Freak Valley 2019 First Lineup Announcement: The Vintage Caravan, Electric Moon, Arc of Ascent, Spaceslug & Slomatics Confirmed

Posted in Whathaveyou on November 5th, 2018 by JJ Koczan

It’s fest-announcement cliche to say that if no more bands were added, the event in question would still be worth attending. Yet, five bands deep, I nonetheless feel precisely that way about Freak Valley 2019. Aside from the long-dreamt-of prospect of watching Craig Williamson (Datura, Lamp of the Universe) play live with Arc of Ascent, seeing Electric Moon, Slomatics or The Vintage Caravan, there’s Spaceslug from Poland, who are absolutely unreal on record and I can only imagine what they’d bring to the stage. So yeah, it’s cliche. I don’t give a damn. If Freak Valley 2019 turned out to be a five-band bill, it would still kick ass. They’d have a hard time making it fill three days, but you know, I bet it could work if it had to.

And spoiler alert: These aren’t the last bands who’ll be added. They’re the first.

Here’s what the fest has to say, and if the sentence construction looks familiar, it’s because I wrote the announcement:

freak valley 2019 the vintage caravan

Freaks!

It’s the moment you’ve been waiting for, and let’s face it, the moment we’ve been waiting for too. We’ve been working away behind the scenes to bring you the best Freak Valley ever in 2019, and while there are a lot of announcements still to come, we’re already so proud of what the eighth installment of the festival holds, and we can’t wait to welcome you all back to Siegen next June 20-22!

Tickets for Freak Valley Festival 2019 go on sale tomorrow online, and are available as of today in local booking offices (Die Tintenpatrone / Konzertkasse Siegen). While we’re still reeling from this year’s fest and we know there’s still the Freak Valley X-Mas Fest 2018 to come on Dec. 15, we fully expect Freak Valley 2019 to sell out, and can’t stress it enough: Get your tickets now!

Of course, we wouldn’t put that out there without giving you some reasons why. Please bid welcome to the first five acts revealed for the 2019 Freak Valley Fest: The Vintage Caravan, Electric Moon, Spaceslug, Arc of Ascent and Slomatics!

The Vintage Caravan

Iceland’s favorite heavy rock sons return to the Freak Valley stage! After hearing their latest album, ‘Gateways,’ we knew we had to get The Vintage Caravan back to follow-up their performance in 2015. They’re a constant request every year and an absolute favorite of ours, so don’t miss out as The Vintage Caravan show the world once again why they’re one of the most powerful power trios around!

Electric Moon

Who doesn’t love a mission to outer space? Electric Moon jam their way to the heart of the sun and back every time they play, and create an atmosphere unlike anyone else. Led by Sula Bassana’s guitar and Komet Lulu’s bass, they’ve brought back original drummer Pablo Carneval and will make their Freak Valley return in 2019 with some of the trippiest inner peace you’ve ever heard. Get ready to have your mind expanded.

Arc of Ascent

Coming all the way from New Zealand, heavy psych rockers Arc of Ascent have long been on the Freak Valley wishlist. In 2017, they made a return with their third album, ‘Realms of the Metaphysical,’ and secured their place between psychedelia and grunge with a sound that pulls the best from both. Fronted by the lysergic master Craig Williamson (also Lamp of the Universe), we couldn’t me more thrilled to have them in Siegen in 2019!

Spaceslug

Quite simply, this is one of our favorite new(er) bands out there. From their home in Poland, Spaceslug have worked quickly to put out three albums in three years, and the latest, ‘Eye the Tide,’ found them embracing not only the massive walls of fuzz and melodies for which they’ve become known in Europe and beyond, but also textures out of more extreme metal and a progressive sound that’s all the more their own. They just keep getting better.

Slomatics

If you’ve never witnessed Slomatics live, the only thing to do is correct that oversight. That’s all there is to it. The Northern Irish sci-fi doom rockers are unlike anyone else, with ethereal melodies and inhuman tone brought to bear with two guitars on opposite sides of the stage working together and with the drums to pummel the audience into cosmic dust? Never been cosmic dust before? Well, 2019’s your year to get on it. And you should. They don’t tour much, so this is a special opportunity. Don’t let it pass by.

Freak Valley 2019
Eight Years of All Killer – No Filler

Tickets on sale online TOMORROW. Don’t miss out, and stay tuned for more lineup announcements to come soon!

Thanks so much for your support. Freak Valley wouldn’t exist without you.

Your Rock Freaks

www.freakvalley.de
https://www.facebook.com/freakvalley
https://www.facebook.com/events/299339670806919/
https://twitter.com/FreakValley

Arc of Ascent, Realms of the Metaphysical (2017)

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Feature: Going Deep on The Wall [Redux]; Band Commentaries, Track Premieres and More

Posted in Features on October 26th, 2018 by JJ Koczan

va magnetic eye pink floyd the wall redux

Two things you should know about this post. First: It’s huge. Apart from the year-end lists that get posted each Jan. 1, it’s the longest post I’ve ever put up. The Q&As alone are 11,000 words. It’s more compendium than interview.

Second: That’s entirely on purpose.

What on earth would possibly earn such a vast landscape of text if not The Wall [Redux]? The third and most ambitious yet of Magnetic Eye Records‘ series of [Redux] compilations captures Pink Floyd at arguably (or, really, inarguably) their most iconic and comes accompanied by The Best of Pink Floyd, another Various Artists take on a swath of tracks from the generation-defining British band’s storied discography.

Like few records before it and even fewer since, The Wall is a landmark for what rock and roll could be, and the enduring emotional and sociopolitical relevance of a work of art that’s the better part of 40 is only part of what makes it so timeless when one considers the actual songwriting itself. Even for rock heads who aren’t Pink Floyd fans, it’s undeniable.

Before we get down to business on this thing, I need to thank Jadd Shickler of Magnetic Eye and Blue Heron (who take on “Stop”) for essentially putting it all together. He chased down the commentaries from the bands and we went back and forth about whether to run the whole thing or edit it down, but in the end, it seemed too crucial to me to not include everybody’s every word. I won’t be so self-aggrandizing as to call this a companion for The Wall [Redux] or The Best of Pink Floyd or anything like that, but it’s a look at the bands talking about how Floyd came into their lives, how they got to do the songs they did, and how they view the album in the context of today. Some take a political angle, some just dig the record. Both are valid, and The Wall stands up to scrutiny on both levels.

I’ve put the bands in alphabetical order, so you’ll get to see comments from: ASG, Blue Heron, Creepers, Los Disidentes del Sucio Motel, Domkraft, Forming the Void, Ghastly Sound, Greenleaf, Howling Giant, Mark Lanegan, Low Flying Hawks, Mars Red Sky, the Melvins, Mos Generator, Open Hand, Pallbearer, Red Mesa, Scott Reeder, Ruby the Hatchet, Sasquatch, Solace, Somnuri, Summoner, Church of the Cosmic Skull, Sergeant Thunderhoof, The Slim Kings, Spaceslug, Sunflo’er, T-Tops, WhiteNails, Worshipper, Yawning Man, Year of the Cobra. That’s nearly everybody involved in the project.

The copy is pretty raw — if you have time to precisely edit 11,000 words, congratulations on your life — but I’ve done a bit of formatting to hopefully make it clear. You’ll find it all beneath the track premieres below for Solace‘s take on “In the Flesh” and Red Mesa‘s version of “Breathe.” The Wall [Redux] and The Best of Pink Floyd are out Nov. 9 on Magnetic Eye Records. Preorders are available here.

Solace, “In the Flesh”

Red Mesa, “Breathe”

Behind The Wall [Redux]:
Inspirations and Motivations

Jason / ASG / Mother

As musicians and music fans, what’s your connection to Pink Floyd?

I think for us as musicians, Pink Floyd was there in the beginning of learning how to play guitar, drums etc. The relative simplicity of many Floyd tunes went hand in hand with the primitive stages of guitar lessons-if you knew a handful of chords you could play many of their songs. So as a teenager that was a big deal, being able to play one of your favorite band’s songs in the early stages of playing an instrument – it kind of cemented a lifelong bond of influence and fandom with Pink Floyd.

How did you arrive at your approach in covering “Mother?”

In our attempt of covering “Mother” we chose to stay relatively true to the original- we recorded out in the desert of Texas so perhaps a bit of country western influence slipped in with some guitar tremolo and mandolin making their way on to the track. And as a vocalist trying to do both the Waters and Gilmour “voices” it provided a bit of a challenge – but hopefully our version retained the intriguing and beautiful dichotomy their voices created in many classic Floyd tunes.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

I think any time or year is a good time to revisit Pink Floyd!

Jadd / Blue Heron / Stop

As musicians and music fans, what’s your connection to Pink Floyd?

I was late getting turned onto Pink Floyd, I think in my late 20s… I’d always heard the hits on rock radio but never spent any time going deeper. For some reason, I decided to buy an unauthorized biography about Pink Floyd while at a big bookstore in Denver when I was 27 or so. And then, who knows why, I read it from cover to cover while driving cross-country from Erie, Pennsylvania to Albuquerque, NM. I don’t mean I read it at rest stops and hotels or listened to the audio version, I mean I read the physical book perched on my steering wheel while driving 80 miles per hour across the width of the United States – it was that engrossing, and I heard and learned things about constructing songs and being in a band that would affect me forever.

How did you arrive at your approach to your song?

