The Obelisk Presents: THE BEST OF 2020

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

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[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.

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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 Metal Playlist: Episode 49

Posted in Radio on December 23rd, 2020 by JJ Koczan

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I was kicking around the idea of not doing a year-end list for 2020. Honestly, between this episode of The Obelisk Show on Gimme Metal and the last one, that pretty much covers my picks, and who the hell cares about what order they’re in? It’s December and everyone and their brother has a list out. Do we really need another one? I’m doing a Quarterly Review right now, covering more music. To me, that seems like a more righteous cause.

Of course, I’ll probably end up doing a list anyway next week, but in the meantime, if you’re looking for a soundtrack to your in-quarantine holiday experience, the second half of the ‘Some of the Best of 2020’ spectacular should do well in getting you through the evening. I’m to understand we’ll be breaking travel protocols myself, so if I get the plague that is even as we speak ravaging my homeland, at least I will have deserved it. Firelung and whatnot.

Thanks for listening and reading. New art coming soon.

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

Full playlist:

The Obelisk Show – 12.25.20

Elephant Tree Bird Habits
Pallbearer Vengeance & Ruination Forgotten Days
Tony Reed Might Just Funeral Suit
Grayceon This Bed MOTHERS WEAVERS VULTURES
All Them Witches 41 Nothing as the Ideal
VT
Brant Bjork Cleaning out the Ashtray Brant Bjork
Soldati From Skulls Doom Nacional
Backwoods Payback God Smack VA – Alice in Chains Dirt: Redux
High Priestess The Hourglass Casting the Circle
Curse the Son Black Box Warning Excruciation
Elder Halcyon Omens
Black Rainbows Master Rocket Power Blast Cosmic Ritual Supertrip
Dirt Woman Fades to Greed The Glass Cliff
Polymoon Silver Moon Caterpillars of Creation
Enslaved Distant Seasons Utgard
Cinder Well Fallen No Summer
Geezer Drowning on Empty Groovy
Ruff Majik Lead Pills and Thrills The Devil’s Cattle

The Obelisk Show on Gimme Metal airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is Jan. 8 (subject to change). Thanks for listening if you do.

Gimme Metal website

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The Obelisk Show on Gimme Radio Playlist: Episode 33

Posted in Radio on May 1st, 2020 by JJ Koczan

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Plenty of familiar stuff here if you’ve been hanging around the site lately, but there’s some stuff I haven’t written about yet too. The theme, such as it was — and man, themes are loose with this show anyway, but this one felt even more so — was just good stuff that happened in April. Today’s May 1, and it feels like last month was just lost on so many levels, that I wanted to highlight a few of the good things that happened despite the chaos and the dire feelings that defined so much of the time.

My point is the same as ever: Music still sounds good. If you’ve got that, you’ve got something to hold onto. If there’s nothing else, there’s music. That’s all I’m ever really saying. Sorry to spoil it. Now you don’t have to look at The Obelisk anymore. You’re all done.

You should still listen to the show though because I recorded the voice tracks for it on my phone while I was going to buy fresh mozzarella, and considering New Jersey’s got over 100,000 cases of COVID-19, the sheer Jersey-ness of the endeavor really I think shines through. Plus in the second break, if you stick it out, I say the word “awesome” like 50 times and sound like a total doofus, and that’s worth hearing. I overuse “awesome” anyway, but really, it sounds silly here. I listened back and heard it and decided to leave it in. Hell, at least it’s real.

Thanks for listening if you do.

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

Full playlist:

The Obelisk Show – 05.01.20

Elder Halcyon Omens*
Elephant Tree Exit the Soul Habits*
Forming the Void Ancient Satellite Reverie*
BREAK
Foghound Turn Off the World Turn Off the World*
Lord Fowl The Wraith Glorious Babylon*
Soldati Solar Tse Doom Nacional*
Trippy Wicked Green Memories Three Leaves / Green Memories*
Satyrus Black Satyrus Rites*
Marrowfields Dragged to the World Below Metamorphoses*
Pale Divine Tyrants / Pawns (Easy Prey) Consequence of Time*
Paradise Lost Fall From Grace Obsidian*
Katatonia Behind the Blood City Burials*
Itus Primordial Primordial*
BREAK
River Cult Chilling Effect Chilling Effect*
Astral Bodies Mythic Phantoms Escape Death*

The Obelisk Show on Gimme Radio airs every Friday 5PM Eastern, with replays Sunday at 7PM Eastern. Next new episode is May 15 (subject to change). Thanks for listening if you do.

