Posted in Features on April 10th, 2020 by JJ Koczan
The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.
Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.
Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan
Days of Rona: Amber Pollard of Sun Blood Stories (Boise, Idaho)
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How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?
Well, we haven’t really reworked plans as much as just cancelled them. Like for all of 2020. Or at least that’s how it feels. Some of our shows have been rescheduled for later in the year, but that feels like an eternity from now.
Practicing is also out right now since social distancing recommends people from other households shouldn’t enter your own. As a band with a new member, Cody Goin on bass, we’ve been focusing a lot on exploring the new dynamic of the group and this really throws a wrench in that.
As far as our health, physically we seem to all be doing pretty well. Mentally, the isolation and lack of music-making has been a real bummer and it’s tough to not really have any solid idea of when we’re going to be able to resume. But we also see that there is a terrible amount of suffering in the world right now and we’re happy to be able to help in any way we can, even if that’s just staying home in order to slow the spread.
What are the quarantine/isolation rules where you are?
The city of Boise has done a pretty good job of handling the situation:
– No gatherings of 10+ people
– No unnecessary traveling
– Stay 6 ft. apart from people who don’t live in your house
– Work from home if you can
– All non-essential businesses closed
However, even though non-essential businesses are closed and there’s a pandemic going on, the Republicans and Gov. Brad Little still had time to pass some absolutely vile anti-trans bills. So we just wanted to say, fuck Governor Brad Little and fuck everyone who voted for those bills.
How have you seen the virus affecting the community around you and in music?
It’s mostly just come to a grinding halt. Any of us who make our living from performing, or serving drinks or making food or running the door or doing sound, are in real trouble right now. No one knows how long this is going to go, so no one is really able to make any serious plans for the future, especially since no one alive has any experience with a pandemic of this size and severity. We’re trying to support our fellow artists and workers within the scene and just help everyone to get through.
What is the one thing you want people to know about your situation, either as a band, or personally, or anything?
We were fortunate enough to have amazing support from our friends and fans this month which raised enough money to cover our band bills. After the bills were paid, we used the surplus funds to support other artists by buying their music/art (through Bandcamp or Venmo or digital tip jars), small businesses by buying their beer, and other folks feeling the financial strain right now.
If you’re lucky enough to have an income and love any kind of art or craft, now is the time to support them. Without trying to sound hyperbolic, it really is now or never for a lot of these folks.
Other than that, we just want to say stay safe and take care of one another.
Posted in Bootleg Theater on February 14th, 2020 by JJ Koczan
Slide guitarist/vocalist Amber Pollard of Idaho trio-for-now Sun Blood Stories has been experimenting with videography for a while now in terms of representing the music she, guitarist/vocalist Ben Kirby and keyboardist/drummer Jon Fust bring to life. To wit, “Everybody Loves You” which is premiering below, is at least the fourth clip from their fourth long-player, Haunt Yourself (review here), behind ones for “Up Comes the Tunnel” (posted here), “All the Words in Meaning” (posted here), and “See You on the Other Side” (posted here) and that album only came out last September as the follow-up to 2017’s It Runs Around the Room with Us (review here), which also had its share of moving-picture manifestation. The videos have become another means of exploring atmospherics for Sun Blood Stories, whose particular style of emotive post-psych can be either a salve or caustic depending on where their creative whims take them, and whose commitment to experimentation extends to the music itself as well, as the even-more-recent noise work, Static Sessions: Vol. 1 (discussed here), showcases.
The track “Everybody Loves You,” which finds Pollard very much in the lead vocally atop a rich backing of smoothly unfurled psychedelic undulation, echoing uke and all, comes with a twist. And not to spoil it, but the twist is you have to die first. The chorus of the song, “Everybody loves you, when you’re dead,” is haunting enough on its own to justify the album’s title, and repeated with the backing of Kirby and suitably ghostly harmonies surrounding, it’s one of Haunt Yourself‘s most striking and resonant impressions — which is saying something, since “striking and resonant” is a specialty when it comes to Sun Blood Stories‘ work on the whole. As the video captures tour footage from a Fall 2019 run — keep your eye out for the brainfreeze; it’s in there — and the band inherently turns the consideration of the lyrics onto themselves, essentially putting themselves (from the perspective of the viewer, at least) in the position of being the dead in question, it takes on another level of social and emotional comment, while remaining catchy in its melancholic abide.
Amid the chaos at the dawn of 2020, Sun Blood Stories posted an update promising changes coming to their social media: “We are expanding our membership this year so expect to see more bodies on stage and to hear more lush in our sound.”
It would not be the first time they went beyond the core trio form, and I’ll admit I’m intrigued to see/hear how “more lush” comes to pass in their music, not the least since, particularly if you take even a momentary sample of the video below, you’ll note there’s already plenty of “lush” in their sound as-is. But, to be perfectly honest, Sun Blood Stories are a band whose work has earned my trust at this point, and their idea of “feels right” in the music has only produced material that fascinates and challenges heart and mind alike. Wherever they might be headed, it’ll be worth finding out.
Comment from Pollard and the Haunt Yourself album stream follow the video.
Enjoy:
Sun Blood Stories, “Everybody Loves You” official video premiere
Amber Pollard on “Everybody Loves You”:
Sometime in 2018, “Everybody Loves You” came to form in our basement at 1:00a while we were taking a break from recording “Up Comes the Tunnel.” We had spent an extensive amount of time that evening talking about friends who had taken their lives and the emotions associated with that conversation were fresh and weighing on all our hearts. Jon started messing around with some beautiful chords on the ukulele, Ben hit record, and I started singing. 20 minutes later we were sitting on our back porch listening to the recording, deciding on the song’s structure, and writing down the lyrics (which ended up totaling six pages). We whittled the lyrics down to fit the agreed upon song structure and recorded it.
Flash forward to October 2019: the album had recently been released and we were out on tour for the better part of a month. I started documenting our days from the start but had no plans on what to do with the videos other than to show them to my kid when we got back. When we got home, I compiled and edited together all the footage to make a little tour diary for everyone. It wasn’t until December 2019, that I realized the tour footage (well, a condensed version of the tour footage) might make a good music video for “Everybody Loves You.” Much like the lyrics, I whittled away the excess footage and here we are.
Posted in Features on December 24th, 2019 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]
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Make no mistake, my friends. 2019 was the year it went off the rails.
Every 12-month period brings a lot of records, and they all seem overwhelming, but this was the first year I’ve ever felt quite so helpless when it came time to sit down and actually make my list. Of course, I keep running notes all year long, but even so, ordering everything, bringing it all together? What a mess.
I almost thought of breaking it down into smaller lists in addition to the big one, subgrouped by style. But then, where does doom end and sludge begin? What about psych and heavy rock? Should prog get its own list? And what the hell counts as prog?
In the end, that didn’t seem like it would be doing me any favors, so we’ll stick with the one big list and then others for debut releases and another for EPs, splits, demos and so on. You know, the usual.
