pigs Pigs Pigs Pigs and Samavayo and Dhidalah and MaidaVale and 24/7 Diva Heaven as well as Love MachineLos Bitchos and Huntsmen. There’s reportedly more to come — and by that I mean that’s what it says on the poster below — but for real, if this was the four days, I can’t imagine wanting to see any less than all of it.

Announcement follows as per the PR wire:

desertfest berlin 2022 poster

Desertfest Berlin – 26-29 May 2022

www.desertfest.de

LINEUP:
Electric Wizard
Kadavar
Witchcraft
Orange Goblin
YOB
Truckfighters
Elder
1000mods
My Sleeping Karma
Ufomammut
Stöner
Lowrider
Villagers of Ioannina City
SLIFT
MaidaVale
24/7 Diva Heaven
Samavayo
Slomosa
Los Bitchos
PigsPigsPigsPigsPigsPigsPigs
Dhidalah
Polymoon
Enigma Experience
Huntsmen
Love Machine

+ more to be announced

After two years without our beloved Desertfest happening, we need you more than ever. We can’t wait to see you all again to party, have some drinks and enjoy the finest of stoner, psychedelic, doom and heavy rock music!

Thank you so much for your continuous support and for holding on to your tickets. We want to give a little something back to you…

Existing weekend passes (3-days tickets) from 2020 will remain valid for the full 4 days in 2022 automatically. Yes, you will be granted access to ONE MORE FESTIVAL DAY ON TOP, FOR FREE!

We hope you’ll understand that there are logistical changes to the original 2020 line-up. Due to these challenges, existing 2020 single day ticket holders will be refunded for their chosen day. More info about our ticket-policy: www.desertfest.de/information

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www.facebook.com/DesertfestBerlin
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Desertfest Berlin 2019 official aftermovie

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Desertfest Belgium 2021 Adds to Antwerp and Ghent Lineups

Posted in Whathaveyou on September 14th, 2021 by JJ Koczan

Big update from Desertfest Belgium 2021. After recently unveiling some cancelations and following up with a list of the precautionary measures being taken to deal with happening during a pandemic, the Antwerp and Ghent-based editions of the festival both receive a round of lineup additions. Greece’s 1000mods will take part in both, while the likes of Electric Moon and Stoned Jesus join Ghent, and Monkey3 and Slift and Temple Fang confirmed for Antwerp. I’m not sure ultimately how many acts the two Desertfest Belgiums — Belgii? — will share between them, but with Ghent happening on one day and Antwerp happening across three, there’s bound to be significant variation. Looks like that’s happening here already, and take note of Ohio’s Frayle making the trip for Ghent. Hope they can get out of the US to make it in time, or that the EU hasn’t banned our infectious asses by then.

It’s nice to think about these things every day, isn’t it? Doesn’t it just feel like the way humanity was meant to live? Not at all a drain on one’s entire being.

I digress. Constantly. Here’s info from the PR wire:

desertfest belgium 2021 banner

DFBE21: A MASSIVE 20 NEW NAMES FOR ANTWERP & GHENT!

1000MODS playing both events, Monkey3, Stoned Jesus & much much more

Strap in folks, because this is going to be a ride.. after all the hassle with COVID and cancels, let’s have some great to even greater news about both festivals shall we? We have a whole slew of names for you and if we may say so ourselves: we’re positively STOKED about all of these. Scene favourites, new and upcoming acts, local gems to discover.. we have it all. Here we go!

First of all: the Greek stoner sensation 1000MODS will be playing Antwerp as well as Ghent. We love ‘em, you love ‘em, their mother loves ‘em – everybody loves ‘em, okay! They need no further introduction so let’s move on to another favourite that will grace the stage in Ghent: STONED JESUS is coming to town, and you all know what that means. Killer grooves and a mighty good time. We’re also extremely excited to have DELVING on board which is the new project of ELDER frontman Nick DiSalvo. This will be one of their first shows after the album dropped in June, and we can already tell you this one’s gonna be something special.

ALL NEW NAMES FOR DF GHENT: 1000MODS, STONED JESUS, DELVING, LILI REFRAIN, ELECTRIC MOON, NERO DI MARTE, HEMELBESTORMER, FRAYLE, IGNATZ, MODDER

Moving on to Antwerp, we’re looking forward to revisit the audiovisual extravaganza of MONKEY3 who completely killed it at our last edition. For more spaced-out craziness, YURI GAGARIN is always a safe choice so let’s go with that. With VILLAGERS OF IOANNINA CITY we have the second Greek band on the bill, with a more leftfield sound but no less essential.

ALL NEW NAMES FOR DF ANTWERP: MONKEY3, VILLAGERS OF IOANNINA CITY, 1000MODS, YURI GAGARIN, SLIFT, ALKERDEEL, ATOMIC VULTURE, TEMPLE FANG, DAILY THOMPSON, BISMUT, FAKE INDIANS.

We still have a few names up our sleeve, but we hope this whopper list goes a long way to get you stoked. Please remember that we have installed a COVID info page on our websites, where you can check what to do in order to come fully prepared to the festival. We’re updating it as we go, and we try to help out our non-EU visitors as well. Make sure to read it to avoid disappointments at the entrance.

http://www.desertfest.be/
https://www.facebook.com/desertfestbelgium/
https://www.instagram.com/desertfest_belgium/

1000mods, “Pearl” official video

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SonicBlast Fest 2022 Lineup Announced: Electric Wizard, Weedeater, 1000mods & More to Play

Posted in Whathaveyou on June 10th, 2021 by JJ Koczan

SonicBlast Fest announced its 2021 edition was being postponed at the end of the month, and already they’re turning around and making a first announcement for 2022. That’s kind of comforting. Some of these acts — looking at you, Psychlona — have been waiting to play the Portugal-based festival since being announced for 2020 — but barring disaster, there’s a reasonable expectation that 2022 might be a return year, so in addition to them, SonicBlast Fest 2022 is rolling out the formidable likes of Green LungElectric WizardPentagramWeedeater, 1000modsThe MachineSamavayoThe Devil and the Almighty BluesTia CarreraSlift, and a ton of others with more to come. If you’re going to do a thing, get in there and do it.

Tickets are on sale now, or if you’ve already got them either for 2020 or 2021, they’ll carry over. 2020 was supposed to be my year to hit this fest, as well as a whole bunch of others. So it goes. If you make it to Âncora for the three-dayer next August, you go with my respect and admiration, and no shortage of jealousy.