Gimme Radio website

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Review, Full Album & Video Premiere: Soldati, Doom Nacional

Posted in audiObelisk, Bootleg Theater, Reviews on April 23rd, 2020 by JJ Koczan

Soldati Doom Nacional

[Click play above to stream Soldati’s Doom Nacional in its entirety. Video premiere for ‘Un Tren al Sol’ is below. Album is out Friday on Argonauta Records.]

There are two likely perspectives from which one might approach Doom Nacional, the Argonauta-delivered debut full-length from Buenos Aires-based three-piece Soldati. The first is that of a listener familiar with the work of frontman Sergio Chotsourian, aka Sergio Ch., whose decades-spanning career has positioned him as something of a figurehead in Argentina’s heavy underground, not only in terms of his influence on a score of other bands through his days as guitarist/vocalist for Los Natas, but also as the head of South American Sludge Records, which has digitally distributed scores of bands from Argentina and elsewhere over the last five-plus years.

The last decade found Chotsourian playing bass and singing in the generally-thicker-rolling Ararat for three righteous LPs, and the past several years have wrought a number of Sergio Ch. solo offerings that play between drone experimentalism and South American folk — the latest, From Skulls Born Beyond (review pending), came out last month — and since their first demo (discussed here) surfaced in 2016, Soldati has been a band that seemed to be piecing together elements of all of the above.

Tracks like “La Electricidad del Arbol Caido” (posted here) and “Whisky Negro” (posted here), both of which feature on Doom Nacional, have been made public before in other forms — indeed, an especially noise-caked take on Doom Nacional closer “Solar Tse” also appears at the end of From Skulls Born Beyond, so these lines between projects are malleable and have been for some time — so those who have followed Chotsourian for a number of years will doubtless approach this first Soldati LP with a different context than those simply taking the band on as a first encounter. As a fan of Chotsourian‘s work in Los NatasArarat and across his solo outings, I’ll confess I approached the seven-song/49-minute run of Doom Nacional with some trepidation, not knowing what was coming after such a variety of moods and vibes across the demos and videos and other posted performances, etc.

What a relief it was to finally hear it.

That brings us to the second perspective, of those less engaged with Chotsourian‘s long history of contributions to South America’s underground. This type of listener will find Soldati‘s Doom Nacional to be a coherent, striking collection, variable in tempo and purpose, but united around a groove and charge that is immersive and exciting in kind. Desert rock with a harder edge and sharp craft; Argentinian heavy at its finest. Returning to guitar, Chotsourian brings a signature kind of riffing to stretches of songs like opener “From Skulls” and the speedier sections of “Suicide Girl” and “Los Secretos de Shiva” that, punctuated by Ararat bandmate Alfredo Fellite on drums (a collaboration well worth continuing), plays all the more to a classic Motörhead volatility that comes with desert hues, tying Los Natas and Ararat together even as Soldati — rounded out by bassist Lucas Cassinelli, who makes one of several striking impressions on the penultimate “Un Tren al Sol” — strives to create its own sonic persona.

Soldati, “Un Tren al Sol” official video premiere

With five of the seven inclusions longer than seven minutes long and the other two over five, each song is given time to flesh out as it will and a natural course that includes numerous stops and sudden thrusts, head-down grooves and turns of melody in cuts like “Whisky Negro” and the 8:34 “Solar Tse” that make for highlights unto themselves. As the centerpiece, “La Electricidad del Arbol Caido” summarizes much of what makes Doom Nacional work so well. It is fluid in rhythm and organic in presentation — its tones are by no means raw or wanting viscosity, and will be readily familiar to Los Natas fans but neither are they overproduced — and in its hypnotic nod and post-midpoint shift to speedier fare, it underscores Soldati‘s refusal to be pigeonholed to one approach or the other. Whether a given listener is new to Chotsourian‘s work or not, that kind of thing is easy to appreciate, especially in a first album.