Pretty sure I say this every year too, but it bears repeating: if you read any of the below — and thanks if you do — and have a response, be nice. If I’ve forgotten something — and yes, I have; I’m sure of it — that you think needs to be included, and you want to leave a comment that says so, please, by all means. But keep it civil. I know people are passionate about this stuff and so am I, but consider there are probably over 200 offerings covered here by the time you get through all the lists and honorable mentions, and I’m one person. I’m doing my best, and though I try not to, I tend to take being called a dumbass personally. So yeah, chill out and please be constructive in calling me a dumbass. Words matter.
A few hard choices here, most especially for album of the year. I was back and forth with each of the top three in the top spot for a good long while, and it might change again between now and when this post goes up. But it’s been that kind of year. In 2018, there was no question. It was Sleep all the way. The question was what came after that. This year has been different without that kind of duh, punch-in-the-face obvious pick. Relative parity isn’t a bad thing though.
Enough delay. The usual parameters apply. These are a combo of my personal listening habits and what I think are the most important records/achievements of the year, critical importance, etc.
Here we go:
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The Top 50 Albums of 2019
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#50-31
50. Hazemaze, Hymns of the Damned
49. Lightning Born, Lightning Born
48. Bees Made Honey in the Vein Tree, Grandmother
47. PH, Osiris Hayden
46. Thunderbird Divine, Magnasonic
45. Abrahma, In Time for the Last Rays ofLight
44. Uffe Lorenzen, Triprapport
43. Swallow the Sun, When a Shadow is Forced into the Light
42. Caustic Casanova, God How I Envy the Deaf
41. The Devil and the Almighty Blues, Tre
40. SÂVER, They Came With Sunlight
39. Ogre, Thrice as Strong
38. Lamp of the Universe, Align in the Fourth Dimension
37. Vokonis, Grasping Time
36. Sacri Monti, Waiting Room for the Magic Hour
35. Across Tundras, The Rugged Ranges of Curbs and Broken Minds
34. Duel, Valley of Shadows
33. Orodruin, Ruins of Eternity
32. Zaum, Divination
31. Inter Arma, Sulphur English
Notes: Honestly, if this had been the top 20 of the year, I’d still call 2019 a win. Aside from the fact that I somehow thought Caustic Casanova would enjoy coming in a number 42, the sheer quality of this stuff should tell you what kind of year 2019 was. Inter Arma’s Sulphur English was a significant achievement in genre melding, and Orodruin’s return after more than a decade since their last LP was a masterclass in doom worship. Debut albums from SÂVER and Thunderbird Divine and Lightning Born showed marked promise of things to come — and there’s more on them below as well — while Zaum’s, Bees Made Honey in the Vein Tree’s and Lamp of the Universe’s meditations, Vokonis’ noise, Abrahma’s emotive progressivisim, Swallow the Sun’s melodic melancholy, Sacri Monti’s boogie, and whatever the hell PH were doing on Osiris Hayden remind just how much the word “heavy” can encompass. The Devil and the Almighty Blues, Duel and Uffe Lorenzen and Hazemaze were musts here, and Ogre are perennial favorites whose work always brings a doomly grin. Don’t sleep on any of it.
Until they put out a complementary follow-up record of such fare, one might’ve accused Idaho three-piece Sun Blood Stories of becoming less experimentalist/droned-out/noisy on Haunt Yourself, but they seem to have met their quota one way or the other with the Oct. 2019 advent of Static Sessions Vol. 1. Still, it’s melody, heavy post-rock/psychedelic drift and emotive soul that rule the day on the crushing and enriching Haunt Yourself, and no complaints from me on that.
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29. Church of the Cosmic Skull, Everybody’s Going to Die
I don’t have to do anything more than read the name of the album to have the chorus of the title-track stuck in my head, and it’s a reminder that although the Nottingham troupe put so much into their progressive style and vocal harmonies and arrangements, and a more conceptual theme in the case of Everybody’s Going to Die — their answer to 2018’s excellent Science Fiction (review here) — their roots are in songcraft, and it’s the foundation of songcraft that lets them soar. Would be higher on the list if it weren’t so new.
With their sixth album, Indianapolis’ Devil to Pay collect 10 tracks of unpretentious-almost-to-a-fault of straightforward heavy rock songwriting that continues to be woefully underappreciated. They have become utterly reliable in that regard — you know, to a certain extent, what’s coming — but the vocals of guitarist Steve Janiak (also Apostle of Solitude) and some more metallic turns to the riffing give Forever, Never or Whenever a subtlety that holds up all the more on repeat visits. I don’t know if Devil to Pay will ever get their due, but suffice it to say, they’re due.
If you’re of a certain age, you remember when the first Playstation came out and everyone looked around at their Nintendos and Segas like, “What the hell am I messing around with Mario Golf for? I could be playing Resident Evil!” That’s kind of what Howling Giant are as compared to “regular” rock bands. They’re the Playstation of heavy: that next progressive step forward carrying an inhuman amount of swagger and personality while still delivering a stepped-up product from their would-be peers. The scariest thing about The Space Between Worlds is it’s their first LP. One looks forward to the next generation.
I know for a fact that bassist Pat Bruders and drummer Henry Vasquez had a hand in writing some of the material on Saint Vitus’ second self-titled LP, and yet the album so much bears the indelible mark of guitarist Dave Chandler that it’s hard not to think of it all as his. The album marked their first release with original singer Scott Reagers since 1995’s Die Healing (discussed here) and featured among their trademark low-tuned slog, an actual punk song, which showed the grinning glee that underlies all they do. Four decades on, Saint Vitus sound like they’re having fun. How is that not a win?
Woodsy Rocky Mountain psychedelia abounded on Boise foursome Ealdor Bealu’s second full-length, and their blend of landscape meditations and grounded heavy progressive melodicism made Spirit of the Lonely Places as much about impact as about space, though of course the real joy was the experience of the entirety. Very much a sophomore album, it learned lessons from 2017’s Dark Water at the Foot of the Mountain (review here) that one only hopes the band will continue to push forward in scope as they so gracefully did here.
Though hard- and to-date quick-working Maryland trio Yatra have already moved on and are looking ahead to releasing their second album, Blood of the Night (review here), their Grimoire-delivered debut, Death Ritual, is impossible to ignore for the impact it had on reminding listeners of the impact that primeval extreme sludge can have. Another couple tours and some bigger label — Relapse, Prosthetic, eOne, Season of Mist, whoever — will decide they’re “ready,” whatever that means, and then sign them and I won’t be cool enough to do track premieres for them anymore, but as far as accolades go, Yatra earn whatever they get and Death Ritual stands among 2019’s most landmark debuts. They’ve already outdone it, but it’s a stunner just the same.
Ecstatic Vision frontman Doug Sabolik has cast himself in the mold of Arthur Brown or Dave Wyndorf or probably seven or eight dudes who were in Hawkwind at some point as a manic-but-stoned space rock preacher with as he and his band behind him plunge headfirst-or-feetfirst-it-doesn’t-matter-because-your-body-is-an-illusion-man into the molten multicolor void. For the Masses. The ‘masses,’ such as they are, should be so lucky, but the double-meaning is the real tell for where the Philly unit are coming from. Their shows are the masses — gatherings of spirit and song to give praise to the willful expansion of mind. If you can’t get behind that, you might as well go get a job or something. This ain’t no lightweight party for squares and dabblers. This is a high-potency happening for werewolves on motorcycles and freaks of all stripes. Get weird stay weird. Ecstatic Vision are one mostly-mellow 15-minute “Spine of God”-style psych-epic away from perfection.