Lineup info follows here, as per socials:

sonicblast logo

Come fanatics, come to the sabbath

We’re totally psyched to announce Electric Wizard, Weedeater, Pentagram (official), 1000mods, W.I.T.C.H We Intend To Cause Havoc, Night Beats, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Meatbodies, SLIFT, The Devil And The Almighty Blues, BALA, Mythic Sunship, GREEN LUNG, Frankie and the Witch Fingers, Psychlona, Toxic Shock, The Machine, Tia Carrera, The Goners, Samavayo, Rosy Finch, We Hunt Buffalo and 24/7 DIVA HEAVEN to SonicBlast Fest 2022.

*** more to be announced soon***

SonicBlast Fest 2022
11, 12 and 13th August
Praia da Duna dos Caldeirões
Âncora, Portugal

Tickets bought for the 2021 edition are automatically valid for 2022.

Tickets are now on sale at BOL (Fnac, Worten, Ctt’s…)
or at https://garboyl.bol.pt/Comprar/Bilhetes/92523-sonicblast_festival_2022_full_festival_ticket-garboyl_lives/Sessoes
and Masqueticket https://www.masqueticket.com/entrada/835-sonicblast-fest-2022

Artwork by Branca Studio
Supported by Antena 3

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Psychlona, “Resin” official video

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Desertfest London 2022 Announces Lineup

Posted in Whathaveyou on April 30th, 2021 by JJ Koczan

desertfest london 2022 banner

It’s good to see you again, Desertfest London. The 2022 lineup of the esteemed British edition of Desertfest brings some returning presences who were to have been at the 2020 edition, then the 2021 — both of course gone the way of corona. But we see Electric WizardShellac and Witchcraft in headlining spots, while Corrosion of Conformity will bring their delayed 25th anniversary of Deliverance to Camden Town, and returning kingpins Orange Goblin will play, along with YOB, TruckfightersEarthlessMy Sleeping KarmaMos GeneratorConanThe Obsessed, the reunited JosiahLowrider come for a Refractions victory lap well earned, along with Elephant TreeElderSteakDeathwhite and a ton from the UK’s own ever-blossoming underground scene — Blind MonarchThe Brothers KegKing Witch, the more established Alunah and Trippy Wicked, and so on and so many.

Note Slomosa. Note Wolftooth. I would expect both to be touring Europe around this time. Green Lung too, for that matter.

There’s no way this isn’t going to be one to remember and it is my sincere hope to be there for it. Maybe I’ll see you there. Maybe we can hug.

Kudos and thanks to the Desertscene crew — Sarika, Jake and Reece — on and for a job well done.

Here’s looking forward:

desertfest london 2022

DESERTFEST LONDON ANNOUNCE FULL LINE-UP FOR 2022 ·

A DECADE IN THE DESERT
CELEBRATING TEN YEARS WITH THE BIGGEST & MOST DIVERSE LINEUP YET

EXCLUSIVE UK PERFORMANCES FROM
WITCHCRAFT
(FIRST UK SHOW IN OVER A DECADE)
and
SHELLAC

As the home for all the things truly heavy, leading independent UK festival Desertfest have announced their full line up for 2022, which will take place in Camden, London from Friday 29th April – Sunday 1st May.

Celebrating their tenth year, next year’s festival promises to be their biggest and most diverse yet. Covering six venues across the heart of Camden and now including a full line up at The Roundhouse on both Saturday 30thApril and Sunday 1st May.

Founding owner of Desertfest Reece Tee comments, “Desertfest is 10 years old! I’m so proud that our independent festival has stood the test of time. What we have created is special, a decade of great bands, great friends and amazing memories. This year’s line up is a true reflection of how diverse Desertfest has become and with such a loyal audience, Desertfest can champion the underground for decades more to come.”

Headlining the Friday will be Swedish heavy rock masters Witchcraft, with a UK exclusive performance and their first UK show in over a decade.
Saturday’s headliners are none other than Chicago’s Shellac, who in another UK exclusive will be bringing their experimental post-hardcore sound to the Roundhouse. Fronted by the iconic Steve Albini, Shellac are one of those bands we all need to experience live, at least once. Whilst closing the festival on Sunday will be UK doom legends Electric Wizard, whose heavy sound encompasses the spirit of Desertfest.

Other acts confirmed include the likes of Corrosion Of Conformity, Orange Goblin and Truckfighters who all played the festival in its debut year in 2012 and there are further UK exclusive performances from hardcore-punks Integrity and the Ukrainian psych space rock trio Somali Yacht Club.

The festival will also see desert legends Brant Bjork and Nick Oliveri’s new band Stoner, who will be playing the Electric Ballroom and doomed heavy metallers Khemmis making their UK debut at The Underworld.

Please see below for the full Desertfest 2022 line up / stage splits.
Tickets are on sale now and are available at www.desertfest.co.uk

NEW TICKETS FOR 2022
Weekend Ticket (all venues) – £132 +fees
Friday Day Ticket (all venues) – £45 +fees
Saturday Day Ticket (all venues) – £50 +fees
Sunday Day Ticket (all venues) – £50 +fees
Saturday Roundhouse only – £35 +fees
Existing ticket holders from 2020’s postponed event have a number of options as the festival is now larger, with an added Roundhouse line-up on Saturday 30th April & Sunday 1st May.

EXISTING WEEKEND + DAY TICKET HOLDERS OPTIONS
Full refund
Weekend roll-over to 2022 without Roundhouse upgrade (access only to Electric Ballroom, Underworld, Black Heart & The Dev)
Weekend roll-over to 2022 with Roundhouse upgrade – £15 +fees
Day ticket holders can upgrade to a full weekend ticket – £92 + fees – or will be issued a refund. Upgrade options only available until May 7th ’21.
For any ticketing enquiries please contact sarika@desertscene.co.uk

Desertfest 2022’s artwork is hand drawn by legendary artist Arik Roper who has created illustrations for the likes of Sleep, Earth, Sunn O))), High on Fire, Kvelertak, Windhand and many more. As always, posters and other merch will be available to buy at the festival.

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

Electric Wizard, Live at Desertfest London 2016

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Slift Post “Thousand Helmets of Gold” Video

Posted in Bootleg Theater on March 1st, 2021 by JJ Koczan

slift (Photo by Rabo)

By the fires of Space-Mordor, it’s a new Slift video!

You may recall last year when the Toulouse, France-based heavy space rock trio posted a clip for “Lions, Tigers and Bears” from their Feb. 2020 album, Ummon (review here), in time to coincide with the US release. Well, it’s been a year since Ummon first came out and they’ve got a wildly different kind of video to mark this occasion.