Well, we claimed this song as a way to be part of the record but not feel like we were taking the more sought-after songs away from anyone. No one was fighting over the 42-second piano and vocal instrumental, but that was nice, we were free to kind of ingest it and blast out something uniquely us. Chav basically took on the heavy lifting of turning that sparse piano melody into multiple layers of texture and fuzz, and then we drew it out a little bit so it didn’t feel rushed. There are very few lyrics, so I really just tried to find a different point of view on them… Roger Waters does plaintive well, I was aiming more for resignation and self-disgust as the character recognizes his errors in judgement and skewed perspective… I like to think that came across in what we did.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

As soon as Mike told me his plan to make The Wall the next Redux album, I was on board. It was February of 2017, and we were maybe a month into the Trump presidency, hearing about the wall he was going to build on the border and feeling completely alienated in our own country. Even though Floyd’s album was maybe not as political originally in its message, it seems like it took on more of that position over the years as it came to be associated with East Germany and such. So, given how powerless we were feeling after the most recent presidential election, the idea of re-building and re-imagining such a seminal album couldn’t have been a better way to make a statement about totalitarianism, divisiveness, and the kind of ignorance and hatred this administration makes people feel empowered to embrace. We should probably Redux the Sex Pistols next just to drive the point home.

Bill / Church of the Cosmic Skull / The Trial

As musicians and music fans, what’s your connection to Pink Floyd?

Although Dark Side and the Syd Barrett era are the usual ‘way in’, The Wall was played a lot around the house when I was younger, so it was my introduction to the band. As we’re all aware it’s something of a marmite album, and certainly more Waters than anything else, but it’s undeniably a great concept album, from one of the many incarnations of Pink Floyd.

How did you arrive at your approach in covering your song?

I love the old story that Dark Side syncs up with The Wizard of Oz if you press play at the right time. The Trial has some of Gerald Scarfes darkest animation visuals as part of the feature film, so we have synced up the cover version with the original, so you can play both simultaneously and it will fit together. Musically we have changed the verses considerably, and as the original has parts from all the different characters on the album it made sense we gave each one to different singers in the band:

The Prosecutor – Brother Sam
The Teacher – Brother Michael
The Wife – Sister Caroline
The Mother – Sister Joanne
Pink & The Judge – Brother Bill

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Politically it makes sense, and the increasing awareness of mental health issues, especially in the music industry, makes it all the more poignant.

Shiv Mehra / Creepers / Us and Them

As musicians and music fans, what’s your connection to Pink Floyd?

As musicians and music fans Pink Floyd has been one of the most inspiring bands of a lifetime. I connected to them personally from the early days of Syd Barrett to the latter. They’ve pushed sonic boundaries for rock into a realm of psychedelia that opened the doors for so much of our music today.

How did you arrive at your approach in covering your song?

Well “Us and Them” was one of our first picks for covering because it sits in a range for us vocally and reflects our own personal taste and sound as a band.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a perfect time for revisiting The Wall because it has been 39 years and music has transformed in so many ways since, but The Wall paved the path for psychedelic bands like us.

Nicolas / Los Disidentes Del Sucio Motel / Welcome to the Machine

As musicians and music fans, what’s your connection to Pink Floyd?

My connection with PF is huge! This band has been part of my main influences for years. I have all Floyd albums and a lot of solo albums of each member. Unfortunately, I never had the chance to see the whole band performing together, but I was lucky enough to see David Gilmour and Roger Waters in concert. I saw the last tour of The Wall at the Stade de France in Paris in 2013. This concert was a turning point in my life. Probably the biggest concert I’ve ever seen and will ever see. Recently I saw Waters with my dad, it was also a wonderful moment. Pink Floyd is one of those timeless groups that cross generations. My father loves PF, I love PF and I hope my son will love PF too!

How did you arrive at your approach in covering your song?

Pink Floyd is one of the few bands that connects us all in LDDSM. We all listen to this band on a daily basis, really. For each new album, we work on a cover that we play at the end of our concerts. For the album “Human Collapse”, it was “Welcome to the machine”. This appeared quite obvious by itself, because HC was written under the influence of PF from the start and is composed somewhat like “The Wall”. The way of composing and Gilmour’s guitar playing guided me a lot during the writing of this album. This man is a real god and I have immense respect for him. The sound he has created, his way of placing always the right notes at the right time, the sensitivity he puts in it, is pure genius. When we cover a song, we like to make it our own, as if the song could have been written by ourselves. But above all, we are always looking to keep its original identity. We don’t like to leave its uniqueness behind. People must be able to recognize it in the first seconds and have to say at the end “goddam, it really sounds like an LDDSM song!” That’s the point, make LDDSM stuff with the composition of another and respect the original song.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It is obvious that we are in a sadly perfect context for that. The political scope of the album has never been so justified. What we do with our planet is a shame. Trump is a shame, a monstrosity. But he is unfortunately not the only one. We live in an extremely violent and difficult world and I worry a lot, every day for the future of my children. In the manner of Waters, we might be tempted to build a wall around us to protect ourselves from others, but isolation is never the answer. We must break this wall, open ourselves to the unknown, reach out to others, it’s the only way for humanity to survive. This is the message of this album and it must be heard today more than never before.

Martin W. / Domkraft / Empty Spaces / One of These Days

As musicians and music fans, what’s your connection to Pink Floyd?

As a band, we probably would not sound the way we do had it not been for Floyd. They have been THE band for our guitar player Martin, who basically has listened to them all his life and they were the sole reason for him picking up the guitar in the first place. The rest of the band are also fans, but we both discovered them at a later stage in life.

How did you arrive at your approach in covering your song?

We right away decided that we wanted to do something in the vein of “Domkraft interpreting Floyd” rather than note-perfect cover versions. Why try to match something that is already perfect? Let’s do our own take instead and create alternate versions of classic tracks. Like, we found ourselves stretching short segments of the songs into actual parts of our versions. Small sounds and vibrations from the originals getting more space and importance. When we got to do “Empty Spaces”, we immediately knew that we wanted to go even deeper into the brooding, desolate aspects of the song. We soaked it in reverb to achieve an almost drone-like vibe to emphasize the lonely, bare and exposed feeling of the track.

“One of these Days” is such a seminal track and probably one of our absolute favorites from the Floyd catalog, so that one felt like an obvious and insane choice at the same time. With both the studio and the Pompeii versions just oozing perfection, we just decided to just go for it, not look back, and do our own take – more fuzz-drenched and with the same kind of psych-inspired over-the-top guitar work that is to be found in most Domkraft songs. Plus, we took some liberties and incorporated a segment from another “Meddle” classic – the falling note arpeggio break from “Echoes” – which worked really nicely and gave it some breathing space in the freight train section of the track.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Oh, hell yes. Frighteningly good. These are Orwellian times, possible more in the Animal Farm sense than 1984, though. That particular album has gone from being political (at the time of its release) to being “just” a classic (post-Glasnost) to being super-political again. A super political classic.

Shadi / Forming the Void / Fearless

As musicians and music fans, what’s your connection to Pink Floyd?

The first time I heard Pink Floyd was when I was 12. I had been studying music for a while and my father decided I was “ready” to hear them. We sat down together, and he played me the entire Wish You Were Here album. That moment changed my life forever. Pink Floyd became the band that I studied obsessively for the next few years. They sparked my lasting passion and serious pursuit of music and influences me deeply to this day.

How did you arrive at your approach in covering your song?

We had a short list of favorite Pink Floyd songs we might hypothetically cover one day. When we got this opportunity, it was with two weeks’ notice. From our list, ‘Fearless’ adapted the most naturally to our sound and fit most readily the time constraints we were given so it was an easy choice.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Anytime is a good time to revisit Pink Floyd! They are timeless.

TJ / Ghastly Sound / Another Brick in the Wall, Pt. 1

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the first and most important bands we were introduced to as children. I remember seeing posters for “The Wall” hanging up in my uncle’s bedrooms and being completely captivated by the artwork. In the 90’s, my father was really into home theater systems. When the Pink Floyd Pulse Live DVD came out, I was 8 years old. Our entire house would shake as we watched this and the cinematic adaptation of The Wall. This stuck with me until my teenage years and I began to discover cannabis. Thankfully, my parents were really open-minded about this specific substance and one summer night in my 13th year, they gifted me and a friend a half a bowl to smoke in the garage. Following our consumption of this gift, my friend and I got into my dad’s car and listened to Comfortably Numb on full blast in the driver and passenger seat. This experience was honestly a crucial moment in my development as a person and a musician.

How did you arrive at your approach in covering your song?

Approaching this cover was one of the most challenging experiences I’ve ever had as a musician. I think I threw away 3 or 4 instrumental versions before we landed on what we have now. Approaching a cover from such an iconic album is intimidating enough on its own. We had an extra challenge given that our specific track is more of an interlude; and comprised almost exclusively of David Gilmour playing guitar. Me, not being a guitarist, faced with executing something so clean in tone and performance was nothing short of terrifying. Our two main focuses were keeping true to the pace of the album and trying to maintain the feeling of crescendo as the album moves from Another Brick in the Wall Part 1 to Happiest Days of Our Lives. Ultimately, we decided that starting off true to the original and utilizing the ambient section of the song to take some liberties and transition into the next track was the best possible scenario. Hopefully we’ve succeeded and added something special for the listener to experience.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

2018 is a great time to introduce this album to a new generation of listeners. Not only because of the juxtaposition of the current political climate, but because guitar-based music is coming back in a huge way. It’s my hope that people can take these adaptations and use them to expand upon more traditional approaches to songwriting in the stoner or doom genres.

Tommi Holappa / Greenleaf / Another Brick in the Wall, Pt. 3 / Goodbye Cruel World

As musicians and music fans, what’s your connection to Pink Floyd?

For me it all started with seeing the Live at Pompeii DVD. The musicianship, the sound landscapes, the songwriting, it’s just simply amazing! Since then I have bought all their albums and yes You can easily say the I have been influenced by them. On each Greenleaf album there is at least one or two songs that has a little bit of Pink Floyd influences in them, it could just be a little reverb/delay thing, a riff or just the mood of the song.

How did you arrive at your approach in covering your song?