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22. Beastwars, IV
Released by Destroy Records. Reviewed June 27.
But for the circumstances that brought it about — i.e. Beastwars vocalist Matt Hyde’s cancer — the unexpected fourth installment in the Beastwars trilogy was nothing if not welcome. An grand-feeling sense of largesse was nothing new to the New Zealand four-piece, but after breaking up and getting back together to make the album, the grim sincerity with which they presented this exploration of mortality and betrayal by one’s own body was no less palpable than the undulating riffs that threatened, as ever, to consume all in their path. I don’t know their future plans in terms of continuing to write and/or record, but there are reports of touring beyond Aus/NZ for 2020, so one way or another, stay tuned for more from them. Whether or not they do anything else, IV was a triumph in spirit and execution.
With the nine songs of Slow Burn Suicide, Brooklyn’s Eternal Black began to unveil the true depth of their project. Their 2017 debut, Bleed the Days (review here), was well received, and rightly so, but operated more in a straight-ahead doom sphere. The second outing, by contrast, delved into a particular vision of the style informed by the crunch of peak-era New York noise and crossover hardcore, and it succeeded not just because it did this, but because it did so around a conjuration of memorable riffs and tracks building on accomplishments carried over from its predecessor. Is this an awaited arrival of next-generation ‘New York doom’? Will theirs be a blueprint others will follow? It’s impossible to know now, and their next album will be telling either way, but the course they’ve set is significant.
It may have been the Tony Iommi guest appearance that got Swedish doom legends Candlemass — the world’s earliest and foremost purveyors of doom both classic and epic — their recent Grammy nomination, but it was the long-overdue reunion with original vocalist Johan Längquist that made the album as a whole as powerful as it was. Pairing Längquist’s theatrical and vital approach with founding bassist Leif Edling’s second-to-none doomcraft, The Door to Doom was a catapult not to the bygone days of the band’s landmark debut, 1986’s Epicus Doomicus Metallicus, but an inspired look at not just what might’ve been had Längquist remained with the band longer, but what might still be if he does this time around. Candlemass have been through their share of singers, but as fresh as The Door to Doom sounded, it’s hard not to hope for something more than a one-off with he who got there first. The songs, the spirit, the sheer heart poured into Candlemass’ doom some 35 years past the band’s start only emphasizes how special they have always been.
Anyone who might’ve predicted Nebula getting into the studio and making a new album was either in the room when it happened or talking out their ass. And speaking of, was Nebula’s Holy Shit named for the shock one might’ve felt at its existence, or the surprise at how good it actually sounded when you put it on? I don’t know. I probably won’t ever know. It was the best title I saw all year, but more than that, it was a Nebula record, fueled by the classic riffing and unmitigated desert punk soul of founding/guitarist Eddie Glass, whose absence from the heavy underground for the last decade left a void only too many others whiffed on filling. Holy Shit showed just how singular a player Glass was and is, and how much character there is in his style, particularly in solos, but also in rhythmic changes, and so on. I won’t discount the work of bassist Tom Davies and drummer Mike Amster in making Nebula what they are in this incarnation — they’re essential, obviously — but there’s simply no denying that presence at the band’s core.
This was a heavy rock record that had everything. Everything. It had songs, style, ups, down, purples, greens, ins, outs, all kinds of whathaveyou. Riffs forever. Valley of the Sun should keep their eyes on Sasquatch, because if they want it, that path is theirs. I know the Cincinnati outfit have had trouble keeping lineups together, but if they can hold onto one, and maybe after their next record start touring more, domestically and abroad — not at all a minor ask, I know — then people will catch on. Old Gods is evidence of the fact that they genuinely have something to offer, and frankly, it’s not at all the first such effective case they’ve made in their career. But they’ve never put anything out that wasn’t a step forward, and yet they’ve never lost sight of the roots of their initial inspiration. And they’ve never sacrificed the song for the riff, which so many do. They’ve only ever gotten better. Let Old Gods be a step toward them getting attention they’ve long since deserved.
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17. Kadavar, For the Dead Travel Fast
Released by Nuclear Blast. Reviewed Oct. 28.
In style and production, For the Dead Travel Fast is the most vintage-sounding offering Berlin trio Kadavar have made in over a half decade, yet neither is it looking backward wistfully toward 2013’s Abra Kadavar (review here) or giving up the modern clarity of 2017’s Rough Times (review here) or 2015’s Berlin (review here). Instead, it strikes a balance with a more sinister edge à la Uncle Acid in songs like “Children of the Night” and “Demons in My Mind” — both singles — and makes a home for itself between proto-metal and garage doom. Whatever genre tag you want to give it — and that might vary from track to track, mind you — it’s unmistakably Kadavar, with the signature hooks and memorable craftsmanship that have made them one of the decade’s most pivotal heavy bands. The real challenge at this point in their career is not to take for granted that Kadavar will produce material of such quality, because, frankly, that’s all they’ve ever done.
Welsh sci-fi cosmic doomers Mammoth Weed Wizard Bastard billed Yn Ol I Annwn as the final installment of a trilogy that includes their two prior LPs, 2015’s Noeth Ac Anoeth (review here) and 2016’s Y Proffwyd Dwyll (review here), and while that may be true thematically, there’s also no question the third is a marked step forward from anything they’ve done before. They’re one foot out of the airlock and into space as their synth-laden longform riffing and melodies take them to places they’ve not yet gone, explorations of sight as much as sound, aural translation of colors humans aren’t gifted to see. Their songs across the 65-minute span unfold with the grace of a gravity spiral, pulling the listener deeper into the proceedings with each new phase that emerges until, what, obliteration? Stellar genesis? I’m not sure. They’ve reportedly got one more record to make and then they’re done. If that’s true, they’ll be missed then they’re gone.
They’ve found their way to die, and it’s upon an altar of classic metal and doom. And honestly, they make a pretty good case for it. Departed Souls is the third full-length from the Boston unit and their most stylistically realized work yet, with vocalist Brendan Radigan giving a standout performance alongside the guitars of Chris Corry and Renato Montenegro, the bass of Justin DeTore and Michael “Q” Quartulli’s drums, as the entire band taps into vibes from mid-’70s Black Sabbath and brings them to bear with an energy that is unlike anything in Magic Circle’s history. 2015’s Journey Blind (review here) brought in NWOBHM flash in the guitar work, sure enough, but Departed Souls doesn’t so much carry the torch of classic metal as it does use it to burn down the whole village and rebuild it in the five-piece’s image. From their doomed beginnings on their 2013 self-titled debut (review here) to now, they’re an act who’ve genuinely earned cult status. If you can find a backpatch, buy it.