Where “Lions, Tigers and Bears” captured an energetic live performance, a sweaty-looking crowd of people standing oh-so-close to each other and sharing every precious second in joyous communion with not only each other, not only the band on stage, but the intangible yet physical motion of the music itself, well, it’s probably been a while at this point since Slift played a show. And even if they did, would it really be fair to show off? Maybe.

Nonetheless, “Thousand Helmets of Gold” brings something different right from the outset. The three-piece themselves are absent and in their place is a digitally animated narrative that, if we’re being honest with each other, looks like a video game I want to play. I’m not a gamer, necessarily, but every now and then a new Final Fantasy comes along and I feel the pull of my wasted youth to dive in. I’d play “Thousand Helmets of Gold,” grind out levels until all my stats were maxed out, then hit up that fortress and lay waste accordingly. It would be a blast as well as a decent way to pass time while waiting for the return of the kind of shows that might result in the communal joy noted above.

Ummon, if you didn’t hear it — and I know you did, but bear with me — was about as righteous as space rock got in 2020, and that’s pretty damn righteous. So now that we’re passed a year since it arrived, it seems like an excellent time to revisit. The full Bandcamp stream is down near the bottom of the post.

aboutmedsonline.com
insomniameds365.com

Enjoy:

Slift, “Thousand Helmets of Gold” official video

https://idol.lnk.to/UMMON?

Video created by Guthio & Alexis Regidor
https://www.instagram.com/guthio?
Design/Props by Alexis Regidor
https://www.instagram.com/antcraft_props?

From SLIFT’s double album ‘UMMON’ (Feb. 28th 2020, Vicious Circle Records / Stolen Body Records)
Recorded by Olivier Cussac at Condorcet, Toulouse

SLIFT are:
Jean Fossat : guitar, vocals, synth
Rémi Fossat : bass
Canek Flores : drums

Slift, Ummon (2020)

Slift on Thee Facebooks

Slift on Bandcamp

Stolen Body Records store

Vicious Circle Records store

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The Obelisk Presents: THE BEST OF 2020

Posted in Features on December 31st, 2020 by JJ Koczan

london-news-etching-1854-newcastle-upon-tyne

[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.]

Invariably, the ultimate measure of 2020 will be in lives and livelihoods lost around the world. I have nothing to add to the discourse of the COVID-19 pandemic that others haven’t said in more articulate and precise language. Suffice it to note that 2020 was the year that the very concept of “unprecedented” itself became trite.

One does not have to look far to find positives amid the devastation. Creativity continues to flourish. Art cannot be killed. Even locked away from each other in quarantine, artists will continue to reach out, to collaborate, to fulfill the human need for expression that has driven the species since cave drawings and will no doubt be the ruins we leave behind us when we’re gone.

In underground music, it was simply overwhelming. And though I’ll admit it was hard at times to listen to music and divorce it from the larger context of what was happening in the world — it was there like a background buzz — this year reinforced how necessary music is, not only as an escape or a source of income for those who make/promote it, but as an integral component of life and community. Absences have been keenly felt.

I won’t try to sate you with platitudes, to say “things will get better.” Maybe they will, maybe they won’t. One year turning to the next does not fix broken systems and it does not cure raging plagues. It’s just a number. Arbitrary except as a convenient marker for things like this, births, deaths, and so on. Bookkeeping.

Before I turn you over to the lists: Please be kind in the comments if you choose to leave one. To me. To other people. To yourself. These lists are culled from my listening preference and what I consider of critical importance. But I’m one person. If there’s something you feel has been left out, say so. I ask you only to do so in a spirit of friendship rather than argument. Thank you in advance.

ukmedsnorx.com/zopiclone
ukmedsnorx.com/zolpidem

Okay:

The Top 50 Albums of 2020

#50-31

50. Sun Crow, Quest for Oblivion
49. Atramentus, Stygian
48. Arcadian Child, Protopsycho
47. Fuzz, III
46. Jointhugger, I Am No One
45. Dirt Woman, The Glass Cliff
44. Switchblade Jesus, Death Hymns
43. Foot, The Balance of Nature Shifted
42. Hymn, Breach Us
41. IAH, III
40. Lord Fowl, Glorious Babylon
39. Acid Mess, Sangre de Otros Mundos
38. 1000mods, Youth of Dissent
37. Deathwhite, Grave Image
36. Soldati, Doom Nacional
35. Cortez, Sell the Future
34. Kadavar, The Isolation Tapes
33. Black Rainbows, Cosmic Ritual Supertrip
32. Shadow Witch, Under the Shadow of a Witch
31. Insect Ark, The Vanishing

Notes: To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

Released by Ripple Music. Reviewed May 5.

There was no shortage of anticipation for what L.A. cultists High Priestess would do to follow their 2018 self-titled debut (review here), and the three-piece did not disappoint, instead gave a ritual mass that included the 17-minute concept piece “Invocation” alongside infectious and ethereal melodies like “The Hourglass.” And now that the circle’s been cast? Seems like they can do anything.

29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

Released by Svart Records. Reviewed Oct. 12.

High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Polymoon. If you haven’t yet heard Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by Totem Cat Records. Reviewed Sept. 30.

Of the sundry horrors 2020 wrought, a new album from long-running Toronto three-piece Sons of Otis was an unexpected positive, and their ultra-spaced, murky riffs on their first studio album since 2012’s Seismic (review here, also here) launched like a slow-motion escape pod of righteous doom (s)tonality. There will never be another Sons of Otis. Be thankful for everything you get from them.

27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

Released by Projection Records. Reviewed May 25.

Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Craig Williamson‘s voice itself — the ingredients for Lamp of the Universe‘s Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

The debut album from Colorado’s BleakHeart collected pieces united by melody and overarching atmosphere, positioned stylistically somewhere around heavygaze or heavy post-rock, but feeling less limited to genre bounds than some others working in a similar sphere. As a first outing, it brought a promise of things to come even as the depths of its mix seemed to swallow the listener entirely, equal parts serving claustrophobia and escapism.

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

There is not enough space here to properly commend Pale Divine founding guitarist/vocalist Greg Diener on how much he opened up the band by bringing in his and drummer Darin McCloskey‘s former Beelzefuzz bandmate Dana Ortt on shared guitar, vocal and songwriting duties. Completed by Ron “Fezz” McGinnis on bass/vocals, Pale Divine are a refreshed and ready powerhouse of American traditional doom.