As “Solar Tse” pushes toward its finish, with vocals in layers hopefully portending a future direction for Soldati in general, one is reminded that Chotsourian has directly compared Doom Nacional to the final Los Natas album, 2009’s Nuevo Orden de la Libertad (review here), and certainly a number of the riffs on offer throughout these songs bear that out, that last one included. But if Doom Nacional is on some level Chotsourian engaging with his own legacy, that doesn’t prevent him from creating something new out of that. Los Natas, who began as a more purely desert rock outfit and grew in time into something entirely of their own, may have jammed plenty, but they rarely if ever touched on the same kind of atmospheric doom ground as Ararat, whereas Soldati brings both of those sides together.

Further, it doesn’t work to set them in opposition to each other. That is, to listen to “Los Secretos de Shiva,” with the fuzzy Sabbathian solo giving way to more full-on shove later in its run after the drums and bass drop out and the guitar establishes the riff to come, the two stylistic elements at play work in kind, each to enhance the other one. The greatest success of Doom Nacional — and what makes it most live up to its declaration — is in this aesthetic marriage of form and purpose.

For any debut, it’s only fair to look forward and think of what might come. The question as regards Soldati is how much of a focus the band will take on amid Chotsourian‘s other projects, various collaborations, and so on. As a fan of the more heavy rock-oriented facet of his songwriting and hearing the flow he creates with Fellite and Cassinelli, Doom Nacional presents much to hope for going into subsequent releases, and I’ll say without reservation that it’s one of the best debuts 2020 will see. Perhaps because of that, it’s best to enjoy the captured moment for what it is, regardless of the context of one’s perspective, and let the future worry about itself. There’s a lesson in there somewhere.

soldati

Soldati on Thee Facebooks

South American Sludge Records on Bandcamp

South American Sludge Records on Thee Facebooks

Argonauta Records website

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Soldati Set April 24 Release for Doom Nacional; New Single Streaming

Posted in Whathaveyou on February 19th, 2020 by JJ Koczan

I’ve heard enough Soldati since the band’s inception — that includes prior versions of a couple of the songs included on their debut album, Doom Nacional, as “La Electricidad del Arbol Caido” (posted here) and “Whisky Negro” (posted here) have been featured in the past; that’s not counting the band’s 2016 demo (discussed here) — to know that there’s no way the full-length’s first single represents the entirety of the release, but goodness gracious did they ever pick the right track to put out there first.

Driven by a classic, heavy push of a riff from Sergio Chotsourian, “Suicide Girl” evokes the guitarist/vocalist’s past in Los Natas while keeping a rawer edge that Soldati — who’ll release Doom Nacional on April 24 as part of Chotsourian‘s ongoing partnership with Argonauta Records, which has done his solo material as well as Los Natas reissues in the past — has come to represent. You can stream the song at the bottom of this post. And you should. It is righteous and mean.

Dive in:

soldati doom nacional

LOS NATAS’ Frontman Reveals Album Details Of New Band Project SOLDATI!

Debut Album, Doom Nacional, coming this April via Argonauta Records!

There has been something going on behind the scenes of frontman Sergio Ch., guitarist and vocalist of the Argentinian rock trio Los Natas. Today, he revealed the hotly anticipated details about the upcoming debut album of his new band project, SOLDATI!

SOLDATI, (soldiers in latin), started their generators a couple of years ago already, but have finally revealed a first track taken from their upcoming debut album, Doom Nacional, slated for a release on April 24th via Argonauta Records. Listen to the first single, Suicide Girl, HERE!

Why soldiers? “Maybe we feel we’ve been fighting all our lives for freedom, happiness and mind peace.“ Band mastermind, Sergio Ch., explains. “Growing our children, surviving South America and blasting our heads with the sound and vive that makes us feel good, alive and free at least a couple hours a week. That’s what we live and stand for.“

“Musically I just undusted my old SGs guitars, 3 stomps and my 70s amps I used for Los Natas for more than 20 years. No changes. Just keep on the audio and the legacy I created back in 1994, maybe where I left it, at the doorstep of Los Natas’ album “Nuevo Orden de la Libertad”. He continues. “Not so stoned, not so hanged off, more straight forward in your face, with riffs and words. Just pushing the limits to get to our own truth. This is our debut full length album, where I think we could resume all the war inside our heads, it’s a beast on its own character and warmth. It’s also about love, hate, good and bad shit that happens to us every day. Trying to get in balance and live just for today. The present time. The golden balance of time.“

[ Artwork by Sergio Ch. ]