Controversy! Drama! Well, probably not, but at very least some respectful disagreement on my part. You see, Poland’s Spaceslug have stated publicly that their latest release, the late-2019 surprise Reign of the Orion is an EP. Their albums regularly top 50 minutes, and at 36 minutes, I guess relative to that, you can see where they’re coming from. However, with the flow of these five songs and the ease with which they carry the listener from front-to-back through the listening experience, I’m sticking to my guns and calling Reign of the Orion an album. Sorry guys. True, it’s shorter than the other full-lengths, but it’s got everything you could ask an album to have in terms of how tracks like “Spacerunner” and the shouty “Half-Moon Burns” play into each other, and the fluidity of the outing on the whole is inarguable. An LP by any other name? Whatever you or they want to call it, there’s no question in my mind Reign of the Orion is one of 2019’s best records. If they insist on it being an EP, then it’s the best one of the year, but I still say it belongs in another category altogether, so here it is.
As hyper-crowded as London is with bands at this moment in history, there continue to be acts who sneak through with an individualized and intriguing perspective on doom and heavy rock, and Green Lung are a perfect example, learning from fellow Brits like Alunah and Elephant Tree and incorporating folk and forest goth vibes to their debut album, Woodland Rites. Laced with organ and stuck-in-the-head choruses like “Let the Devil In” and the creeper “Templar Dawn,” the record also pushed into drifting verses on “Into the Wild,” setting up future experimentation with atmospheric variety and genre manipulation. If part of any first album’s appeal is the potential it represents, Green Lung’s offers plenty, but wherever their subsequent course may or may not take them, their accomplishments here shouldn’t be overlooked. Woodland Rites is nothing less than the heavy rock debut album of the year, and though they emerge from a packed field, the work they do to stand themselves out already carries their mark and an apparent will toward progression. They’re on their way.
My head immediately goes to the hooks of “Ten Days” and “Ascension Day” and “Savage Heart,” but the up-down surges of guitar in “Old News/New Fire” and the midtempo soulfulness in “A Thousand Miles” are no less resonant when it comes to the actual listening experience of the fifth Lo-Pan LP. Subtle, when it came to living up to its name, as much wasn’t as it was. Flourishes of harmony in the vocals of Jeff Martin, the pops in Jesse Bartz’s snare punctuating and propelling in kind, turns in Scott Thompson’s bass work twisting around the guitar of Chris Thompson, a relative newcomer to the fold making his debut with the band and showing no apparent trouble fitting in. I don’t imagine Lo-Pan is an easy band to join, especially at this point. They thrive on personality clash and, through years of touring, have a chemistry they’ve built between them that comes through even on their recordings. Nonetheless, Subtle is their clearest, sharpest-edged work yet, and as tight as their songwriting has become, they still groove and groove mightily. They are a treasure of American heavy rock and roll. Believe it.
While members of Roadsaw have spent the intervening years in projects like Kind, White Dynomite, Sasquatch and Murcielago, the Boston heavy rock kingpins have indeed been missed, and Tinnitus the Night works quickly to show why. It’s been well over 20 years since their first LP — hell, it’s been eight since they put out their 2011 self-titled (review here) — but their craft is at its own level, and Tinnitus the Night comes barreling through with “Shake” and “Along for the Ride” and “Final Phase” before opening up to broader fare on side B with “Find What You Need,” “Under the Devil’s Thumb” and “Midazolam” ahead of the subdued finale “Silence,” and the result is nothing less than a classic heavy rock LP structure as befitting what is itself a classic heavy rock LP. What’s Roadsaw’s future? I don’t know. It took them the better part of a decade to make this one happen, so take from that what you will, but to me, all it says is there’s even more reason to be grateful they got it done and out. To say the songs deserve that is putting it mildly.
I’m not doing a ‘song of the year’ post, but if I was, Worshipper’s “Coming Through” might be it. The opening track from the Boston four-piece’s second album, Light in the Wire, marries classic pop drama in its melody with careening progressive riffing, and sets the tone for a record that is of both future and past, twistingly complex and yet immediately accessible, immersive as an entirety and still comprised of standout moments. These aren’t contradictions in Worshipper’s skillful hands, but the stuff of what’s already becoming their own take on rock. Tied together through melody, skillful rhythmic intricacy and solid structural foundations, “Light in the Wires,” “Visions from Beyond,” “Wither on the Vine” and others throughout post their own triumphs en route to enhancing the album as a whole, while “Nobody Else” and closer “Arise” underscore the emotive basis from which the perspective of the whole LP emanates. There are a lot of “next-gen” heavy rock bands out there weaving prog elements and traditional riffing together to some degree or other. Few, if any, can write a song like Worshipper can. I mean it. This band is something special.
What is there to say about Solace? A band who, nine years after revealing the expectation-slaughtering masterpiece A.D. (review here), return with three-fifths of a swapped-out lineup and simply do it again? This band is explosive. Really. Like, they might explode at any minute. It’s a miracle The Brink ever happened. I’ll be honest, I had my doubts. But Solace are a force like nothing else I’ve ever encountered in music. They take metallic aggression, hardcore’s sense of self-righteousness and heavy rock’s groove, set it all to a doomly swing and they play it in such a way as to leave you utterly dumbfounded by what you just experienced. Here’s a challenge though, for the band personally. From me to them. Do another one. Go ahead. Put out another album. You don’t even have to do it in 2020. Do it 2021. Write the songs and give me a no-holds-barred 45-minute LP of the tightest, meanest shit you’ve ever written. Because massive as the accomplishments are on The Brink, it’s the potential to build from them that resonates most here. So do it, guys. Step up and take advantage of the moment. Call me greedy if you want, I don’t care. Give me another Solace record. I dare you.
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8. Brume, Rabbits
Released by Doom Stew Records & DHU Records. Reviewed Nov. 6.
Simply a case of a band wildly outdoing themselves. Easy story, yeah? In some ways, maybe, but the truth of what Brume achieve on Rabbits. Their second long-player behind 2017’s Rooster (review here), the five-track offering sees the San Francisco three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis working with producer Billy Anderson to bring theatricality and emotionalism together in a flowing post-heavy context that’s neither derivative nor working at cross purposes. Instead, it is a gorgeous and blooming undertaking across its 43-minute span, working in its own light/dark spectrum and bringing not just the sense of trapped fragility evoked by the cover art, but a corresponding sureness of intent to its ascendant heavy surges. Like Rooster before it, it is loaded with potential, but in “Scurry” and “Lament” and “Despondence” and “Blue Jay and “Autocrat’s Fool,” there’s a patience and command that absolutely does not waver. So yes, a band outdoing themselves. But so much more too.
This may forever be known as the Mars Red Sky album they wrote in a cave, but the Bordeaux three-piece of guitarist/vocalist Julien Pras and bassist/vocalist Jimmy Kinast and drummer Matieu “Matgaz” Gazeau nonetheless plunged forward along the progressive course they charted back on 2014’s sophomore outing, Stranded in Arcadia (review here), and continued to manifest in 2016’s Apex III (Praise for the Burning Soul) (review here). Their blend of melody and tonal heft has become a hallmark of their work to this stage in their career, but The Task Eternal continues to add a sense of breadth to the proceedings, giving their sound a full three-dimensional pull that feels tailor-made for headphones and is consuming in its entirety. With experiments in structure like the pairing of “Recast” and “Reacts,” and the rushing sweep of melody in “Hollow King,” Mars Red Sky’s latest is, as ever, their finest. Outdoing themselves would seem to be the task from which the record derives its title. Fine. Just keep going. Please.