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

One is going to have to get used to the idea of Uncle Woe residing in the places between, I think. An inward-looking cosmic doom that’s likewise morose and reaching, opaque and translucent, Phantomescence could be almost troubling in its feeling of off-kilter expression. Yet that’s exactly what multi-instrumentalist/vocalist Rain Fice was going for. Thriving on contradiction, exploratory, and individualized. Start from doom, move outward.

23. REZN, Chaotic Divine

rezn chaotic divine

Released by Off the Record Label. Reviewed Oct. 15.

I don’t feel like I’m cool enough to offer any substantive comment on what Chicago’s REZN do, but their sax-laced heavy psychedelia comes across warm and is invitingly languid while still delivered with a sense of energy and purpose. It rolls and you want to roll with it, so you do. They were clearly hurt by not being able to tour this year, as were audiences for not seeing them. Call them neo-stoner metal or whatever you want, these songs deserve to be played live.

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

A revamped lineup for South African desert-ish heavy rockers Ruff Majik brought producer Evert Snyman in as co-conspirator with frontman/principal songwriter Johni Holiday, and found the former trio working as a five-piece with a broader sound underscored by an electric sense of purpose and willingness to push themselves to places they hadn’t gone before. Their third record, it seemed as well to be a new beginning, and they met the challenge head-on.

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

The underheralded children of rolling fuzz riffage, Connecticut’s Curse the Son found new depths of emotion to bring to Excruciation — and I do mean “depths.” Dark times for dark times. Fueled by personal hardship, turmoil, motorcycle accidents and a pervasive sense of struggle, the LP was nonetheless a triumph of their songwriting and brought new melodic character to their established largesse of tone. Your loss if you missed it.

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

Business as usual in ferocious heavy/speed rock from The Atomic Bitchwax on Scorpio — and that was only reassuring since the band’s eighth full-length marked the first since the departure of guitarist/vocalist Finn Ryan and his replacing with Garrett Sweeny, a bandmate of founding bassist/vocalist Chris Kosnik and drummer Bob Pantella in Monster Magnet. They barely stopped to cool their heels and yet still managed to be catchy as hell. How do they do it? Jersey Magic.

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

Such pervasive melancholy could only be derived from Irish folk, and so it was on Cinder Well‘s No Summer, which managed to move between singer-songwriter minimalism from Amelia Baker and arrangements of deceptive and purposeful intricacy. Wherever it went, from traditional songs “Wandering Boy” and “The Cuckoo” to originals like “Fallen” and the nine-minute “Our Lady’s,” it was equal parts gorgeous and sad and resonant. It remains so, despite the fleeting season.

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

Their fourth album and first since crossing the decade-mark since their inception, Pallbearer‘s Forgotten Days wasn’t just heavy, emotional or big-sounding; it was the most their-own of anything they’ve done. It felt exactly like the record they wanted it to be, and reconfirmed that the generation of listeners being introduced to doom by their music is going to be just fine if they follow the cues laid out for them here.

17. Slift, Ummon

slift ummon

Released by Stolen Body and Vicious Circle Records. Reviewed March 26.

Less a reinvention of space rock than a kick in its ass, Slift‘s Ummon pushed well past the line of manageability at 72 minutes and reveled in that. The French outfit were greeted as liberators when they released the album, and with the way the respect has been maintained in the months since they’ve given themselves a high standard to meet, but there’s only promise to be heard as you get lost in the nebular wash of this sprawling 2LP. They’ll have two more records out before this one’s fully digested.

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

The first album in half a decade from long-established UK death-doom forebears My Dying Bride found vocalist Aaron Stainthorpe coping with his daughter’s cancer diagnosis and translating that into the morose poetry for which the band is so well known and with which they’ve been so influential. My Dying Bride has never wanted for sincerity, but to call them affecting here would be underselling the quality of their craft and the heart they put into it. Follow-up EP is already out with extra non-album tracks.

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

Denmark’s Causa Sui may be on a mission to unite jazz and heavy psychedelia — and blessings on them for that — but the mellow jammy vibes they conjured on Szabodelico only emphasized how much it’s the character of what they do and the chemistry they’ve brought as bandmates that has allowed them to branch thusly in terms of aesthetic. It was the kind of album you wanted to put on again even before it was over, and its sweet instrumentals felt born to a greater timeline than a single year can encompass.

14. All Souls, Songs for the End of the World

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

I’m not a punk rocker, but All Souls make me wish I was. Their emotive and engaged heavy rock looks out as much as in on Songs for the End of the World — their second LP behind a 2018 self-titled debut (review here) — but it’s undeniably punk in its foundation, and what the four-piece of Antonio Aguilar and Meg Castellanos (both ex-Totimoshi), Erik Trammell (Black Elk) and Tony Tornay (Fatso Jetson) have put together builds on that in exciting, inventive and individualized ways, while staying nonetheless true to its roots.

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

Five years after their debut album, Rocket Science (review here), Boston four-piece Kind return with Mental Nudge. And despite the different situations in which it finds the band’s members — bassist Tom Corino is now ex-Rozamov, drummer Matt Couto now ex-Elder — the group’s focus remains on carving memorable, mostly structured tracks out of ethereal heavy psychedelia, guitarist Darryl Shepard (Milligram, etc.) and vocalist Craig Riggs (RoadsawSasquatch, etc.) adding space and melody to the crunching, driving grooves.

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

Founded by vocalist Farida Lemouchi (ex-The Devil’s Blood) and guitarist Oeds Beydals (ex-Death Alley, also ex-The Devil’s Blood) and commissioned as a project for Roadburn Festival 2019 (review here), Molassess are inextricably tied to Lemouchi‘s groundbreaking former outfit and its tragic ending, but the musical branching out into darkened progressive textures on Through the Hollow isn’t to be understated. It was an album that pushed past the past, not overlooking it, but finding new ways of moving forward in life and sound.

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

While of course the Mos Generator frontman is no stranger to writing or recording on his own, Funeral Suit was Tony Reed‘s debut as a solo artist and it carried his progressive stamp in melody and arrangement. It was not just a guitarist playing acoustic instead of electric, and it was not a manifestation of self-indulgence. Whether it was reworking a Mos Generator song like “Lonely One Kenobi” or pursuing a new piece like the title-track or “Waterbirth,” Reed found balance between personal and audience, evoking traditional songsmithing even as he reminded listeners of his dual role as a producer.