Well we knew that we couldn’t just do ”covers” of the songs because nothing can beat the originals. So, we decided to not try to copy the songs too much and try to make them sound more like Greenleaf, a bit more bluesy and a bit more heavy.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, it does! If you look all the stupidity that is going on in the world today it could drive any sane man crazy…

Tom and Zach / Howling Giant / Matilda Mother

As musicians and music fans, what’s your connection to Pink Floyd?

They pioneered the idea of the concept album. While each song can stand alone, everything they wrote had a specific purpose within the album. Pink Floyd also showed us that you don’t have to fit within a certain genre, they were all about writing what they wanted, when they wanted.

How did you arrive at your approach in covering “Matilda Mother?”

It’s a weird song, and its focus on fairytales and escapism is something that appeals to us. ‘Piper at the Gates of Dawn’ is often overlooked in the Pink Floyd catalogue and we wanted to represent that era.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The songwriting on The Wall is definitely worth revisiting, especially with the resurgence of classic rock influence on the heavy scene.

Mark Lanegan / Nobody Home

As musicians and music fans, what’s your connection to Pink Floyd?

As a teenager, I stole a record one day. Walking out of the store carrying it behind an empty record cover I’d brought in with me. When I heard the store clerk shouting behind me to stop, I turned a corner and out of his vision for a second, I threw it like a knife into a bank of deep snow. Not finding it, the guy let me go. Hours later I returned to retrieve my copy of ‘The Wall’ and listened to it nonstop for a long time. One of the great records of all time, I’m pleased I was able to participate in this tribute. Legally, of course.

Low Flying Hawks / The Thin Ice

As musicians and music fans, what’s your connection to Pink Floyd?

There’s always been a connection, we’ve always been into Pink Floyd, mostly the early years, the Syd Barrett stuff, atom heart mother, more, meddle, etc. probably up until the wall. We feel the true magic obviously after Syd left (cause Syd was the magic) was the mix of Roger and David, but once Roger started to lead we thought it was too rigid to forced and the other way around when David was in the lead it got too honey-dripped, too forced to the exact opposite, so together it was a perfect balance.

How did you arrive at your approach in covering your song?

We wanted to do something very simple, stripped to the core, the opposite of the operatic circus approach roger gave the album and obviously the song.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

We’re not political at all so we really never mix politics and music etc., we get the connection and the timing, but we feel you can always revisit an album if the bands are good and the songs are interesting.

Mars Red Sky / Comfortably Numb

As musicians and music fans, what’s your connection to Pink Floyd?

Mat: To be honest, Pink Floyd belongs for me to the generation of my parents, they had some of their records, so it has always been familiar, and it took years to rediscover it by myself. Also, songs like “division bell” was constantly on the air in the early ’90s when I was digging Punk Rock and Grunge… One day I listened to ‘The Piper at the Gates of Dawn”, and I went crazy about what was coming out from the speakers!

Julien: My dad had ‘Dark Side of The Moon’ in his record collection, I liked that a lot. Later I got more into them through a couple of friends when I was twenty and was a bit fascinated by the whole Syd Barrett mystery. I like most of their albums a lot, with a preference for some of the earlier ones (‘A Saucerful of Secrets’ especially)

Jimmy: ‘The Piper at the Gates of Dawn’ and ‘Atom Heart Mother’ are two of my favorite albums ever…

How did you arrive at your approach in covering your song?

Julien: We got the opportunity to pick Comfortably Numb, that was great because it’s one of our favorites. We had fantasized on covering this song for a long time, I had tried it awkwardly with a previous band. Here we put it all together fairly quickly, and we really like the way it came out. Our friend Benjamin Mandeau did a killer job at recording and mixing it.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Mat: Definitely there’s always a good reason to revisit such an album like that!

Dale Crover / The Melvins / In the Flesh?

As musicians and music fans, what’s your connection to Pink Floyd?

I’ve been into the Floyd since I was in grade school, thanks to older brothers. The first record I had of theirs was “Animals.”

How did you arrive at your approach in covering “In the Flesh?”

We always put our own spin on the song we’re covering. We came up with a genius idea for this one. If I tell you it will spoil the surprise. You’re just going to have to hear it.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Sure, why not now? Roger Waters keeps revisiting it for his mega buck tours. They didn’t really tour that record when it came out. In the US they only played New York and LA. Here’s a fun fact: when we recorded Stoner Witch we used the same Fender Precision bass that Roger used on The Wall. I believe it belonged to Bob Ezrin, producer of the Wall.

Tony Reed / Mos Generator / Goodbye Blue Sky

As musicians and music fans, what’s your connection to Pink Floyd?

There is no getting away from the influence of Pink Floyd. Their music has always seemed to be there and growing up in the 70s helped make them a part of the soundtrack of my youth. I have to be honest, when I first started playing music in around 1982, I was really burned out on the Pink Floyd “radio” songs and had never taken the time to explore the catalog. It wasn’t until about 15 years later that I heard the Meddle album and I was hooked on “Echoes”. Soon after, I took very little time hunting down the discography and studying it. Now they hold a very high place in my top bands.

How did you arrive at your approach in covering your song?

My usual approach at a cover is to try and replicate the song as close as I can, in performance and production. Using that technique, I come away from the project learning something about the recording and playing of the song. It makes me take an approach that I may not have chosen if I had written the song. In the end, I learn something that can possibly be applied to my own producing and writing. Not everybody agrees with this approach but it’s fun for me.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall is a timeless piece of music. It’s a human album, that to me, speaks about a struggle that we all go through as we move through life. It doesn’t manifest itself as intensely in most people as it does in the “Pink” character, but we’ve all been “through some sh**” at one time or another. Some more than others and years of it can change a person into a different soul. It’s seriously heavy thinking for a rock ‘n’ roll album.

Justin / Open Hand / The Show Must Go On

As musicians and music fans, what’s your connection to Pink Floyd?

What always has drawn us in to Floyd is Gilmour… his guitar playing and his voice … for those of us lucky enough to be exposed to Floyd at a young age (by our dads) you can’t help but be inspired by that band for the rest of our lives … and when you start playing guitar, Gilmour is a must study.

How did you arrive at your approach in covering your song?

We based our approach on the live version of “Show Must Go On” … it is a little longer live (extended) … they added another verse etc. … the live version of that song is better than the album version actually … so we went with that. As far as working with past Pink Floyd touring sax player Scott Page… I have known him for decades…met him when I was 13 or 14 … he was always involved in amazing bands (reo speedwagon… Supertramp…etc.) and Floyd … he gave me my first instrument … a saxophone… still have it … when it came time to record this cover … it was an obvious choice to go to the source … and even though there was never sax on the original he jumped at the chance to add some shit to it … recorded in the bathroom of my apartment…

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s a great time to revisit… having a whole new generation be turned on to Floyd via modern relevant bands that kick ass. … and Mike does an amazing job collecting those bands for these killer redux records… to be a part of two of these redux series for our favorite artists (Jimi Hendrix and pink Floyd) … so fucking cool man.

Pallbearer / Run Like Hell

As musicians and music fans, what’s your connection to Pink Floyd generally or The Wall specifically?

Pink Floyd has been a major source of inspiration for us, since long before we started Pallbearer. The experimentation, the innovative production, and most importantly the great songwriting has always been a benchmark for us to strive for since we started this band

How/why did you choose “Run Like Hell,” and how did the amped-up take on it come about?

When we were approached about doing this project, we initially inquired about 3 or so tracks to see if they had already been claimed by other artists, RLH being one of them. We were excited to take on RLH because it would give us the opportunity to totally subvert the notion that we would end up doing something obvious. The song is already kind of outside of the realm of our already-Floyd-indebted style. It was different for them, so it gave us a chance to really think outside the box.

Our initial inspiration on how to approach it actually came from watching as many early live performances of it as we could find. We found that all of them were really vicious sounding, and a bit unhinged. They just felt off the rails, so we decided to just go full steam in that direction.

Does today/2018 feel like a good time to revisit an iconic album like The Wall, and why or why not?

The Wall is very much an album that explores different aspects of isolation. In 2018, our world is essentially more “connected” than ever before via technology, yet it feels like we are also becoming more and more isolated from one another as individuals. Additionally, nationalist tendencies are increasing globally at a terrifying rate. It seems like a perfect time to revisit and re-examine this classic album.

Brad / Red Mesa / Breathe

As musicians and music fans, what’s your connection to Pink Floyd?

I started listening to Pink Floyd in high school in the mid-nineties. The first two albums I owned were on CD. ‘The Wall’ and ‘Dark Side of the Moon.’ I didn’t start paying music until after high school, so I was just a rabid fan of rock and roll, hungry to listen all the classic stuff. Both albums completely blew my mind. I spent hours in my room after school listening and reading the lyrics. I felt that Pink Floyd was the most intelligent band. Besides being phenomenal musicians, Roger Water’s lyrics spoke to me. He somehow managed to take philosophical concepts and weave them into a rock and roll band. It wasn’t just about women, drugs, and fast cars. Nothing wrong with that as subject matter, but Pink Floyd made you think about and question existence. As my younger brother and I digested The Wall and Dark Side, we discovered the rest of their albums. I fell in love with Meddle and Animals. The song “Echoes” on Meddle is my favorite psychedelic song of all time.

How did you arrive at your approach in covering your song?

We covered the song “Breathe” from Dark Side of the Moon. Picking the right song for the band was a challenge. We wanted to play to the strength of the band. Roman, our drummer texted me “How about Breathe?!” as I was looking at the guitar tab and plucking out the chords and rhythm. I thought that was a sign. I sent the band a voice memo of guitar stuff, they liked it, said we should make it heavier. We ran through it in practice and it felt great! We all love Pink Floyd so much. We felt honored to be asked to cover one of their songs. We wanted to do our very best and pay our respects.

In the studio, we played all the rhythm section ‘live’. It has a very organic feel to it. We really liked how it came out. I went back over and doubled the guitar track. For the iconic Dave Gilmour slide part, I played lap steel with a bunch of delay and reverb and heavy overdrive. We had a blast recording this one.