Every time I think I understand where Kings Destroy want to go as a band, they pull the rug out. That’s what Fantasma Nera is. After their 2015 self-titled (review here) third LP seemed to declare them once and for all in a space between doom and noise rooted in their respective hardcore pasts, the Brooklynite five-piece hooked up with producer David Bottrill (Tool, etc.) and composed a rock album. A real live rock album! With progressive undertones in the guitar work and the most accomplished melodicism of their career, Kings Destroy put everything they had into making Fantasma Nera and one need look no further than the title-track to hear the result of that monumental effort. It is the realization of a band challenging themselves to go so far out of their comfort zone as to be only recognizable in the most rudimentary of ways, and to say it as plainly as I can, “Dead Before” is enough of an accomplishment — and enough of a full-length, at all of 4:25 — to make this list on its own, whatever surrounds it. Song of the year. I’ll say every time I’m a Kings Destroy fan, but I’ve never been gladder to say it than I am in talking about Fantasma Nera.
If you’re saying to yourself, “Ah come on, Colour Haze are always on the list when they put out records,” I have two answers. One, you’re right, and two, if you have a problem with that, blow it out your ass. The Munich forefathers of the European heavy psychedelic underground — yup — marked their 25th anniversary this year, and did so not just by putting out an album, but by putting out We Are, which introduces a full-fledged fourth member to what’s been a three-piece since 1998. Granted, it’s not the first time guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald have worked with organist/keyboardist/synthesist Jan Faszbender, but never has the presence of keys been so integral to their work, and never has the dynamic between players shifted in the way it does on tracks like “The Real” and “Life” and “I’m With You,” with keys fleshing out melodies and enriching the bass and guitar. Add to that the Spanish-style guitar on centerpiece “Material Drive” or the operatic flash in the penultimate “Be With Me,” and it’s one more example of one of the best bands on earth refusing to rest on their laurels. Which, as it happens, is why they’re one of the best bands on earth. So hell yes, they’re on all my lists. Fact is my lists are lucky to have them.
Like nothing else I heard in 2019, Veils of Winter had repeat listenability. It was the album that, most often, when I was choosing something I actually wanted to hear, I went back to time and again. Its dark, moody psychedelic and heavy vibe stands alone among the year’s releases, and is a stylistic milestone that one only hopes other artists will pick up on. Toying with pop melodies on tracks like “Death Realms” and bringing hypnosis and clarity in kind to the subtly traditionalist winding riff of “Moonlit” — would it have been out of place on the first Witchcraft LP? — the Portland, Oregon, five-piece worked on a speedy turnaround and squashed even the significant expectations I had after their self-titled debut (review here) last year. They’ve begun to tour, so I don’t know if another full-length is in the works for 2020, but their craft is enviable in its flow and their songs are shimmering in tone and cohesion alike. Given how bold a step forward Veils of Winter is, I hear nothing in their material to this point to make me think their momentum won’t continue to carry them forward. But, you know, if not, I’d also take about six or seven records just like this one. That’d be fine too. Whatever they want, really.
Belfast, Northern Ireland, three-piece Slomatics — guitarists David Majury and Chris Couzens and drummer/vocalist/synthesist Marty Harvey — finished a narrative trilogy with 2016’s Future Echo Returns (review here), and though the storyline was always vague throughout that and the preceding two offerings, the question of how they would proceed nonetheless hung over Canyons prior to its release. The answer is in the songs themselves. From the sci-fi majesty of lumbering, rolling groove in opener and longest track “Gears of Despair” — oh, they grind — through the mega-stomp of “Telemachus, My Son” and the righteously synth-laden wash that consumes “Mind Fortresses on Theia,” Slomatics bring together concept and execution with a readiness that highlights the fact of their 15th anniversary. They are mature in their approach, yes, but the fact is their approach is so much their own and so given to their particular mode of progression that it almost can’t help but feel fresh. How could something so utterly crushing also feel rejuvenating? As they plod through finale “Organic Caverns II” ending with more waves of synth and tectonic guitar — no bass, remember — they are as restorative as they are punishing, and they stand astride that duality with neither mercy nor pretense. Canyons, whether it’s setting up a new story, building from the old, or doing something completely different, stands on its own.
My anticipation for and expectations of Year of the Cobra’s second long-player were high most especially after 2017’s Burn Your Dead EP (review here), which along with the dead, set alight the notion that the Seattle duo of bassist/vocalist Amy Tung Barrysmith and drummer Jon Barrysmith were simply a heavy/doom band. With elements of post-punk, psych wash, minimalist stretches and propulsive gallop, Ash and Dust cast itself out over an aesthetic range that set a new standard not just for Year of the Cobra, but for anyone who’d dare match them at their own game — and that list will grow with time, absolutely. As their first outing through Prophecy Productions, Ash and Dust threw itself into the very melting pot of its own ambition and emerged with songs that didn’t just bring together disparate ideas, but made them flourish and engage and challenge the listener while still proving consistent in tone and underlying groove. For a two-person, two-instrument outfit (not counting voice, though I should), they proved more malleable than many with more than twice the number of hands on deck, and pushed the notion of what heavy rock is and does forward without stopping to look back or ask for permission. They just did it, and maybe Ash and Dust is the aftermath of all that burning.
Look back over the course of this list, and you will find no shortage of bands and releases that surpassed the group in question’s past work. With Gothenburg, Sweden’s Monolord, it wasn’t just about No Comfort — their debut on Relapse, fourth full-length overall — being better than 2017’s Rust (review here), because that was pretty jolly gosh darn enjoyable, but about the band reaching a moment of transcendence to which Rust and all their prior work across 2015’s Vænir (review here) and 2014’s Empress Rising has been leading. With the six tracks of No Comfort, guitarist/vocalist Thomas Jäger, bassist Mika Häkki and drummer Esben Willems not only overcome the influences that launched them — taking full ownership of their sound and defending that claim with the sheer quality of their songwriting — and they not only become as identifiable as those influences themselves, but they overcome themselves. No Comfort means no comfort. Monolord take the simplicity that once fueled their riffing, the willful primitivism of their earliest work, and with songs like “Larvae” and “The Bastard Son” and the closing title-track use it as the foundation it was apparently always intended to be. Monolord have toured plenty and certainly their studio output has shown an increasing complexity from one LP to the next, so progression isn’t unexpected, but the manner in which Monolord have executed that progression has been. Even on “The Last Leaf,” which is arguably the most straightforward fare on the album, one hears it as them rather than the manifestation of the acts that inspired them. The same holds for “Skywards” later on, and for the immersion that takes hold as the mournful “Alone Together” plays into “No Comfort” itself. Monolord take their place among the best bands on the planet, and deliver an Album of the Year for 2019 that, like the absolute best, will have an impact lasting much longer than any period of 12 months might convey.