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

Spectacular showing from Kingston kingpins Geezer with Groovy as their first offering for Heavy Psych Sounds. Led by guitarist/vocalist Pat Harrington, the three-piece brought material that flowed with the organic feel of jams despite being structured and catchy songs. In pieces like “Dead Soul Scroll” and “Drowning on Empty,” they melded stonerized groove with what felt like genuine emotional expression, and “Dig” and “Groovy” still managed to be a heavy fuzz-blues party. And they still had room at the end to jam out on “Slide Mountain” and “Black Owl.” It was nothing but a win, rising to the occasion on every level.

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

So Bob Balch from Fu Manchu and Gary Arce from Yawning Man have a band. They get Tony Reed from Mos Generator on board. Mario Lalli from Yawning Man/Fatso Jetson comes and goes. Nick Oliveri comes and goes. Bill Stinson from Yawning Man plays drums. Alain Johannes sits in on vocals. Reed does a bunch of vocals; his kid does a track too. Per Wiberg from Spiritual Beggars, Opeth, Candlemass, etc., lends some keys. What do you call such a thing? Who cares? You call yourself lucky it exists. They called the record Vision Beyond Horizon. Can’t wait to find out what they call the next one.

8. Elder, Omens

elder omens

Released by Armageddon Shop and Stickman Records. Reviewed April 27.

Omens marked a new beginning for Elder as the band pushed deeper into the realm of progressive rock and beyond their weightier beginnings. The arrival of Georg Edert (also Gaffa Ghandi) on drums in place of Matt Couto shifted the band’s dynamic in a number of ways, providing not a swinging anchor for the rhythm section necessarily, but another avenue of prog fluidity. Bassist Jack Donovan brought a steady presence in the low end as guitarist/vocalist Nick DiSalvo and guitarist/keyboardist Mike Risberg embarked on new melodic explorations while staying loyal to the band’s established penchant for sweeping changes. Omens may live up to its name as a sign of things to come, but either way, it was a strong display of the band’s will to pursue new ideas and methods.

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

First words that come to mind here: “eminently listenable.” With seven tracks and 36 minutes, Reverie may not have taken up much of your afternoon… once. But by the time you gave it its proper respect and listened through three times in a row, the situation was somewhat different. The Lafayette, Louisiana, four-piece gracefully brought together structured songwriting with proggier leanings and were able to bring together rampaging hooks like “Trace the Omen” and “Manifest,” casting a sense of sonic hugeness without forgetting to add either melody or personality along with that. The band — who here welcomed bassist Thorn Letulle alongside guitarist/vocalist James Marshall, guitarist Shadi Omar Al-Khansa and drummer Thomas Colley — have worked quickly and evolved with a sense of urgency. Is Reverie the goal or another step on that path?

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

Vocalist/cellist Jackie Perez Gratz (interview here), guitarist Max Doyle and drummer Zack Farwell comprise Grayceon, and with their fifth record, the band looks around thematically at environmental devastation through the lens of record-breaking California wildfires from their vantage point in the Bay Area. Even as the world shifted priorities (at least most of it did) to yet another global crisis in the COVID-19 pandemic, genre-melting-pot songs like “Diablo Wind,” “The Lucky Ones,” and “This Bed” reminded of the horrors humanity has wrought on its battered home, and still managed to find hope and serenity in “And Shine On” and “Rock Steady,” a closing duo that shifted to a more personal discussion of family and one’s hope for a better future for and by the next generation. 2020 had plenty of horror. At least we got a new Grayceon record out of it.

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

When Sho’Nuff asked Bruce Leroy “who’s the master?,” dude should’ve said Brant Bjork. It would’ve been a confusing end to Berry Gordy’s The Last Dragon, but ultimately more accurate, as Brant Bjork‘s homegrown kung fu was unfuckwithable as ever on the album that shares his name. After two decades of solo releases in one form or another, Bjork is not just a pivotal figurehead for desert rock, he’s a defining presence, as well as one of its most treasured practitioners. Brant Bjork, the album, brought initial waves of funk in “Jungle in the Sound,” explored weedy worship in “Mary (You’re Such a Lady)” and toyed with religious dogma in offsetting that with “Jesus Was a Bluesman” while still tossing primo hooks in “Duke of Dynamite” and “Shitkickin’ Now” ahead of the more open “Stardust and Diamond Eyes” and the acoustic closer “Been So Long.” With Bjork recording all the instruments himself, a due feeling of intimacy resulted, and yet he still found a way to make it rock. How could it be otherwise?

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

Why do I feel the immediate need to defend this pick? I’m not sure. Norway’s Enslaved are an institution, not just of black metal, but of bringing an ideology of creative growth to that style that often willfully resists it. They are iconoclastic even unto their own work. Utgard was released as the band stood on the precipice of 30 years together and yet it stood as their most forward-looking offering yet, as co-founders Grutle Kjellson (bass/vocals) and Ivar Bjørnson (guitar/sometimes vocals), as well as longtime lead guitarist Arve “Ice Dale” Isdal backed up the change from 2017’s E (review here) that brought in new keyboardist/vocalist Hakon Vinje with the incorporation of drummer Iver Sandøy, who doubles as a vocalist (and triples as a producer). The “new blood” made all the difference on Utgard, allowing Enslaved to piece together new ranges of melody in their work and offset instrumental shifts into and out of krautrock-derived progressions. Simply the work of a band outdoing itself from a band who does so at nearly every opportunity.

3a. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten and Ripple Music. Reviewed Dec. 3, 2019.

Every year I allow myself one addendum pick, and this is it. We Are was on last year’s list because it was digitally released, but the vinyl came out this year and it received its North American release this year as well, so it seemed only right to acknowledge that. So here it is in its proper place.

3. All Them Witches, Nothing as the Ideal

All-Them-Witches-Nothing-as-the-Ideal

Released by New West Records. Reviewed Sept. 3.

This is a band controlling their own narrative. Instead of Nothing as the Ideal being ‘the one they made as a three-piece,’ the Nashville outfit decided to make it ‘the one they recorded at Abbey Road.’ Were they thinking of it on those terms? Yeah, likely not, but it goes to demonstrate all the same just how much of themselves All Them Witches put into what they do musically, since not only are they continuing to refine and define and undefine their approach, but they’re setting the terms on which they do it. Each of their records has been a response to the one prior, but that conversation has never been so direct as to make them predictable. So what are they chasing? Apparently nothing. I’m not entirely sure I buy that as a complete answer, but I am sure I love these songs and the experiments with tape loops and other sounds that fill these spaces. Whatever they do next — or even if nothing — their run has been incredible and exciting and one only hopes their influence continues to spread over the next however many years.