Matthew from Empty House Studio orchestrated us for “On the Run” the trippy instrumental song that comes in directly after “Breathe” ends. I stuck my head inside a grand piano banging away on the strings, while Roman was holding down that super cool drum part. At that point we had already polished off a bottle of Jameson, Matthew says “be careful, that piano is worth more than a house”. And I’m just banging away in there. Matthew was pushing us to get more creative and weirder. Super fun.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Yes, absolutely. Politically, spiritually, and environmentally things are fucked in the US. It seems that The Wall’s concept and message is timeless. It came out in 1979. It could have been released in 2018 without altering a single word. As much as that album is brilliant, it’s sad we haven’t seemed to have evolved much in the past 40 years. However, revisiting this album will hopefully bring Pink Floyd’s message and music to a younger generation of fans.

Scott Reeder / Is There Anybody Out There?

As musicians and music fans, what’s your connection to Pink Floyd?

When The Wall was released, it was my entry into Pink Floyd’s universe; and to this day is probably my biggest musical influence… right up there with The Beatles. My solo stuff always draws comparisons to Floyd. The damage is done deep – they were all I listened to for a long time! I feel lucky to have seen them a couple of times. Roger Waters quite a few times, too. Oddly enough, I had dinner with their final long-time bassist, Guy Pratt, and his wife few years ago at a Warwick Bass party. We were showing each other pictures of our properties and horses and had an awesome time. I didn’t realize at the time that his lady was Richard Wright’s daughter, Gala. She was very sweet.

How did you arrive at your approach in covering “Is There Anybody Out There?”

There’s not much to it… You’ve got the title question asked a few times, and then that iconic guitar run that I struggled to do some justice to. Structure-wise, that’s it. My fretting hand had developed trigger finger – my pinky and ring finger were locking closed, and after every take, it got worse, but I patched it up alright. The ambient stuff I constructed to reflect the desolate feeling out here on the ranch – I recorded guns in the distance, and our dog Rocky was scared and whimpering next to me, while his pal Harry was barking in the distance. My Chihuahua Scooter is in the mix towards the end, too – she passed shortly after this was finished – I’m so glad she’s on it! Got my 8-string bass in there for the scrapes run through a Whammy pedal to raise the tension. And it’s my first time using trombone on a track!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

At almost 30 years out… why not? It’s my favorite album of all time – probably the only album that I could sing all the words to! It’s an honor to be a part of this tribute to the greatest album of all time, and it’s absolutely killing me waiting to hear how the whole thing plays out!

Jillian Taylor / Ruby the Hatchet / Vera / Pigs (Three Different Ones)

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd was one of the bands I was brought up on and a favorite of my father’s. I remember thinking they were really weird and scared me when I was young; especially The Wall movie which seemed to always play in the wee hours when I was sneaking TV. My mother’s side is from England and there are so many crossovers with Floyd lingo and English pride and reprimand (cue “hanging on in quiet desperation is the English way…”). When I was a teenager, and after an ugly divorce between my parents, my father gave me The Wall for my birthday. It was then that I felt like I understood their strangeness and the rebellious and political undertones. I even went through a rough year where I had to listen to The Dark Side of the Moon every single day to relate to all the beauty and pain in it.

How did you arrive at your approach in covering your songs?

Everyone dove in to their respective parts. Pigs was a huge labor of love by all parties; especially Sean (keys) who recorded and engineered both tracks for us. It’s a lengthy track that we made even longer (additional apologies to Sean for having to mix down a 12-minute song dozens of times). We didn’t veer off course with Pigs much, it was fun to play it straight and make small twists with the organ, harmonies and vocals in female register. Vera was completely different as it’s a very short interlude (we managed to at least triple the length of it, of course). It came naturally to play around with Vera. I’ve always thought that song was so hauntingly pretty and used to hum an additional part I’d imagine there which we made happen in a bridge.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I’d say yes, and until we reach some kind of Utopian society which doesn’t seem like it will realistically arrive; then maybe always. There’s a George Orwell quote from 1984 that always reminds me of The Wall: “If you want a picture of the future, imagine a boot stamping on a human face — forever.”

Cas, Keith and Riggs / Sasquatch / Another Brick in the Wall, Pt. 2

As musicians and music fans, what’s your connection to Pink Floyd?

Riggs: PF is one band that has consistently punctuated moments in my life from the age of 8 to whatever I am now. My brothers got tickets to The Wall at Madison Square Garden when I was a wee lad. I was completely bummed that I didn’t get to go, and I have spent the rest of my song-writing life trying to rip them off.

Keith: Floyd has had a big influence in many ways on me personally and our music. I guess it might not come through so much in our songs themselves, but I think about PF when I’m incorporating dynamics and textures into the songwriting. It’s definitely played into having Unger come in and drop more Hammond and B3 on our new record, Maneuvers.

Cas: To be honest, I’m the young buck in the band. Growing up as a metal kid in the late 80s, my first exposure to PF wasn’t a direct connection, but through Voivod’s cover of Astronomy Domine. Obviously, I had heard PF hits on classic rock radio, but hadn’t paid attention until I heard this tune in 8th grade. That take on that song drove me to dive into the PF catalog and I haven’t looked back since. Waters may not be flashy, but he writes some of the most memorable bass lines out there in rock. Huge influence on how I approach the instrument.

How did you arrive at your approach in covering your song?

Riggs: Another Brick in The Wall has always been an odd song for PF. I remember kids in school singing the song to be rebellious, but the disco beat always freaked me out. We wanted to change it up in a more soulful way and lose the kid chorus and disco beat. It’s the same approach we would take if we were to cover Money.

Cas: Keith and Riggs played around with several different versions. We thought about both extremes: a) keeping it true to form or b) deconstructing it to the point where it would be completely unrecognizable. We eventually ended up slowing it down and beefing it up but kept the melodies intact. The guys were definitely adamant about pulling out the Bee Gees beat from the original. In the end, we decided pulling the drums completely out of the verses gave the choruses a much larger impact. Then Riggs tried out his best (worst?) Academy Award-winning English accent on the wrap-up. Made me crave some pudding.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Riggs: It’s always a good time to revisit any PF album. Just as Roger Waters is accentuating the current political aspects on his tours, it’s great to see a bunch of talented bands give it their own take.

Keith: I think anytime you can cobble together such a great list of bands like the roster here, why not do it?

Cas: Given the current climate, there’s no better time than the present.

Dan / Sergeant Thunderhoof / The Happiest Days of Our Lives / Time

As musicians and music fans, what’s your connection to Pink Floyd?

They were a mainstay in my household as a child. Those songs are so solidly imprinted within me that they’ve almost taken on another dimension. Floyd have a sound of their own that is pretty hard to pigeonhole and I guess we try to emulate that philosophy.

How did you arrive at your approach in covering your song?

“Happiest Days of our Lives” was a fun song for us to do, I even got to mimic the teacher’s voice at the beginning which was cool. We wanted to add a little bit of our theatricality to it which was quite hard given how short the song is, but we’re happy with what we did. Essentially the song acts as prelude to probably the most notable song on the album so our job was to set that up in the best way possible.

As for “Time,” this was really just a song that we all love. When it came to messing around with it, we found that by trying to make it more ‘hoof’ it simply sounded trite and a bit ‘try-hard.’ In the end after trying out different ideas, we pretty much just played it straight. In a way, this was us not trying to emulate Floyd but instead showing some respect to the song and humbly admitting that we can’t do any better that the original!

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

I guess it depends on what it is you think The Wall is. For me the album represented a rejection of indoctrination, whether that be the education system, political structures or financial institutions. What we’ve seen over the last few years is a complete breakdown of social interaction. There is such a divide between what we perceive to be the two sides of the argument. For me, The Wall represents a mental prison, not a physical one. Some people are so quick to assume the worst in everyone and everything, it would be nice to get back to a place where we can all respectfully disagree with each other but still enjoy a beer and a good riff without fighting!

The Slim Kings / Young Lust

As musicians and music fans, what’s your connection to Pink Floyd?

They are musically up there with the best. One of the bands to be studied in their song writing, production. They set up a mood that is undeniably Pink Floyd. Great teenager headphone music.

How did you arrive at your approach to your song?

So, there is no pressure to compete and make it sound like an original hit that people are used to – but we tried to cop most of the tricky licks so nobody would call us out. We recorded it live to tape quickly. Kacie Marie is a burlesque influenced singer and Instagram star who was hanging in the studio that day. She was the perfect woman to sing those background vocals.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

There is never a bad time to listen to the wall. Particularly when you are on this side of it! Joking aside, the country is in a cold civil war right now, so anything ever written about people being divided and conquered is relevant.

Tommy Southard / Solace / In the Flesh

As musicians and music fans, what’s your connection to Pink Floyd?

They’re an iconic band that influenced me as a young kid long before I even picked up a guitar. It helps when your cool uncle lives with you and has a copy of Ummagumma and it blows your mind in 2nd grade.

How did you arrive at your approach in covering In the Flesh?

Plug in and play like ourselves, hope for the best! I think we put our take on a classic tune from a masterpiece of an album. Tried to do it justice while still sounding like Solace.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

Any day of any year is a good time to revisit any of the classic Floyd albums!

Somnuri / Sheep

As musicians and music fans, what’s your connection to Pink Floyd?

We all have an appreciation for Pink Floyd but if you asked us individually, our favorite albums would probably vary. As a whole, there’s no denying Pink Floyd’s sound and aesthetic as being an influence on us as musicians and artists.

How did you arrive at your approach in covering “Sheep?”