Doom Nacional Tracklisting:
01 From Skulls
02 Suicide Girl
03 Whisky Negro
04 La Electricidad Del Arbol Caido
05 Los Secretos De Shiva
06 Un Tren Al Sol
07 Solar Tse

Doom Nacional was recorded on analog tape machines, mixed and mastered by Patricio Claypole at Estudio el Attic in Argentina. Set for a release on April 24th 2020 with Argonauta Records as LP and CD, the pre-sale has just started at THIS LOCATION: https://www.argonautarecords.com/shop/en/cerca?controller=search&orderby=position&orderway=desc&search_query=soldati&submit_search=

SOLDATI is:
Sergio Ch. – Guitar & Vocals
Lucas Cassinelli – Bass
Alfredo Felitte – Drums

https://www.facebook.com/SOLDATIDOOMNACIONAL
https://sasrecords.bandcamp.com/
https://www.facebook.com/SASRECORDSARGENTINA
www.argonautarecords.com
www.facebook.com/argonautarecords

Soldati, “Suicide Girl”

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Soldati Post “El Fuego Quema” Video; Album Recording This Summer

Posted in Bootleg Theater on May 9th, 2019 by JJ Koczan

soldati

I’ve never actually seen 1971’s Twins of Evil, from which the footage for the new Soldati video was culled, but I kind of feel like I get the point anyway. There’s Peter Cushing, there’s super-red blood, there’s evil, there’s ’70s boobage, the end. I’m sure if you actually watch the full feature film, there’s a plot that’s about Satan or vampires or whatnot, but you know, the gist of it kind of still works out to be the same. I guess I’ve never really been much for the Hammer Horror scene, but, you know, I’ve never really had the chance to sit down with those movies either and really get to know them one from the other. It’s all just a blur of Christopher Lee and the aforementioned Peter Cushing.

But it makes decent video fodder, if nothing else. Soldati posted the single “El Fuego Quema” last month, and at that point, I noted how it was a departure for the three-piece of guitarist/vocalist Sergio Chotsourian, bassist Lucas Cassinelli and drummer Alfredo Felitte, in that the latter two don’t play on it. It’s just Chotsourian, and in that regard, “El Fuego Quema” is way more like the solo work he does under the moniker of Sergio Ch. than anything Soldati have yet made public. As it turns out, that may remain the case, as Chotsourian says the awaited Soldati full-length, which is set to record this summer, will be in a more doomed vein. We may have a bit to go until we get there, but we know from Chotsourian and Felitte‘s output together in Ararat that that can work out just fine. I’ll take it however it comes, I guess.

And in case I need to say it, the clip is NSFW, unless you work at a place that’s all about ’70s boobage, in which case you should probably get a new job.

Enjoy:

Soldati, “El Fuego Quema” official video

VIDEO OFICIAL DEL SINGLE DE SOLDATI – “EL FUEGO QUEMA”

VIDEO REALIZADO POR LUCAS MARTINEZ CON IMAGENES DE LA PELICULA “TWINS OF EVIL” [1971]

SERGIO CH. – GUITARRA & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
ARTWORK POR SERGIO CH.
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

Soldati is:
Sergio Ch. – Guitar & Vocals
Lucas Cassinelli – Bass
Alfredo Felitte – Drums

Soldati on Thee Facebooks

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Soldati Post New Single “El Fuego Quema”

Posted in Bootleg Theater on April 8th, 2019 by JJ Koczan

soldati

Stop me if you’ve heard this one before, but it’s time for Soldati to hunker down and make their debut full-length. The three-piece led by Sergio Chotsourian, formerly of Los Natas and also of Ararat, and featuring Ararat drummer Alfredo Felitte and bassist Lucas Cassinelli (also Hospital) have issued a handful of singles at this point (discussed here, here and here) as well as their self-titled EP (discussed here), and “El Fuego Quema” works in defiance of everything they’ve done up to this point. Where until now they’ve decidedly been a rock band, “El Fuego Quema” pulls back on the distorted thrust and instead offers a bluesy acoustic guitar line accompanied by some percussion and harmonica. It’s more in line with something one might expect from Sergio Ch.‘s solo incarnation than what Soldati have heretofore put on offer, but then, the problem with that isn’t anything the band are doing or not — the problem is the limit of expectation.