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

There was a high standard set by Elephant Tree‘s 2016 self-titled debut (review here), but their second LP, Habits, surpassed even the loftiest of expectations. With vocals centered around harmonies from guitarist Jack Townley and bassist Peter Holland, the former trio completed by drummer Sam Hart brought in guitarist/keyboardist John Slattery (also sometimes vocals), and the resultant breadth gave the material on Habits spaciousness beyond even what the first album promised. Drifting, rolling, unflinchingly melodic and somehow present even in its own escapism, Habits was not just an early highlight for a rough 2020, but a comforting presence throughout, and the further one dug into tracks like “Sails,” “Exit the Soul,” “Faceless,” “Wasted” and the acoustic “The Fall Chorus,” the more there was to find — let alone “Bird,” which I’ll happily put against anything else one might propose for song of the year. As their former UK label crumbled, Habits emerged unscathed and Elephant Tree‘s future continues to shine with ever more hope for things to come. Being able to say that about anything feels like a relief.

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

Twenty years ago, Sweden’s Lowrider put out what would become a heavy rock landmark in their 2000 debut, Ode to Io (reissue review here). A follow-up years in the making even after the band got back together to play Desertfest in London (review here) and Berlin in 2013, Refractions first saw limited release in 2019 as part of Blues Funeral‘s PostWax series (discussed here), but its proper arrival was in early 2020, and there was really no looking back after that. It wasn’t just the novelty of a new Lowrider album that made Refractions such a joy, but the manner in which the band went about its work. There was no pretending that 20 years didn’t happen. There was no attempt to recapture the bottled lightning that was the first record, and Lowrider did not sound like a band “making a comeback” rife with expectations and fan-service. Refractions acknowledged the legacy of Ode to Io, sure enough, but as a step toward adding to it in meaningful and engaging ways. The songs — “Red River,” “Ode to Ganymede,” “Sernanders Krog,” “Ol’ Mule Pepe,” “Sun Devil/M87” and the 11-minute finale “Pipe Rider” — were fashioned without pretense and came across as the organic output of a band with nothing to prove to anyone but themselves. They made it their own. In a wretched year, Lowrider shined.

The Top 50 Albums of 2020: Honorable Mention

Yeah, okay. There are a lot of these, so buckle in. Last year I just threw out a list of bands. This year I’m a little more organized, so here are bands and records alphabetically.

Across Tundras, LOESS ~ LÖSS
Across Tundras, The Last Days of a Silver Rush
Alain Johannes, Hum
Arboretum, Let it All In
Bell Witch & Aerial Ruin, Stygian Bough Vol. 1
Black Helium, The Wholly Other
Boris, No
Brimstone Coven, The Woes of a Mortal Earth
CB3, Aeons
Celestial Season, The Secret Teachings
Crippled Black Phoenix, Ellengæst
Cruthu, Athrú Crutha
Domo, Domonautas Vol. 2
DOOL, Summerland
Dopelord, Sign of the Devil
Dwaal, Gospel of the Vile
Elder Druid, Golgotha
Ellis Munk Ensemble, San Diego Sessions
Emma Ruth Rundle & Thou, May Our Chambers Be Full
EMBR, 1823
Familiars, All in Good Time
Forlesen, Hierophant Violent
Galactic Cross, Galactic Cross
The Heavy Eyes, Love Like Machines
Hum, Inlet
Human Impact, Human Impact
Humulus, The Deep
Jupiterian, Protosapien
Kariti, Covered Mirrors
Khan, Monsoons
Kingnomad, Sagan Om Ryden
King Witch, Body of Light
Kryptograf, Kryptograf
Light Pillars, Light Pillars
Lord Buffalo, Tohu Wa Bohu
Lord Loud, Timid Beast
Lotus Thief, Oresteia
Malsten, The Haunting of Silvåkra Mill
Mindcrawler, Lost Orbiter
Motorpsycho, The All is One
Mountain Tamer, Psychosis Ritual
Mr. Bison, Seaward
Mrs. Piss, Self-Surgery
Mugstar, GRAFT
Murcielago, Casualties
Oranssi Pazuzu, Mestarin Kynsi
Paradise Lost, Obsidian
Parahelio, Surge Evelia Surge
The Pilgrim, …From the Earth to the Sky and Back
Pretty Lightning, Jangle Bowls
Psychlona, Venus Skytrip
Puta Volcano, AMMA
Ritual King, Ritual King
River Cult, Chilling Effect
Rrrags, High Protein
Shores of Null, Beyond the Shores (On Death and Dying)
Sigiriya, Maiden – Mother – Crone
Six Organs of Admittance, Companion Rises
16, Dream Squasher
Slomosa, Slomosa
Somnus Throne, Somnus Throne
Steve Von Till, No Wilderness Deep Enough
Stone Machine Electric, The Inexplicable Vibrations of Frequencies Within the Cosmic Netherworld
Sumac, May You Be Held
Temple of the Fuzz Witch, Red Tide
Temple of Void, The World That Was
The Kings of Frog Island, VI
Tia Carrera, Tried and True
Turtle Skull, Monoliths
Uffe Lorenzen, Magisk Realisme
Ulcerate, Stare Into Death and Be Still
Vessel of Light, Last Ride
Vestal Claret, Vestal Claret
Vinnum Sabbathi, Of Dimensions and Theories
Wight, Spank the World
Wino, Forever Gone
Yatra, All is Lost
Yuri Gagarin, The Outskirts of Reality

By no means is that list exhaustive. And to look at stuff like Psychlona, Oranssi Pazuzu, Wight, Wino, Puta Volcano, Kingnomad, Ellis Munk Ensemble, Paradise Lost, Alain Johannes, Arbouretum, Uffe Lorenzen, Tia Carrera — on and on and on — I can definitely see where arguments are to be made for records that should’ve been in the list proper. I can only go with what feels right to me at the time.

Together with the top 50, this makes over 110 albums in the best of 2020. If you find yourself needing something to hang your hat on, be glad you’re alive to witness this much excellent music coming out.