This project was interesting because there weren’t many songs left to choose from and given the timeframe to complete it, ‘Sheep’ was a very ambitious choice. As much as we tried to make it our own, we felt we had to honor the original song as much as possible. Ultimately, recreating the vibe and atmosphere was the most intensive part of the process. We feel proud of the way we conveyed the song and took it above and beyond what we expected.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Absolutely. With our current political and societal climate, the stories and concepts from the album seem as relevant as ever. One of the things that makes an album iconic is the sense of timelessness, and The Wall certainly has that feel, at least topically.

Bartosz Janik / Spaceslug

As musicians and music fans, what’s your connection to Pink Floyd?

It’s very personal music for me. A lot of good and bad memories. Floyds were with me in hard times and help me stand on the ground. Love this band and David Gilmour is in fact a big inspiration for my guitar playing.

How did you arrive at your approach to your song?

We managed to make our version of it and reverse the structure. The original has more doodling and ambient sound and this massive guitars on the end. We managed to make it little different and change that to have less ambient and more guitars and factures.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s always good! My dream is to be on Dark Side of The Moon Redux in some future! Hope this will happen! Also, that kind of initiative will keep good vibe that Floyds deliver years ago. Great band and this was really an honor to be part of this re-edition!

AJ / Summoner / Hey You

As musicians and music fans, what’s your connection to Pink Floyd?

I think our connection to Floyd is similar or the same to everyone else who plays this style of music. We’ve all been exposed to Pink Floyd our whole lives. I personally can say that it started with my parents listening to them when I was a kid. Followed by me taking that torch and running with it. Learning their discography as a teenager and striving to emulate them in the music I still write today. Summoner takes a lot from PF musically. When we get into our more ambient/atmospheric writing Floyd is always in the front of our minds. Not only do we draw from them musically, we are also influenced by their production style and studio magic.

How did you arrive at your approach in covering “Hey You?”

If I remember correctly, when we were asked to be a part of this we all agreed unanimously that “Hey You” should be our tune. You always have to be careful when covering a band like Pink Floyd. Everything they did was done right. You can’t expect to make one of their songs “better” you can only take what they have done and expand upon it and make it your own. We kept it tight to the template on our version because it was already so damn good. What we thought we could add was our style and texture to the tune and I think we did that well.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s as good a time as any. As I said previously, it’s always a risky venture to cover such an iconic band/album. Those songs are engrained in everyone’s mind and to switch that up almost seems like a losing battle. But done right it can be pulled off and I think MER has done just that with the bands they have chosen to do this project. We were just so happy to be a part of it. I guess the timing is kind of right since (I think) we are coming up on the 40th anniversary of the release.

Carter / Sunflo’er / Bring the Boys Back Home

As musicians and music fans, what’s your connection to Pink Floyd?

The riff in seven at the beginning of “Money” is a legendary use of odd meter. There’s so few solid examples of it in mainstream radio and making the realization as a youth leads to asking other questions about rhythm and where it comes from.

How did you arrive at your approach in covering “Bring the Boys Back Home?”

The original recording features a full marching band and choir, which we weren’t going to compete with, so the obvious choice for the cover was playing as minimally as possible. We wrote a chord melody for the guitar, reduced drum hits to only the most necessary, Ethan played saxophone and nailed it. Bohren & Der Club of Gore vibes were sought and achieved.

Does 2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

For all the obvious geopolitical reasons: yes.

Patrick / T-Tops / Nile Song

As musicians and music fans, what’s your connection to Pink Floyd?

The Wall was my first introduction to Pink Floyd. When I first dug into the album 20+ years ago, the thing that struck me most was the overt loneliness & desolation at the heart of the record. This theme runs throughout much of their music, but obviously this is especially true with The Wall. What separates it from other Floyd records for me, is how it’s just a really solid, well-focused rock album (rock opera?) about brutal isolation & loss. These two themes are universally identifiable.

Though this album was inspired by WWII & the horrendous grief and loss it caused, I identify most with the songs about fractured relationships & the war & desolation that exists inside the narrator’s mind. Lyrically, my favorite songs on The Wall are “One of My Turns” which explores the madness & absurdity someone can exhibit to a loved one. First “love turns gray” then the narrator admits to being bored out of his skull and just going through the motions until he snaps into a manic scatterbrained episode of violence and destruction, scaring the hell out of the other person & then asks, “why are you running away?” Brilliantly followed by the backhanded apologetic begging of “Don’t Leave Me Now” where he reminds his partner about the “flowers I sent” & goes on to plead with them that he needs them (if only to “beat to a pulp” or “put through a shredder”) while simultaneously begging them not to leave.

How did you arrive at your approach to your song?

The Nile Song is possibly the most “straightforward” rock song in Pink Floyd’s catalog which is what drew me to it. The simplistic musical pattern and yelled/half screamed lyrics make it stand out from other Floyd songs and made it an easy choice for a cover. I was surprised no one else snagged this one before we were given the chance to. Of course, I’m aware of The Melvins covering this song in the early ’90s. Not that we (or anyone) could ever sound like the Melvins, but we kind of took a similar approach to covering it in just playing it basically the same as Pink Floyd just with louder more distorted guitars.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

It’s never a bad time to revisit a classic.

Taylor / WhiteNails / Waiting for the Worms

As musicians and music fans, what’s your connection to Pink Floyd?

Pink Floyd is one of the quintessential musician’s bands. Their level of creativity and pushing boundaries has always been an inspiration to us. David Gilmour is one of our all-time favorite guitarists and there aren’t many musicians who have the taste and flair that he does. As well as one of the greatest guitar tones of all time!!!

How did you arrive at your approach in covering your song?

Covering “Waiting for the Worms” was sort of a trial and error process. We wanted to add our own touch but really didn’t want to stray too far from the original work. We ended up changing the verses musically and tried to stray somewhat true to the vocal melody. We generally beefed up most of the guitar work and allowed Darcy to really sing on the track.

Does today/2018 feel like a good time to revisit an iconic album like The Wall? Why or why not?

Releasing an album like the Wall again seems entirely appropriate in the political and social climate we find ourselves in today. Pushing against the powers that be has never run out of fashion and it stands equally as true today.

Worshipper / One of My Turns

As musicians and music fans, what’s your connection to Pink Floyd?

ALEJANDRO: I don’t recall a time when Pink Floyd wasn’t a part of my awareness. My father was an avid music fan and record collector, so Floyd was often on the record player when I was young. “The Wall” was one of the first gatefold records I held as a kid. The towering butt overlord was mesmerizing. As a musician, my appreciation for the band goes in cycles. There was a time in my 20s when I couldn’t get away from The Wall or Dark Side because they were everywhere. Friends couldn’t wait to gift me a copy of “The Wall” the movie on VHS or DVD which is difficult because, let’s face it, it’s a dark movie. Who has the emotional fortitude to watch this Pink guy slice his eyebrows off? It’s tough. But, at some point a revisit of The Final Cut or Relics b-sides or Echoes or Shine on or Animals sends me back into another Floyd-obsession phase. For some reason I never got around to seeing the Pompeii stuff until recently, when we started writing our current record, so I climbed into that rabbit hole for a bit. The connection, for me, is the fearlessness in songwriting and the immense power four guys can make together and all the inventiveness that goes along with that. I think if you’re going to be in a band you need to see what Floyd was all about. They invented a lot of what you need to make it work. If you don’t you’re just being an asshole to yourself and your bandmates.

JB: It’s funny, my dad is a GIGANTIC Floyd fan and that is probably the #1 reason. He had all the records and a bunch of bootlegs (which he has since passed along to me) and while he would play them around the house while I stared in amazement at the back cover of Ummagumma, he never forced them on me or anything. It wasn’t until I borrowed his van in college and found a tape of a bootleg from ‘72 under the seat that it really sealed the deal for me. We had Live at Pompeii on Laser Disc and everything, but it wasn’t until I discovered what I liked about them on my own terms that it all clicked for me in a personal way. I tend to gravitate toward the early stuff like Obscured by Clouds, MORE, Relics, and Meddle, but I love it all. But, to answer your question more concisely, they have basically been a part of my life for as long as I can remember and a huge part of my relationship with my dad.

I think all of us are into Floyd in different ways, which is cool, as well. Like, Jarvis is a maniac about the Wall, but not much appreciation for the Syd stuff, while I am sort of the opposite. I like all of that ridiculous British 60s acid-damaged tea and crumpets stuff.

How did you arrive at your approach in covering “One of My Turns?”

ALEJANDRO: It was a different type of song for us. We do covers all the time but this one was a challenge since it’s kind of two songs in one. The front half is a bit of a theatrical vignette, so we debated if we should stick to the actual narrative from the record, where we use the dialogue of Pink’s guest in his room while he’s watching “The Dam Busters” on TV. In the end we ditched the groupie and focused on the significance of what a protagonist in “The Wall” in 2018 might be watching which, in our version, is the scene from “All the President’s Men” where Robert Redford gets the “follow the money” speech from Deep Throat. Seems an appropriate commentary right now. On top of that, there was the opportunity to record and build a section based on John’s synth and keys treatment which we did separately from the second, more-straightforward half of the song.

JB: I had to really dissect this one, personally, to get to the bones of it and figure out what was going on. With such a grand production, it was a little tricky to pick apart. Al said that he was working on the strategy for the front half, and I kind of took the lead with the back half, doing a demo at home and trying to figure out how to put our stamp on it and how to approach the vocals without trying to imitate Roger’s utterly unhinged performance. I basically had to reharmonize the vocal melody a little (ok, a lot) to make it work with my range and demeanor. And then the front half was really our first attempt at creating something from scratch in the studio (not working from playing live.) I’m really into synths, so I had fun doing the pads in the intro and making more of a “headphone experience” … Al had a map of the chord structure of the intro, so he kind of yelled out chords and we built it up piece by piece until the vibe was right. I really wasn’t sure I would be able to pull off such an intimate vocal like Roger does, but, I’m happy with how that came out. It should be noted that Chris Johnson did an amazing job recording and producing it. Especially since we had to kind of graft the front half onto the back half, but he made it work!