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The Top 50 Albums of 2019: Honorable Mention
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You didn’t think we’d stop at 50, did you? Come on. You know me better than that. The fact is that the list itself, humongous as it is, is just the start of the tip of an iceberg attached to a glacier that’s somewhere on an entire planet constructed of ice.
Honorable mentions, you say? Yeah, a few. Here they are in no order whatsoever:
Lord Vicar, Goatess, The Lord Weird Slough Feg, Zone Six, Lykantropi, Earth, White Manna, Atala, Tia Carrera, Merlin, WEEED, Híbrido, Cities of Mars, Stone Machine Electric, Bretus, Blackwolfgoat, The Black Wizards, Admiral Sir Cloudesley Shovell, Alunah, V, Pale Grey Lore, Leeds Point, Sons of Alpha Centauri, Spidergawd, Bus, Death Hawks, BBF, Vessel of Light, Crypt Trip, The Pilgrim, Uffe Lorenzen, Brant Bjork, Doomstress, Black Lung, Kandodo3, Monkey3, Bask, Horseburner, Zed, Bright Curse, Spillage, Sigils, Papir, Dune Sea, Destroyer of Light, Mastiff, Warp, Centrum, Varego, Lord Dying, Volcano, Saint Karloff, Firebreather, High Reeper, Bible of the Devil, Obsidian Sea, Torche, Motorpsycho, Sunn O))), Deadbird, Russian Circles, El Supremo, Pyramidal, Holy Serpent, Elizabeth Colour Wheel, Demon Head, Red Beard Wall, Onhou, Kamchatka, Iguana, Arrowhead, The Whims of the Great Magnet, Serial Hawk, Scissorfight, Monte Luna, Lingua Ignota, Valborg, Sageness, Ruff Majik, The Giraffes, High Fighter, Comacozer, Burning Gloom, Swan Valley Heights, Mark Deutrom, Cable, AVER, Superlynx, The Munsens, No Man’s Valley, Old Mexico, Skraeckoedlan, Godsleep, Øresund Space Collective Meets Black Moon Circle.
Seems cruel to leave it to you to sort through those, but I’m tempted to do just that. You might notice some bigger names there in bands like Earth, Russian Circles, Torche and Sunn O))). Nothing against those bands, but I think we’re seeing a moment where a different group of artists are taking point in terms of innovating heavy styles across an entire swath of microgenres. Either way it’s not a slight that something is here instead of above. And of course, there are plenty of up and coming groups here as well, with Ruff Majik, Elizabeth Colour Wheel — who I’m sure would be a top 30 if I knew the record better than I do — Pale Grey Lore, Monte Luna, Papir, Destroyer of Light, The Munsens, No Man’s Valley, Skraeckoedlan, and so on, but hell’s bells, there’s already a list of 50 and I’m only one man. How high is the list supposed to go and still be a list?
Bottom line: Music is as endless as space and has as much beauty in it for those willing to hear. Do more digging.
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The Top 20 Debut Albums of 2019
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1. Green Lung, Woodland Rites
2. Yatra, Death Ritual
3. Howling Giant, The Space Between Worlds
4. Thunderbird Divine, Magnasonic
5. SÂVER, They Came with Sunlight
6. Lightning Born, Lightning Born
7. Elizabeth Colour Wheel, Nocebo
8. The Pilgrim, Walking into the Forest
9. Sigils, You Build the Altar You Lit the Leaves
10. E-L-R, Maenad
11. Hey Zeus, X
12. Bellrope, You Must Relax
13. Asthma Castle, Mount Crushmore
14. Thronehammer, Usurper of Oaken Throne
15. Inner Altar, Vol. III
16. Infinity Forms of Yellow Remember, Infinity Forms of Yellow Remember
17. Hippie Death Cult, 111
18. Faerie Ring, The Clearing
19. Gone Cosmic, Sideways in Time
20. Haze Mage, Chronicles
Honorable Mention: Warp, Pelegrin, Lucy in Blue, Volcano, The Sabbathian, Red Eye Tales, Dune Sea, Dury Dava, Pharlee, Giant Dwarf, Ghost:Hello, Surya, Workshed, Children of the Sün, Burning Gloom, Temple of the Fuzz Witch.
Notes: As ever, I consider a band’s debut album something unique and separate from everything else they’ll ever do, and so worthy of highlighting in its own category. It’s a different standard in my mind, one that takes into account what a group might accomplish going forward as well as what they do on the record itself. Plus, putting out an album is hard. Getting two, three, four, five or more people to agree on anything is an accomplishment. Making a cohesive album? Come on. So yes. We see some crossover from the main list above, but I want to draw attention to Howling Giant, Thunderbird Divine and SÂVER particularly here. There’s a swath of genres represented and I feel like a couple of these releases — Sigils, Bellrope, Thronehammer, Inner Altar, Faerie Ring, Infinity Forms of Yellow Remember — didn’t get their due attention. It’s a busy year, I get it. But if you’re skimming through looking for stuff to check out, DON’T IGNORE THIS LIST. Aside from whatever line about the best of tomorrow you want to trot out, there’s important work being done by these acts today. As somebody who’s constantly behind the times, I urge you not to miss it.
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The Top 20 Short Releases of 2019
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1. Geezer, Spiral Fires
2. Ufomammut, XX
3. All Them Witches, 1×1
4. Mount Saturn, Mount Saturn
5. Dopelord, Weedpecker, Major Kong & Spaceslug, 4-Way Split
6. Horehound, Weight
7. Molasses, Mourning Haze
8. Saint Karloff & Devil’s Witches, Split
9. Here Lies Man, No Ground to Walk Upon
10. The Golden Grass, 100 Arrows
11. Mount Atlas, Mistress
12. Midas, Solid Gold Heavy Metal
13. Glory in the Shadows, Glory in the Shadows
14. Hot Breath, Hot Breath
15. Crystal Spiders, Demo
16. Red Wizard, Ogami
17. Thermic Boogie, Fracture
18. Pinto Graham, Dos
19. High Priest, Sanctum
20. Set Fire, Traya
21. Seedium, Awake
Honorable Mention: Love Gang & Smokey Mirror Split, Forebode, Land Mammal, Very Paranoia, Plague of Carcosa, Daal Dazed, Komodor, Mourn the Light & Oxblood Forge Split, High on Fire, Mount Soma.
Notes: This is probably the least complete of the lists, because it’s the hardest category for me to keep up with. EPs, singles, demos, splits and basically anything else that isn’t an album, all lumped together. Still, I stand by the picks here, and I don’t think anyone who takes on any of them will regret doing so, whether it’s All Them Witches’ surprisingly weighted first single as a trio, Mount Saturn’s debut release, or Geezer’s cosmic jams. Felt a little like cheating putting Ufomammut on there, since technically XX wasn’t new material so much as reworked stuff captured live, but if you want to call me out on it, my own listening habits also factor in, and I’ve spent plenty of time with those reimagined tracks. But anyway, I’m sure there’s a ton of stuff that hasn’t been included here, so please feel free to let me know in the comments and I’ll work accordingly.