Last time I posted about the band, I said much the same about their getting to work on album number one. Well, I don’t know what the plan is or when that’s happening or whether or not “El Fuego Quema” or any of the prior-posted tracks — “Aurora,” “El Nudo en la Soga,” or “El Latigo y las Riendas” — will be included when the time comes. At this point, there’s probably enough for an LP assembled from the prior digital one-offs and maybe a song or two from the EP if the band wants, but it could also be that there’s an entirely different batch of material that will be put together whenever they get there. What’s important for the moment, though, is that “El Fuego Quema” makes Soldati as a whole a less predictable outfit and greatly increases the scope of what they might do on that album. For those of us anticipating the arrival of such a thing, it’s good to know how far they can push Soldati and still be within the sphere of the band. Chotsourian has never been shy about sharing material between his songwriting incarnations — “Aurora” was the title-track on his second solo album — so who knows how it will all shake out with “El Fuego Quema,” but it certainly captures an atmosphere as presented here.

Please enjoy:

Soldati, “El Fuego Quema”

SOLDATI “EL FUEGO QUEMA”

SERGIO CH. – GUITARRA & VOCALS

GRABADO, MEZCLADO Y MASTERIZADO POR SERGIO CH. EN DEATH STUDIOS
ARTWORK POR SERGIO CH.
PRODUCIDO POR SERGIO CH.

SOUTH AMERICAN SLUDGE RECORDS

Soldati is:
Sergio Ch. – Guitar & Vocals
Lucas Cassinelli – Bass
Alfredo Felitte – Drums

Soldati on Thee Facebooks

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South American Sludge Records on Thee Facebooks

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Soldati Premiere “Aurora” Video; Debut Album in Progress

Posted in Bootleg Theater on February 6th, 2019 by JJ Koczan

soldati

At this point, all of the projects Sergio Chotsourian has undertaken since the dissolution of Los Natas have been in conversation one way or the other, so maybe it’s not such a surprise that the latest single from the trio Soldati — in which he plays guitar and sings — also served as the title-track for the last album put out under Chotsourian‘s solo incarnation and nom de guerre, Sergio Ch., Aurora (review here). Released in 2017, that full-length was in no small part defined by its two-part titular cut, which blended experimentalist drone and folk impulses in a way that is increasingly becoming Chotsourian‘s hallmark. As Soldati bring in drummer Alfredo Felitte from Chotsourian‘s other trio — the somewhat MIA Ararat, in which he plays bass and sings — to replace original drummer Ranz and move inextricably toward their first long-player, “Aurora” is a glimpse of things to come.

And a striking one at that. True to the sense of lumber from the Sergio Ch. version, it’s the most Ararat-sounding Soldati piece to-date, calling to mind some of that band’s extended low-end rumblers and general spaciousness. Again, it all bleeds into each other, but it’s a marked turn anyway, as Soldati‘s 2017 self-titled EP (discussed here) was comprised of more straightforward material, and even the subsequent singles that have made their way out, “El Nuda en la Soga” (discussed here) and last year’s “El Latigo y las Riendas” (discussed here), have come nowhere near the droning aspects of “Aurora”‘s 13-minute pulse.

So is it indicative of where Solati‘s currently-in-progress album might eventually end up? Probably. Also probably not. I think laying one expectation on any Chotsourian-involved offering is doing it wrong. If he feels like playing a certain song with a certain band, he’s going to. If he feels like focusing on two different records at once — recall he also has a new Sergio Ch. album in the making, as recently noted — he’s going to. And in the hands of Soldati, as recorded by the lineup of Chotsourian, Ranz and bassist Lukas Hospital, “Aurora” takes on a suitably vibrant and consuming life of its own.

You can see the video below as directed by Juan Cruz Tommasi. I’ll hope to have more to come on Soldati‘s debut LP as we get closer to the release.

Please enjoy:

Soldati, “Aurora” official video premiere

VIDEO OFICIAL DEL SINGLE DE SOLDATI – “AURORA”
PRODUCIDO POR PATRICIO CLAPYPOLE
VIDEO REALIZADO POR JUAN CRUZ TOMMASI

SOUTH AMERICAN SLUDGE RECORDS

SERGIO CH. – Guitar & Vocals
LUKAS HOSPITAL – Bass
ALFREDO FELITTE – Drums

Soldati on Thee Facebooks

Soldati on Bandcamp

South American Sludge Records on Thee Facebooks

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