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

Atramentus, Stygian
Bethmoora, Thresholds
BleakHeart, Dream Griever
Crystal Spiders, Molt
Dirt Woman, The Glass Cliff
Dwaal, Gospel of the Vile
Electric Feat, Electric Feat
Familiars, All in Good Time
Galactic Cross, Galactic Cross
Human Impact, Human Impact
Jointhugger, I Am No One
Light Pillars, Light Pillars
Love Gang, Dead Man’s Game
Malsten, The Haunting of Silvåkra Mill
Might, Might
Mindcrawler, Lost Orbiter
Mrs. Piss, Self-Surgery
Parahelio, Surge Evelia Surge
Polymoon, Caterpillars of Creation
Ritual King, Ritual King
SEA, Impermanence
Slomosa, Slomosa
Soldati, Doom Nacional
Somnus Throne, Somnus Throne
SpellBook, Magick & Mischief
Spirit Mother, Cadets
Temple of the Fuzz Witch, Red Tide
The Crooked Whispers, Satanic Melodies
White Dog, White Dog

Notes: I sparred with myself every step of the way here. The last couple years I’ve tried to give the top-debut spot to not just a new band, but a new presence. Green Lung, King Buffalo, etc. Molassess, with members from The Devil’s Blood, Death Alley and Astrosoniq, isn’t exactly that. So what do I do? Do I go with something newer like Polymoon, Dirt Woman, BleakHeart, SEA, White Dog or The Crooked Whispers, or something with more established players like Molassess, Soldati, or even Light Pillars?

In the end, what made the difference was not just how brilliant the songs on Molassess’ Through the Hollow, but how honestly the band confronted the legacy they were up against. The songs had a familiar haunting presence, but they were also moving ahead to somewhere new. It was that blend of old and new ideas, and the resonant feeling of emotional catharsis — as well as the sheer immersion that took place while listening — that ultimately made the decision. Turns out I just couldn’t escape it.

And why not a list? Because this feels woefully inadequate as it is. I reviewed over 250 records this year one way or another — and that’s a conservative estimate — but a lot gets lost in the shuffle and somehow it just seemed wrong this time around to call something the 13th best first record of the year. I wanted to highlight the special achievement that was the Molassess album, but really, all of these records kicked my ass one way or the other.

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

Big Scenic Nowhere, Lavender Blues
Coma Wall, Ursa Minor
Conan/Deadsmoke, Doom Sessions Vol. 1
Fu Manchu, Fu30 Pt. 1
Grandpa Jack, Trash Can Boogie
Howling Giant/Sergeant Thunderhoof, Masamune/Muramasa (split)
Oginalii, Pendulum
Kings Destroy, Floods
Lament Cityscape, The Old Wet
Limousine Beach, Stealin’ Wine +2
Merlock, That Which Speaks
Monte Luna, Mind Control Broadcast
Mos Generator/Di’Aul, Split
Pimmit Hills, Heathens & Prophets
Rito Verdugo, Post-Primatus
Rocky Mtn Roller, Rocky Mtn Roller
Spaceslug, Leftovers
10,000 Years, 10,000 Years
The White Swan, Nocturnal Transmission
Thunderbird Divine, The Hand of Man
Witchcraft, Black Metal

Notes: If you were wondering why King Buffalo’s Dead Star (review here) wasn’t on the big list, this is why. It was pitched to me as an EP and that’s how I’m classifying it. I’m taking the out. Is it an EP? Not really, but neither is it a full-length album, given its experimental nature and focus around its extended two-part title-track. Whatever it was, it was the best that-thing, and this is the category where such things go.

Again, tough choices after King Buffalo. Thunderbird Divine’s EP was wonderfully funk-blasted and woefully short (new album, please). The newly-issued Spaceslug EP branches out their sound in fascinating ways as a result of the lockdown. Witchcraft’s acoustic EP, Coma Wall’s EP and Big Scenic Nowhere’s EP all signaled good things to come, and Howling Giant’s split with Sergeant Thunderhoof was a highlight of the most recent Quarterly Review. There really isn’t a bummer on the list there, from the bitter psych of Oginalii to the industrial metal of Lament Cityscape, the unadulterated riffery of Merlock to the live-captured rawness of Monte Luna.

So again, why no list? Same answer. I want to highlight the progression King Buffalo made in their sound and leave room open elsewhere for things I missed. Please let me know what in the comments. Cordially.

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

Ahab, Live Prey
Amenra, Mass VI Live
Arcadian Child, From Far, for the Wild (Live in Linz)
Author and Punisher, Live 2020 B.C.
Cherry Choke, Raising Salzburg Rockhouse
Dead Meadow, Live at Roadburn 2011
Dirty Streets, Rough and Tumble
Electric Moon, Live at Freak Valley Festival 2019
Kadavar, Studio Live Session Vol. 1
King Buffalo, Live at Freak Valley
Monte Luna, Mind Control Broadcast
Orange Goblin, Rough & Ready: Live and Loud
Øresund Space Collective, Sonic Rock Solstice 2019
Pelican, Live at the Grog Shop
SEA, Live at ONCE
Sumac, St Vitus 09/07/2018
Sun Blood Stories, (a)Live and Alone at Visual Arts Collective
Temple Fang, Live at Merleyn
YOB, Pickathon 2019 – Live From the Galaxy Barn

Notes: In this wretched year (mostly) void of live music, marked by canceled tours and festivals, the live album arguably played a more central role than it ever has, whether it was a band trying to keep momentum up following or leading into a studio release, taking advantage of the emergence of the Bandcamp Friday phenomenon or just trying to maintain some connection to their fans and the process of taking a stage. Or even playing in a room together. Or not a room. Anything. What was once a tossoff, maybe an afterthought companion piece became an essential worker of the listening experience.

You might accuse desert rock progenitors Yawning Man of playing to their base with Live at Giant Rock (featured here), and if so, fine. At no point in the last 50 years has that base more needed playing-to. And in the absence of shows, being able to hear (and watch, in the case of the accompanying video) Yawning Man go out to the landscape that spawned them and engage with their music was a beautiful moment of reconciliation. An exhale for the converted that didn’t fill one with empty promises of better tomorrows or tours to come, but served to remind what’s so worth preserving about the spirit of live music in the first place. The fact that anything can happen. A replaced note here, a tuning change there — these things can make not just an evening, but memories that go beyond shows, tours, to touch our lives.

There were a ton of live records this year. Some were benefits for worthy causes between saving venues, Black Lives Matter, voting rights organizations, and so on. And whether these were new performances from captured livestreams (Monte Luna, Kadavar) or older gigs that had been sitting around waiting for release at some point (Sumac, Dead Meadow), this, very much, was that point, and these live offerings kept burning a fire that felt at times very much in danger of being extinguished.