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Postwax
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I haven’t felt comfortable with the idea of writing about it editorially, since I’ve been involved in discussions about it since before it came together and since I did the liner notes for each of the six releases (plus one to come), but I wanted to take a moment to acknowledge the incredible work done on the Postwax vinyl subscription series by Blues Funeral Recordings. Label head Jadd Shickler and design specialist Peder Bergstrand (also of Lowrider) put together six offerings that came out in the span of this year and when you hold the LPs in your hand, you can feel the passion that went into making them, from the artists in question to those curating the series in the first place. I hear tell there’s going to be a Postwax Year Two, and I don’t know if I’ll be involved or not, but I’m proud of my miniscule part in the work that went into making these and wanted to bring them to your particular attention. They are something special for those who got to partake:
Elder, The Gold and Silver Sessions
Daxma, Ruins Upon Ruins
Besvärjelsen, Frost
Big Scenic Nowhere, Dying on the Mountain
Domkraft, Slow Fidelity
Lowrider, Refractions
And while we’re talking about projects I was proud to be involved with, I also did liner notes for Acrimony’s The Chronicles of Wode box set from Burning World Records and was honored to do so. Thanks to any and everyone in question for having me involved and dealing with me blowing past deadlines one after the next. It is humbling.
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Looking Ahead to 2020
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A few names and nothing more about what definitely is and/or might be in the works for next year. Woefully incomplete, so feel free to add to it:
1000mods, Wolves in the Throne Room, Deathwhite, Mondo Drag, Drug Cult, Ocean Chief, Soldati, Sergio Ch., Mitochondrial Sun, Geezer, Mirror Queen, Mondo Generator, The Otolith, Asteroid, Yatra, Vestal Claret, Farer, Ryte, Shadow Witch, Six Organs of Admittance, Naxatras, Wolftooth, Snail, Elder, Pale Divine, Grey Skies Fallen, Ruby the Hatchet, Yuri Gagarin, Sasquatch, Godthrymm, Wo Fat, Red Mesa, CB3, Onsegen Ensemble, Insect Ark, Acid Mammoth, Ritual King, Ulls, Om.
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Thank You
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Thank you for reading, and please, if you have a thought or something you want to share in the comments, please remember to be kind to each other. We are all human beings behind our phones and keyboards, and while we’ll disagree, often in some ways and some cases, a basic level of respect is always appreciated. At least by me.
I am not so deluded as to think anyone might still be reading, but I want it on record how much I appreciate you being a part of this site and a part of my experience in making it. I’ve been ruminating all year since marking the 10th anniversary back in January about how much The Obelisk has become a part of who I am, and it’s utterly essential to my every day. The way I continue to think about it — and myself, as it happens — is a work in progress, and that would not be possible without you. One more time. Thank you. Always. Always thank you. Thank you.
[Click play above to stream the premiere of Sun Blood Stories’ video for ‘See You on the Other Side.’ Haunt Yourself is out Sept. 20.]
The fourth full-length from Boise, Idaho’s Sun Blood Stories continues the forward progression of purpose and creative scope that has played out in their work over the last six years. It has not been that long since the trio unveiled their third LP, 2017’s It Runs Around the Room with Us (review here), and yet the 12-track/45-minute Haunt Yourself unveils a fluidity and a personality all its own, marked by a soul and emotionalism in the vocals of slide guitarist Amber Pollard and guitarist Ben Kirby (both also add bass synth to the recording) and a floating post-rock psychedelia that is admirably given shape through the drumming of Jon Fust (also keyboards). As has been their wont on past offerings, they find footing in an early hook — thinking of tracks like “The Great Destroyer” from the last record or “West the Sun” from 2015’s Twilight Midnight Morning (review here); their debut, The Electric Years, came out in 2013 and was more formative — this time moving from the swirling fog of “TIME” at the outset to the interwoven vocals and forward rhythm of “Up Comes the Tunnel” (video posted here), wherein their sound hits arguably the thickest point it will on the entirety of Haunt Yourself.
With this, they set up a broad and experimentalist range the richness of which is not to be understated, from the emotional crux of songs like “No One Can Hear You Dream,” with its repetition of “In the end we all will…” whether the answer is burn, die, and so on, or “All the Words in Meaning” (video posted here) just before it with its vocal lashing out or the earlier “Everybody Loves You,” on which the resounding feel is less comforting than the title, Pollard seeming to take on the role of that voice in your head that tells you how much better off everyone would be if you were gone. “Everybody loves you,” you see, “When you’re dead.” This is its own kind of aural brutality apart from any sonic impact Haunt Yourself may or may not make — and the bulk of the album is striking in its patience and gentle delivery — but if you ever needed a lesson in conjuring emotional weight, here it is.
That’s not necessarily new territory for Sun Blood Stories, but their progression has made them more pointed in their approach, such that pieces like the bluesy “At Once in All Directions” or even the ultra-fluid jam in the early cut “See You on the Other Side” that follows “Everybody Loves You” both serve an overarching intent that covers Haunt Yourself as a whole, and the album resulting is built from the conversation between the songs that comprise it. Something something whole, something something sum of parts, but if my assessment is trite, that doesn’t necessarily make it less true as regards the front-to-back listening experience. And make no mistake, front-to-back is how Haunt Yourself should be taken. Each track seems to have a singular purpose, but those never veer too far from the overarching goals of the record as to disconnect from it. Ever-conscious of flow, Sun Blood Stories make this even easier by dividing the tracklisting into three three-song sections, each beginning with its own interlude.
Those pieces, “TIME,” “LIKE” and “SMOKE,” never go much past two and a half minutes, but together work not only to provide an underlying theme to Haunt Yourself, but also to bring the album into context of their past, as Twilight Midnight Morning featured the cut “Time Like Smoke” as well. And whether it’s in “See You on the Other Side” or the penultimate “Approaching Shadow,” the sense of drift throughout Haunt Yourself is especially prevalent, but at no point do Sun Blood Stories let it go anymore than they choose to. That is to say, while even the cover art speaks to a notion of working against traditionalist structure — something time (like smoke) has proven the band to be quite adept at — they never lost sight of where they want the listener to be throughout the proceedings. Given the breadth of “All the Words in Meaning,” “No One Can Hear You Dream” and “At Once in All Directions” in the record’s middle third, that’s an accomplishment unto itself, but moments like Kirby coming forward in “At Once in All Directions” or Pollard doing the same with a somewhat buried highlight vocal performance on “7 Swords” do a lot to orient anyone who’d take on Haunt Yourself, and that proves to be another way in which the songs each enhance the listen of the album as an entire work.
Following the final interlude piece “SMOKE,” “7 Swords” leads the way into the Western airiness of “Approaching Shadow,” one of only two songs to top six minutes — the other is “No One Can Hear You Dream,” longer at 6:40 — and the 2:21 closer “Shimmer Distant,” a layered-vocal Pollard/Kirby duet that feels like an epilogue after the payoff of “Approaching Shadow” and ends with a final volume swell that cuts out to silence. It’s a fair enough and still somewhat unexpected ending for Haunt Yourself, giving the feeling of answering back the earlier explorations without discarding the psychedelic flavor thereof.