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

ALEJANDRO: It does. There’s never a bad time to revisit “The Wall,” but today seems a particularly good time. The Wall as Roger Waters conceived it was metaphorical, right? A dude with dad-issues and a lifetime of intimacy problems? Now the idea of “a wall” is an analogue for the ideologies of greed, division, nationalism, fear that, in America, play out constantly on social media, tv, newspapers, it’s everywhere. Working with MER to add a voice to a commentary about it and celebrate the music and message of Pink Floyd? Sounds right. Sign us up. This is one of the reasons we play in a band. It’s a shitshow out there and it’s time to get dressed and show up to the party. America is pretty happening party, but insane assholes are soiling the punch and passing out bad drugs, and the DJ is a punishing monster right now. I’m glad I got a band that wants to kick down the door, squeeze off a few rounds on the fire extinguisher, and put some Floyd on the stereo ‘cause whatever’s on at the moment has got to stop.

JB: Did you see Roger Waters on that last tour? If anything, this is a PERFECT time to revisit this album. All of his lyrics can be interpreted as being completely current in today’s political climate. Maybe the Animals record more than this one, but wow, he really created some timeless lyrics that make sense in pretty much any era. Until everybody gets along, I think Roger’s lyrics will always resonate. This has also been great for me, personally, because The Wall was never really “my Floyd album” so it gave me a reason to really dig into it again and learn to really appreciate it. Not that I didn’t appreciate it, I just always found it to be a little on the “emotionally draining” side. Now, I don’t see it that way anymore, so thanks for helping me with that!

Gary Arce / Yawning Man / Outside the Wall / Mudmen

As musicians and music fans, what’s your connection to Pink Floyd?

To be honest we grew up with punk rock and we were very young when we started doing music, not caring much for references. As for Pink Floyd I can see how we share a similar approach to guitar sounds and spatiality, as well as riffs and tempo with some of their songs. It’s that they started with blues and you can hear rock is a part of us. I think some members of Pink Floyd also kind of grew up together as we did. Playing in the desert with our mates, most of them are luckily still around doing their thing, that’s what pushed us.

How did you arrive at your approach in covering your song?

Our approach is usually very instinctive. We love jamming and see what we come up with. That’s how we did the covers, too. We‘re not like wracking our brains too much before we start, that’s not how we play. We just start and the music keeps flowing. It was fun and lots of Mexican food kept us going.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall made the history of music. Many have been if you want it or not (consciously or unconsciously) influenced by it. On tour I talk to many fans after concerts or they come up and talk to me. They know a lot about music and love to establish connections between their idols and the younger bands. Psych sounds are having a huge revival in Europe, the US and Canada. We see that when we play live and most of the shows are sold out. So I guess it’s a good moment to revisit The Wall and see what it’s got to tell us now.

Amy Tung / Year of the Cobra / When the Tigers Broke Free / Have a Cigar

As musicians and music fans, what’s your connection to Pink Floyd?

The funny thing about Pink Floyd is that they’re not one of my favorite bands, but they’re certainly one of the most influential bands in my life. If I think about the time in my life where music influenced me the most, like as a preteen or a teenager, they’re certainly one of the top 5. They’re one of those bands that, at some point in your life, you have to dive into, head first, and in doing so, you become a more fulfilled human being. It obviously doesn’t apply to everyone, but to most of the people that I relate to, it does. It is impossible to not have the utmost respect for them and never in my life did I imagine I would be asked to cover any of their music. I never thought I would be able to, but to have the opportunity to do so was outrageously challenging and exciting. I don’t expect anyone to find our take on their music better than what already existed. I just hope people find it interesting and inventive and I hope it opens their minds to something different and new.

How did you arrive at your approach in covering your song?

My approach to covering any song is to find a way to change it. I feel like you can never make a song exactly like the original because it will never sound better than it already does. The only option you have is to change it. My goal is to find a way to keep the essence of the song intact but insert a little bit of me in it. Covering the songs “Have a Cigar” and “When the Tigers Broke Free” as Year of the Cobra was certainly limiting, seeing that we’re only a drum and bass duo, but it was also fun trying to find a way to do justice to the music, while also doing justice to us as a band. In the studio, we added some more instrumentation (I.e. keyboards), but I feel like it’s still something we could play (and maybe… hopefully… will play) live, one day.

Does today feel like a good time to revisit an iconic album like The Wall? Why or why not?

The Wall will always be an album to revisit; today, tomorrow, in the future. It’s timeless. There are no contemporary bands that even come close to writing an album of epic proportions like The Wall and there are too many kids that have grown up listening to the formulaic music that is spewed out on modern radio these days, it’s depressing to think what their lives would be like if they weren’t introduced to albums like The Wall. It is imperative that we keep these albums alive in any way we can, so they are never forgotten. Finding bands to cover them, breathe new life into them, is such an exciting way to keep them alive, to keep us talking about them. I hope in 10 years, more bands are covering this album and keeping it alive for more generations to come.

Magnetic Eye Records webstore

Magnetic Eye Records website

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Spaceslug Set Oct. 26 Release for Eye the Tide on Oak Island Records

Posted in Whathaveyou on October 2nd, 2018 by JJ Koczan

spaceslug

Polish trio Spaceslug took down a few genre barriers earlier this year when they issued their third album, Eye the Tide (review here), bringing in harsh vocals and extreme metal impulses to set against their warm-toned psychedelic wash. The album made these disparate influences not only coherent, but essential to each other, and ultimate brought Spaceslug‘s sound to its most thrilling realization to-date. It was also very, very, very heavy, and that never hurts either, but it was about more than just the weight of its riffs or the largesse in production value.

Oak Island Records has picked up the album — someone was bound to — for an LP release, and it’s set to come out Oct. 26, as the PR wire informs:

spaceslug eye the tide

SPACESLUG – EYE THE TIDE – OUT OCTOBER 26th

Poland’s mighty Spaceslug return with their third full-length studio album, “Eye The Tide”.

Fans of Spaceslug will not be disappointed, as the trio push forward into new territory, with perhaps their most aggressive and heavy record to date.

Each new song is expansive in both it’s sound and it’s progression. A conscious effort has been made here to lay all cards on the table and show exactly just how far this band can go in terms of song-craft and musicianship. It is a well thought out and beautifully delivered album that flows, capturing the listener and transporting them away from the noise of everyday life.

Eye The Tide will be released via Oak Island Records on the 26th of October and is available on heavyweight vinyl & CD.

VINYL FACTZ
– Plated & pressed on high performance vinyl at Pallas/Germany
– limited & coloured vinyl
– 300gsm gatefold cover
– special vinyl mastering

TRACKS
1. Obsolith
2. Spaced By One
3. Eternal Monuments
4. Words Like Stones
5. Vialys Part I
6. Vialys Part II
7. I, The Tide

Spaceslug are:
Bartosz Janik – Guitars/Voc
Jan Rutka – Bass/Voc
Kamil Zió?kowski – Drums/Voc

https://www.facebook.com/spaceslugband/
https://www.instagram.com/spaceslug_pl/
https://spaceslug.bandcamp.com/music
https://www.facebook.com/BSFD-records-247816545273558/
https://bsfdrecords.blogspot.co.uk/
https://www.facebook.com/oakislandrecords/
http://shop.bilocationrecords.com/index.php?k=1072&lang=eng

Spaceslug, “Obsolith” official video

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Review & Track Premiere: Spaceslug, Eye the Tide

Posted in audiObelisk, Reviews on June 29th, 2018 by JJ Koczan

spaceslug eye the tide

[Click play above to stream ‘Vialys Pt. I & II’ from Spaceslug’s Eye the Tide. Album is out July 20 on BSFD Records.]

Comprised of drummer/vocalist Kamil Ziólkowski, bassist/vocalist Jan Rutka and guitarist/backing vocalist Bartosz Janik, Poland’s Spaceslug have worked quickly to become a significant presence in the European heavy underground. Their 2016 debut, Lemanis (review here) and its 2017 follow-up, Time Travel Dilemma (review here), were both among their respective years’ best releases, and they even found room last year to squeeze in an EP release in the form of Mountains and Reminiscence (review here) before embarking on their third full-length and the final installment in a stated trilogy, which arrives as the six-song/54-minute Eye the Tide on BSFD Records. Their advantage has always been a decisive grip on their aesthetic — from the first album on, they’ve had a definite idea what Spaceslug should sound like in terms of tone, rhythm and melody, and after earning comparisons to Sungrazer early for their heavy psychedelic drift and blend of thick guitar and bass with floating vocal melodicism, they’ve worked over their releases to make that sound even more their own. It has never been more so than it is on Eye the Tide.

The big difference this time around? An uptick in the level of aggression. Opener “Obsolith” still casts post-rocking lead guitar lines out into the ether, but in its nod under the chorus, there’s just something more pointed about their approach, and that manifests even further in the post-midpoint bassy chug of second cut “Spaced by One” before the mostly-chill, mostly-patient “Eternal Monuments,” but is most prevalent as side B begins with the slamming “Words Like Stones” and the first harsher vocals arrive. Screams. They run at first alongside the laid back, clean-sung vocals that have become one of the hallmarks of Spaceslug‘s style, but at 3:35 into the track’s total 8:28, there’s a sudden pivot and the guitar goes full-on black metal and those screams come more to the forefront. Likewise, the drums take a more intense pulse, and as they move toward the halfway mark, seemingly all of a sudden, Spaceslug have cast an extreme vision of charred heavy psychedelia. They turn to a long instrumental stretch soon enough, but the context has shifted, and when the vocals return after the seven-minute mark, it’s both the throat-rippers and the clean singing, but the screams are definitely in the top position, whereas even just at the beginning of the song, they were in the background.