Looking Ahead to 2021

A list of bands. Some confirmed releases, some not. Here goes:

Dread Sovereign, Sasquatch, Year of Taurus, Apostle of Solitude, Weedpecker, Borracho, Love Gang, Jointhugger, Demon Head, Iron Man, Greenleaf, Samsara Blues Experiment, The Mammathus, Evert Snyman, Wo Fat, Conclave, Here Lies Man, Kabbalah, Komatsu, Hour of 13, Wedge, Amenra, La Chinga, Spidergawd, Wolves in the Throne Room, Vokonis, Freedom Hawk, Masters of Reality, ZOM, Eyehategod, Sanhedrin, Green Lung, The Mountain King, Albatross Overdrive, Elder, King Buffalo, Sunnata, Howling Giant, SAVER, Conan, Slomatics, Ruff Majik, Kind, Mos Generator, Yawning Sons, Lantlôs, Brant Bjork, Spiral Grave, Crystal Spiders, Lightning Born, Samavayo, Wovenhand, Merlock, Comet Control, The Age of Truth, Eight Bells, BlackWater Holylight, DVNE, Monte Luna.

Thank You

You’ve read enough, so I will do my best to keep this mercifully short. Thank you so much for reading — whether you still are or not — and thank you for being a part of the ongoing project that is The Obelisk. I cannot tell you how much it means to me to have such incredible support throughout not just this year, but all the years of the site’s existence. Thank you. Thank you. Thank you.

Thank you most of all to The Patient Mrs. for her indulgence in letting me get this done. I’m am amazed forever.

More to come.

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The Obelisk Show on Gimme Radio Playlist: Episode 37

Posted in Radio on June 26th, 2020 by JJ Koczan

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So I guess this is the episode where I play Sleep‘s Dopesmoker in its entirety. I’ve wanted to play a full record for a while now, mostly because that’s how I like listening to stuff at home, so I figured if I’m going to do a thing, I might as well go completely over the top with it, which I’m pretty sure is also what Sleep said when they recorded that album in the first place. Works for me.

Some good new stuff in there too. I like Orsak:Oslo‘s new EP a lot, and that Empress track that premiered here kind of stuck with me. The Kairon: IRSE! is weird and I find that delightful, especially coming out of Slift and Rrrags, both of which have gotten far less coverage around here than they deserve. Kind of a fucked Spring/early Summer. Sorry. Doing my best. And I figured new-ish Goatsnake and new Brimstone Coven were good to lead off. Can’t really miss, right?

But anyway, “Dopesmoker.” It’s fucking “Dopesmoker.” I don’t know if I’ll play other full albums, make it a thing I do on the show, but it was fun this time and that’s good enough for one episode.

The Obelisk Show airs 5PM Eastern today on the Gimme app or at http://gimmeradio.com

Full playlist:

The Obelisk Show – 06.26.20

Goatsnake Breakfast with the King Breakfast with the King b/w Deathwish* 0:04:57
Brimstone Coven The Inferno The Woes of a Mortal World* 0:04:29
Orsak:Oslo 057 Passage Skimmer EP* 0:05:16
Empress Lion’s Blood Premonition* 0:09:39
VOICE TRACK
Rrrags Dark is the Day High Protein* 0:08:01
Slift Lions, Tigers & Bears Ummon* 0:13:18
Kairon: IRSE! An Bat None Polysomn* 0:06:04
VOICE TRACK
Sleep Dopesmoker Dopesmoker 1:03:31

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is July 9 (subject to change). Thanks for listening if you do.

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Slift Post “Lions, Tigers & Bears” Live Video; Ummon to See US Release

Posted in Bootleg Theater on June 18th, 2020 by JJ Koczan

slift (Photo by Rabo)

Let’s face it, rhythmic tension has been a getoff for freaks looking to shake ass since the first caveweirdos started banging on the walls. Is what French heavy psych trio Slift bring to the space-surf boogie of the 16-minute “Lions, Tigers & Bears” any different? Well, it’s got reverb, if that’s what you mean. One way or the other, the shouts of its verse capture a proto-punk freedom amid all that urgent swirl, and the band indeed get the crowd — and the camera — moving in the new video, all vim, vigor, piss, vinegar, and direct-to-the-cortex vibe. Hey man, you wanna be special? This shit’ll make you special.

Slift released their oh-my-thank-you-very-much full-length, Ummon (review here), through Stolen Body Records and Vicious Circle Records in the just-pre-global pandemic early going of winter 2020, and “Lions, Tigers & Bears” is the lengthy closer of that substantial offering at 13 minutes in its studio version. The live take featured in the video below — recorded in the trio’s native Toulouse — on March 7, which was not a week before France went on lockdown owing to COVID-19. It’s safe to assume that, for many if not most in the crowd, this was the last show they attended before entering the world of banned-mass-gatherings, social-distancing, and hoarding toilet paper that marked this demented Spring.

Is that a lurking sense of doom in the high contrast black and white shuffle? An extra note of panic in the flashing lights I detect? Certainly these things are easy to read in retroactively — Slift powercharging through one last get-out before humanity hunkers down for months to watch waves of infections scroll by in unfathomable statistics. Europe is reopening now, tour dates being announced for the Fall. Is it wishful thinking? How much is lost? Shit if I know.

But hey, Ummon‘s gonna hit US shores this month, with Vicious Circle handling the North American release. Dig the tension ahead of time and have fun trying to get your head around it. Maybe you’ll get there. Maybe we all will.

Enjoy:

Slift, “Lions, Tigers & Bears” live video

French space psych trio SLIFT are about to release their new full-length ‘Ummon’ across the Atlantic Ocean this June via Vicious Circle.

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Heaviness, riffs, psychedelic, science-fiction… SLIFT’s progressive sound is a colourful and legendary journey to the edge of kraut and stoner rock. The live video “Lions, Tigers & Bears” highlights the band’s magnetic creativity as well as powerful and unearthly jams. Recorded at Mix’art Myrys in Toulouse, France on March 7th 2020. A video by Jeff Morlais.

From the many shows performed across Europe – sharing the stage with Jon Spencer, DeWolff or Mars Red Sky – to the KEXP session (recorded in December 2019 during Les Trans’ Musicales), the French trio launched an outstanding astral adventure. Their latest record ‘Ummon’ is a space odyssey about Titans, blending acid krautrock, cosmic jazz and powerful heavy saturated guitars. Out since February 2020 in Europe, the double LP is coming out this June for the very first time in the USA! More details soon.

In February 2020, SLIFT released their double LP ‘Ummon’. Delivered through Vicious Circle Records (France) and Stolen Body Records (UK), the album is coming out in the USA this June. Stay tuned!

SLIFT are:
Jean Fossat : guitar, vocals, synth
Rémi Fossat : bass
Canek Flores : drums

Slift, Ummon (2020)

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