This is emblematic of a maturity in Sun Blood Stories‘ approach, which one would expect for a band on their fourth record, having solidified their lineup and seemingly figured out who they want to be as a group as much as any of us figure out who we want to be ever in any context at all — at least the direction they want to go, perhaps? One way or the other, the individualized progression they’ve undertaken suits them beautifully, and both in the chemistry of the performances between Kiby, Pollard and Fust and the atmosphere that comes across so thickly amid still-memorable songcraft, Haunt Yourself succeeds on every level of expression it engages, and as the fruit of the three-piece refining their processes as established across the work they’ve done since making their debut, it speaks to the root creativity so central in driving it. I won’t predict where they might go next time out, except to say forward along their own path, and all the better for that.
One would be tempted to talk about confronting demons as regards the new Sun Blood Stories were its subject matter not so horribly human. As the Boise, Idaho, three-piece come closer to the Sept. 20 release date of their new album, Haunt Yourself — preorders are up through Bandcamp — they would seem nonetheless to be living up to the title they’ve given the record in “All the Words in Meaning,” the video for which finds vocalist/guitarist/synth-bassist Amber Pollard confronting childhood abuse through hard-hitting visual metaphor and an even-harder-hitting staredown of the camera. The song itself is duly tense and volatile, a tempest churn brought to bear amid spacious echoes that still speak of place in the way of the band’s landscape-minded earlier efforts, but is obviously turning those expanses inward here in terms of emotionalism and the sheer boldness of what’s being expressed. Pollard, joined in the band by Jon Fust (keys/drums) and Ben Kirby (guitar/bass synth/vocals), is very much at the fore here in the song, and that’s something that’s fluid throughout Haunt Yourself in terms of her interplay with Kirby on vocals, but given the intensity underpinning “All the Words in Meaning” and the rawness of soul on display, it’s a showcase of Sun Blood Stories at their most powerful and affecting.
The song itself isn’t long by any means — about four minutes — and you’ll see at the end there’s a scene were the band are sitting outside around a table. Pollard‘s child is there as well, and there’s a shot where, still holding the stuffed animal from the room where the bulk of the video takes place, Pollard turns to deliver the song’s final lines. It’s a remarkable shot. We see a mother in center-frame as protector, yet the stuffed animal reminds of the abuse suffered and the residual trauma still being carried. It seems to express the urgency of that protection as well as the fragility of the violated. With Kirby and Fust out of frame across the table, it’s just the two of them in the shot, in relief from the brightness of the outdoors space behind them, separate from it even as they’re unavoidably part of it and subject to it.
My understanding is there’s one more video to come early next month before Haunt Yourself is officially released, so I’ll keep an eye out for that, and in the meantime, you can check out “All the Words in Meaning” on the player below, followed by the background on the clip and the song from the band’s posting.
Here you go:
Sun Blood Stories, “All the Words in Meaning” official video
CW Child Abuse: “Time to get real real. This song is about my childhood. My awful childhood. My parents split when I was still a toddler. Maybe not even 2 years old yet. Around age 3, my mother started dating a man who would abuse me in every form of the word daily for the next 14 years. Escapism was my only reprise from the physical and emotional pain that was inflicted upon me. I often time found myself fantasizing about what my life could have been like if my parents had stayed together. That is what this song is about. Ben, Jon, and I just really hope this song makes you feel something. Anything. If you or someone you know is being hurt please call the National Domestic Abuse Hotline 1-800-799-7233. We love you.“ – Amber
All the Words in Meaning is the second single off of Sun Blood Stories’ long anticipated new album, Haunt Yourself, to be released September 20th, 2019 (more about the album and the band below). The music was recorded in Sun Blood Stories’ basement home studio in Boise, ID, and the vocals were recorded in Dale Hiscock’s (Endless Atlas) studio about two blocks away. All the Words in Meaning was written and recorded by Sun Blood Stories. The song was mixed and mastered by Dale Hiscock.
Directed by Thomas Newby, the Green Zoo Arts Collective, and Amber Pollard
Filmed by Thomas Newby and the Green Zoo Arts Collective
Normally, this is the part where I’d be all like, “OMG Sun Blood Stories are so great etc. etc.,” and hey, don’t get me wrong, that’s an awful lot of fun. I’m going to forego it — for the moment — however, because what the Boise, Idaho, trio don’t yet know is I’m planning to hit them up to stream their new record, Haunt Yourself, ahead of its Sept. 20 release? Will it happen? I don’t know. I mean, I’ll review it either way, so there’ll be plenty of duh-this-band-is-awesome blah blah verbose blah no matter what. But as for the stream, I’d hardly be able to hold a grudge if they decided to go with someone, you know, relevant instead for it. Or not to do it at all. Or whatever they want to do. It’s their album, after all.
Haunt Yourself though, is flat out gorgeous. Divided into three sections, its tracks play out with the fluidity that has typified their work all along while at the same being brought to bear with a new level of clearheadedness from the three-piece incarnation of the band, which first appeared on 2017’s It Runs Around the Room with Us (review here), but seems to have found a balance between experimentalism and core songwriting, with the vocals of guitarist Ben Kirby (also bass) and synthesist/slide guitarist Amber Pollard proving ever more essential to the overarching impression made and resonant long after the actual 12-track outing is done. Their dynamic is integral to the haunt of Haunt Yourself, in other words, but neither should one downplay the grounding effect or the swing in Jon Fust‘s drums, which as “Up Comes the Tunnel” demonstrates, is no less of a key component of the whole.
Like I said, I’m going to review the album, so I’ll cut the analysis there in the hope that I haven’t already bored you to distraction before you got to click play on Pollard‘s video for “Up Comes the Tunnel” below. If I did, sorry about that. If not, you’ll find it below, followed by a bit of background on the song and the record.
Please enjoy:
Sun Blood Stories, “Up Comes the Tunnel” official video
Up Comes the Tunnel is the first single off of Sun Blood Stories’ long anticipated new album, Haunt Yourself, to be released September 20th, 2019 (more about the album and the band below). This song was the first song to be written by the band as the idea of working on a new album started swirling around in their heads. The music was recorded in Sun Blood Stories’ basement home studio in Boise, ID, and the vocals were recorded in Dale Hiscock’s (ESC) studio about two blocks away. Up Comes the Tunnel was written and recorded by Sun Blood Stories. The song was mixed and mastered by Dale Hiscock. This music video was created by Amber Pollard of Sun Blood Stories. The featured poem was written by Ben Kirby of Sun Blood Stories.
Sun Blood Stories’ newest release, Haunt Yourself, will be available on September 20, 2019. Haunt Yourself maintains Sun Blood’s core sound and content while simultaneously sounding like nothing they’ve ever created before. No matter how you like to consume your music SBS has you covered. Haunt Yourself will be available on vinyl, tape, compact disc, digitally, and on all streaming platforms.
Sun Blood Stories are: Vocals, Guitar, Bass Synth / Ben Kirby Drums, Keyboards / Jon Fust Vocals, Slide Guitar, Bass Synth / Amber Pollard