That back-to-front movement itself is important in understanding the poise and class with which Spaceslug carry out their ideas, and especially that with which they introduce a jarring new element to their audience. After a stretch of threatening-in-context squibbly guitars in the penultimate “Vialys Pt. I & II,” the screams come again on Eye the Tide closer “I, the Tide” as background and preface to the mountainous chug that will snow-cap the album’s 11:16 longest cut. But the second time is more a part of a summary of what the album as a whole has accomplished, and it’s really that first assault that’s more striking.

spaceslug

To-date, Spaceslug have been a pretty easy-going listen. Maybe not heavy-hippies, but not by any means abrasive. “Words Like Stones” changes that, and adds an undeniably metallic flair to the proceedings. It makes one want to go back to Time Travel Dilemma and Lemanis? Has that influence always been there, lurking beneath the surface of their ultra-molten psychedelic flow? Maybe it has. More likely than not, but it’s still a surprise when the screams hit if only because it brings that new aspect of Spaceslug‘s sound so far forward amid the still-relatively-peaceful surroundings.

Is it enough to turn listeners off? Probably not, unless they’re completely averse to any screamed vocals at any time, in which case that’s more about a policy position than this actual album’s use of an element in Spaceslug‘s sound. In the full scope of Eye the Tide as a whole, it works well to jar the experience after the band has dropped subtle instrumental hints of what’s coming on “Obsolith,” “Spaced by One” and “Eternal Monuments,” the latter a nine-minute patient unfolding that turns from its extended intro serenity to a cyclical riff that’s positively crushed in its tone and an apex that, until its side B mirror in the closer, is the most satisfying on the record. In the spirit of heavy rock tradition, they save the experimentation for the album’s second half, but when the time comes, they deliver with boldness and confidence alike, just as they always have, and the screams serve to enhance and broaden “Words Like Stones” rather than detract from it. Ultimately, they make Spaceslug a richer, less predictable band, and that’s never a bad thing. The anti-scream crowd will either have to come around or not. Spaceslug could just be getting started on their most important stylistic work yet, and as they haven’t yet, I wouldn’t expect them to let anything get in the way of their steamroller of a sound.

And it’s important to remember that as striking as those moments are, that’s just it. They’re moments. Parts of the whole impression Eye the Tide makes, and whether it’s the calm initial stretch or the later linear build in “Vialys Pt. I & II” or the push of Ziólkowski‘s drums behind the unfolding second half of “Obsolith” or the consuming motion of the finale in “I, the Tide” which manages to be as hypnotic as it is pummeling as it moves through its midsection to the instrumental second half and the megastomper riffing that caps the album as a whole, there’s much more to Spaceslug‘s third outing than “the part where the dude screams.” That becomes a piece of the larger picture, and the band do well to integrate it into their overall sphere. Will there be more? Is it indicative of some shift toward a more extreme direction? Is this to be their longer-standing contribution to psychedelia? Hell if I know. It works here, and that’s enough for right now. If nothing else Spaceslug have earned a certain element of trust via the quality of their songwriting and aesthetic execution over their now-complete trilogy, and if they can pull off such a sharp turn as they do on this third-of-three, it seems all the more worth continuing to follow them and see where they go next.

Spaceslug, “Obsolith” official video

Spaceslug on Thee Facebooks

Spaceslug on Bandcamp

Spaceslug on Instagram

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Oak Island Records at Kozmik Artifactz

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BSFD Records website

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Spaceslug Post “Obsolith” Video; Eye the Tide out July 20

Posted in Whathaveyou on May 25th, 2018 by JJ Koczan

spaceslug

Polish tonal-serenity bearers Spaceslug seem to work pretty quickly. Last year they had the Mountains and Reminiscence EP (review here) and their second LP, Time Travel Dilemma (review here), both out, and it was only in 2016 that their debut, Lemanis (review here), landed to such wide acclaim. A quick turnaround to their third long-player isn’t necessarily unexpected considering the thus-far track record, but in a year that’s already featured so much killer music, adding another one to the list certainly doesn’t seem like it’s going to hurt anything.

Spaceslug have a new video up now for “Obsolith” that you can see at the bottom of this post, and preorders for the album are coming soon. Here’s info from the PR wire:

spaceslug eye the tide

Prolific psychedelic metallers SPACESLUG return with new album | Premiere new video for ‘Obsolith’

Eye the Tide by Spaceslug is released worldwide on 20th July on BSFD Records

Pre-orders will be available soon at https://spaceslug.bandcamp.com/music

Formed in Wroc?aw, Poland in 2015 by guitarist Bartosz Janik and drummer Kamil Zió?kowski, Spaceslug was born a singularity; a rare and unusual discovery found deep amidst a cosmic multiverse of doom, stoner metal and progressive rock.

Completing their line-up shortly after that initial bang with the arrival of Jan Rutka on bass, the trio soon began their journey through space and time; writing, recording and releasing their debut album Lemanis in 2016 on BSFD Records/Oak Island Records to wide acclaim.

With the album enthusiastically received on terra firma, Spaceslug’s quite frankly supermassive sound served as a flawless introduction. A sound where moments of dark desolation sidled up neatly alongside light and hope, riffs and soar-away vocals, it opened a sonic gateway into the hard rock underground and pathed the way for their devastatingly brilliant follow-up, Time Travel Dilemma. Released just one year after their debut, the album kept the cosmic cannon firing on all cylinders and like their Mountains & Reminiscence EP (released later that same year) their ticket was deservedly stamped and valid beyond the stratosphere.

This July will see the official worldwide release of Eye the Tide, Spaceslug’s third full-length album and the closing entry in their personal trilogy:

“It took us just four months to create our first album, Lemanis, and we wanted it to be more than just a project. We wanted it to be a journey into another dimension,” explains guitarist Bartosz Janik. “With Eye the Tide, we want this third part of the cosmic journey to explore the deepest and darkest parts of that universe. The album itself is more progressive and post-rock than anything we’ve done before as we always want to turn that next corner when it comes to making music.”

Later this year, Spaceslug will also contribute their dark reimagining of Pink Floyd’s ‘Don’t Leave Me Now’ to THE WALL [Redux], Magnetic Eye Records’ end-to-end homage to the iconic Pink Floyd album, featuring heavy music luminaries including The Melvins, Pallbearer, Mark Lanegan, Scott Reeder and Ruby the Hatchet.

Eye the Tide by Spaceslug is released worldwide on 20th July via BSFD Records. Pre-orders will be available soon at https://spaceslug.bandcamp.com/music

TRACK LISTING:
1. Obsolith
2. Spaced By One
3. Eternal Monuments
4. Words Like Stones
5. Vialys Part I & II
6. I, The Tide

SPACESLUG:
Bartosz Janik – Guitar, Vocal
Jan Rutka – Bass, Vocal
Kamil Zió?kowski – Drums, Vocal

https://www.facebook.com/spaceslugband/
https://www.instagram.com/spaceslug_pl/
https://spaceslug.bandcamp.com/music
https://www.facebook.com/BSFD-records-247816545273558/
https://bsfdrecords.blogspot.co.uk/

Spaceslug, “Obsolith” official video

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The Top 20 of 2017 Year-End Poll — RESULTS!

Posted in Features on January 1st, 2018 by JJ Koczan

top-20-of-2017-year-end-poll-results

Happy New Year 2018! If you’re reading this, welcome to the future. Enjoy your flying car, free healthcare, universal income, matter replicators and life on that moon colony you moved to a couple years back — New Berlin, wasn’t it? Well, either way, I’m sure it’s lovely this season.

Way back in the Dark Ages, on Dec. 1, 2017, I put up The Obelisk’s annual Year-End Poll, looking for submissions from as many people as possible with their picks for what were the year’s best albums. The response was once again staggering. Over 400 lists came in — including my own, which I submitted yesterday — for a final tally of 419, and the amount of consensus that emerged from them was no less impressive.

We’ll get there in a second. First, a reminder about the point system. As ever, a 1-4 ranking is worth five points, 5-8 worth four, 9-12 worth three, 13-16 worth two and 17-20 worth one. So it doesn’t only matter that you included a record on your list — the raw votes are also tallied — but where it was included. That only seems fair in acknowledging how passionate people were about a given release.

You know the drill by now I’m sure, but it pays to be thorough. Below you’ll find both the weighted point tally and the raw votes results, followed by some quick honorable mentions, comment, etc. After the jump, you’ll find the complete list of everyone who submitted. If you’d like to check my math on anything, feel free. I’m by no means perfect when it comes to statistics or counting or any of that stuff involving those things that aren’t letters. Whatever they’re called.

Thanks to everyone who took part this year. Here are the lists:

Top 20 of 2017 — Weighted Results

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (888 points)
2. Monolord, Rust (397)
3. All Them Witches, Sleeping Through the War (346)
4. Pallbearer, Heartless (327)
5. Colour Haze, In Her Garden (284)
6. Mastodon, Emperor of Sand (256)
7. Bell Witch, Mirror Reaper (250)
8. The Obsessed, Sacred (248)
9. Sasquatch, Maneuvers (242)
10. Electric Wizard, Wizard Bloody Wizard (237)
11. Kadavar, Rough Times (236)
12. Samsara Blues Experiment, One with the Universe (225)
13. Ufomammut, 8 (205)
14. DVNE, Asheran (198)
15. Ruby the Hatchet, Planetary Space Child (189)
16. Woodhawk, Beyond the Sun (163)
17. Spaceslug, Time Travel Dilemma (158)
18. Causa Sui, Vibraciones Doradas (155)
19. Telekinetic Yeti, Abominable (150)
20. Motorpsycho, The Tower (149)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (144)
Radio Moscow, New Beginnings (134)
Dopelord, Children of the Haze (132)
Chelsea Wolfe, Hiss Spun (129)
Mutoid Man, War Moans (123)

No real surprise here, but with the fact that Elder’s Reflections of a Floating World topped 880 points and got more than twice as much as the next closest record, it’s hard to begrudge 2017 some measure of predictability. For what it’s worth, that’s an even stronger showing than their Lore LP got in 2015, and they took the lead on day one and did not relinquish it for the duration. Outside of them and Monolord, who held command of the number two spot for the entire month, there was some measure of parity, but it was clear where hearts and minds were situated in 2017, and certainly difficult to argue with the picks on the whole, regardless of where a given individual ranked one album or the other. Looking at that list of 20-plus, especially with the honorable mentions, I’d sign up for that year every time. It was a good one. Now then…

Top 20 of 2017 — Raw Votes

elder reflections of a floating world adrian dexter

1. Elder, Reflections of a Floating World (207 votes)
2. Monolord, Rust (110)
3. Pallbearer, Heartless (94)
4. All Them Witches, Sleeping Through the War (88)
5. Kadavar, Rough Times (77)
6. Electric Wizard, Wizard Bloody Wizard (75)
7. Colour Haze, In Her Garden (74)
8. Mastodon, Emperor of Sand (72)
9. The Obsessed, Sacred (71)
10 Sasquatch, Maneuvers (70)
11. Ufomammut, 8 (67)
12. Bell Witch, Mirror Reaper (64)
13. Ruby the Hatchet, Planetary Space Child (60)
14. Samsara Blues Experiment, One with the Universe (59)
15. Woodhawk, Beyond the Sun (54)
16. DVNE, Asheran (53)
17. Telekinetic Yeti, Abominable (48)
18. Causa Sui, Vibraciones Doradas (47)
19. Radio Moscow, New Beginnings (45)
19. Spaceslug, Time Travel Dilemma (45)
20. Dopelord, Children of the Haze (43)
20. Mothership, High Strangeness (43)

Honorable Mention:
Youngblood Supercult, The Great American Death Rattle (40)
Chelsea Wolfe, Hiss Spun (37)
The Atomic Bitchwax, Force Field (34)
Beastmaker, Inside the Skull (34)
Motorpsycho, The Tower (33)
Mutoid Man, War Moans (32)

Even less surprising given the above. 207 people of the 419 who submitted lists included Elder somewhere on theirs. It’s pretty hard to get about 50 percent of anyone to agree on anything these days, so I consider that no minor feat. Again, Reflections of a Floating World earned its place, and it was a pretty astounding achievement for the band and the genre they’re working to remake in their own image. A couple minor shifts between the raw tallies and the weighted results as there always are, but again, the underlying point here is that 2017 was a pretty killer year all the way around and across a deep variety of styles, the quality of work being put forth by veterans and newcomers alike was nothing short of excellent.

Before I turn you over to the massive swath of everybody’s lists, I just want to say thanks again to Slevin for being so instrumental in setting up the technical end of this poll. It’s amazing year after year to be able to basically at this point flip a switch and have it all set to go and there’s no way that would happen without Slevin working so hard behind the scenes to put the structure in place that holds this project, the entire site, together. Thanks dude.

And thank you for reading and contributing your favorites of 2017! This is the last of the 2017 Year-End coverage for The Obelisk. If you missed any of it, go here:

The Top 30 Albums of 2017

The Top 20 Short Releases of 2017

The Top 20 Debut Albums of 2017

2017 Song of the Year

12 of 2017’s Best Album Covers

One more time, thank you for reading. After the jump, please find the raw lists of everyone who took the time to turn one in. Enjoy:

Read more »

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan

top-30-of-2017

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical

arc-of-ascent-realms-of-the-metaphysical

Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream

mindkult-lucifers-dream

Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk

Uffe-Lorenzen-Galmandsvaerk

Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn

vokonis-the-sunken-djinn

Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us

sun-blood-stories-it-runs-around-the-room-with-us

Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field

the-atomic-bitchwax-force-field

Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe

samsara-blues-experiment-one-with-the-universe

Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World

Elder-Reflections-of-a-Floating-World

Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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audiObelisk Transmission 064

Posted in Podcasts on December 26th, 2017 by JJ Koczan

audiobelisk transmission 064

So this is something I’ve never done before. I’m not exactly what you’d call an early adopter when it comes to new technology, but this weekend I finally signed up for Spotify and decided to give a shot at putting together a year-end playlist through that rather than doing the standard podcast. Aside from a kind of ongoing latent concern about essentially giving away downloads of music that doesn’t belong to me via the old mp3 files — no one’s ever said anything and I always figured it was okay since songs were bundled together as one file — this just seemed more useful in allowing people to explore different artists, albums, etc. If you disagree, I’m sorry.

I can’t say I won’t ever go back to the other way, or that I’ll actively enjoy having a Spotify account enough to keep it, and so on, but it’s something new to try, so I’m giving it a shot. The playlist turned out to be nine hours and 12 minutes long, and once I got going, I couldn’t really resist making it 65 tracks, what with it being the 64th podcast and all. One to grow on.

As always, I hope you enjoy. Thanks for listening:

Track details:

• Artist, Track, Album, Runtime
• Elder, Sanctuary, Reflections of a Floating World, 00:11:13
• All Them Witches, Am I Going Up?, Sleeping Through the War, 00:05:33
• Lo-Pan, Pathfinder, In Tensions, 00:06:22
• MOON RATS, Heroic Dose, Highway Lord, 00:04:27
• Bees Made Honey in the Vein Tree, Medicine, Medicine, 00:06:38
• Mindkult, Lucifer’s Dream, Lucifer’s Dream, 00:09:06
• Brume, Reckon, Rooster, 00:09:12
• Riff Fist, King Tide, King Tide, 00:11:20
• Monolord, Dear Lucifer, Rust, 00:08:41
• Hymn, Serpent, Perish, 00:07:32
• Vinnum Sabbathi, Gravity Waves, Gravity Works, 00:08:26
• Electric Wizard, Wicked Caresses, Wizard Bloody Wizard, 00:06:43
• Ruby the Hatchet, Symphony of the Night, Planetary Space Child, 00:07:08
• Telekinetic Yeti, Colossus, Abominable, 00:08:56
• Bong Wish, My Luv, Bong Wish, 00:02:31
• Radio Moscow, New Skin, New Beginnings, 00:03:02
• Cloud Catcher, Celestial Empress, Trails of Kozmic Dust, 00:05:41
• The Atomic Bitchwax, Humble Brag, Force Field, 00:02:52
• Sasquatch, Just Couldn’t Stand the Weather, Maneuvers, 00:06:27
• Kadavar, Die Baby Die, Rough Times, 00:04:18
• Cities of Mars, Children of the Red Sea, Temporal Rifts, 00:08:27
• Argus, You Are the Curse, From Fields of Fire, 00:06:23
• Comacozer, Hylonomus, Kalos Eidos Skopeo, 00:13:43
• Samsara Blues Experiment, One with the Universe, One with the Universe, 00:15:02
• Orango, Heirs, The Mules of Nana, 00:04:46
• Siena Root, Tales of Independence, A Dream of Lasting Peace, 00:03:39
• Demon Head, Older Now, Thunder on the Fields, 00:04:17
• Sun Blood Stories, Great Destroyer, It Runs Around the Room with Us, 00:06:11
• Spaceslug, Time Travel Dilemma, Time Travel Dilemma, 00:10:07
• Arc of Ascent, Hexagram, Realms of the Metaphysical, 00:07:34
• Causa Sui, Seven Hills, Vibraciones Doradas, 00:07:24
• Alunah, Fire of Thornborough Henge, Solennial, 00:05:32
• Vokonis, Calling From The Core, The Sunken Djinn, 00:06:03
• Enslaved, Sacred Horse, E, 00:08:12
• Dvne, Edenfall, Asheran, 00:07:04
• The Midnight Ghost Train, Break My Love, Cypress Ave., 00:03:33
• The Obsessed, It’s Only Money, Sacred, 00:02:35
• Mothership, Crown of Lies, High Strangeness, 00:05:41
• Geezer, Red Hook, Psychoriffadelia, 00:06:02
• Uffe Lorenzen, Flippertøs, Galmandsværk, 00:02:46
• Youngblood Supercult, Master of None, The Great American Death Rattle, 00:04:01
• Beastmaker, Nature of the Damned, Inside the Skull, 00:03:26
• Pallbearer, I Saw the End, Heartless, 00:06:21
• Paradise Lost, Blood and Chaos, Medusa, 00:03:51
• Rozamov, Wind Scorpion, This Mortal Road, 00:08:49
• Eternal Black, Sea of Graves, Bleed the Days, 00:06:33
• Demon Eye, Politic Divine, Prophecies and Lies, 00:03:40
• Snowy Dunes, Ritual of Voices, Atlantis, 00:07:17
• The Devil and the Almighty Blues, Low, II, 00:08:49
• Abronia, Glass Butte Retribution, Obsidian Visions / Shadowed Lands, 00:06:09
• John Garcia, Kylie, The Coyote Who Spoke in Tongues, 00:04:58
• Tuna de Tierra, Raise of the Lights, Tuna de Tierra, 00:07:09
• Colour Haze, Lotus, In Her Garden, 00:07:05
• IAH, Stolas, IAH, 00:08:39
• Fungus Hill, Are You Dead, Creatures, 00:08:54
• Atavismo, El Sueño, Inerte, 00:11:18
• Tuber, Noman, Out of the Blue, 00:08:14
• Spidergawd, What You Have Become, Spidergawd IV, 00:03:44
• Puta Volcano, Bird, Harmony of Spheres, 00:05:07
• Ufomammut, Core, 8, 00:05:15
• Kings Destroy, None More, None More, 00:14:03
• PH, Looking Back at Mr. Peter Hayden, Eternal Hayden, 00:16:44
• Mt. Mountain, Dust, Dust, 00:17:15
• Electric Moon, Live Forever Now (You Will), Stardust Rituals, 00:22:41
• Bell Witch, Mirror Reaper, Mirror Reaper, 01:23:15

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