Posted in Features, Reviews on October 9th, 2022 by JJ Koczan
Before; haunting the Chapel
At some point yesterday afternoon I did… something? to my knee. Maybe before Needlepoint played. I had been sitting on the thankfully clean floor near the front of the stage between acts, like you do to take pictures in sans-pit cases, and in getting up, felt and heard a pop, and it has hurt steadily since. Made it through the rest of the day, obviously, but by the time I was headed back to the hotel, was fairly well hobbling, and this morning that discomfort was right where I left it after my jetlagged ass slept for 10 hours last night. I can’t quite find a position for it between straight and bent that’s comfortable and my well-intentioned ‘see how it feels tomorrow’ plan feels as dumb as it is.
In addition to being old and out of any kind of shape that isn’t spheroid — plus I’m a wuss, if that wasn’t clear — it is a humbling reminder of the confirmed wreck that my body is, has always been. I would call it existentially unpleasant in an effort to sap it of an emotional context, which, while we’re here, also strikes me as ridiculous. Nonetheless, I hurt. I’m going to try to take it easy today, whatever that even means, and sit as much as I can, but I promise you, “sit as much as I can” is basically my motto for life. Put it on the family crest. Tattoo it on my arm on fancy script like a metalcore toughguy from the aughts. We are who we are. I remain approximately 40 percent human. The rest?
It’s a sunny day on Oslo and there are rad birds around to further the autumnal atmosphere of the city, or at least the block of it between the hotel and Kulturkirken Jakob. When I picture it, Oslo is overcast, so to see blue sky feels new, but no complaints.
Sturle Dagsland is soundchecking and already pushing his voice to frequencies usually reserved for amplified mosquitoes, so that should make for an interesting set. There’s time before we get there, so more coffee and lollygagging are the order of the moment. I suck at taking it easy. Thus xanax.
In case I don’t post again before I’m home, I want to extend my sincere thanks to Jens, Ole and Vesper for having me over once again. This festival is beautiful even when the music is at its ugliest, and for much more than the visual impact of the Kulturkirken Jakob, striking as that is. I deeply value the opportunity to come here and kick around my imposter syndrome for a couple days, see amazing stuff and do my best to convey a little bit of what it’s like to anyone else who might care enough to read. If that’s you (and if you’re seeing this, surprise! it is!), then thank you.
HØSTSABBAT 2022 NIGHT TWO
Sturle Dagsland
The music of everything and everything-is-music, Sturle Dagsland was not alone on stage but is clearly driven toward artistic singularity just the same. Before he went on, there was a kind of mini-presentation of am Edvardprisen, a music prize that would seem to have been well earned, given what unfolded after. Experimentalism drawing on modern dance, electronic music, extreme metal, Wardruna-style Norse-ism, pop, indie, and a deeply varied swath of assorted styles like a shopping cart full of genre, he not only claimed the Edvardprisen but the award as well for the best leggings this year at Høstsabbat, though admittedly there was a dearth of competition in that regard. More art-house-appreciation than a rocking start to the day, the passion fueling the testing and passing of limits was palpable. Everybody has an inner clock for how much of that kind of thing they can absorb, of course, but it’s hard not to respect both the vision of a world music that comes from another world and the bravery to manifest it wholeheartedly on stage. From trumpet to flute to maybe-oboe, hands crashing through cymbals, hang-style drum, synth beats swelling and receding, keys, vocals in god knows how many octaves and time signatures, each short piece fed into an encompassing scope that was expressive beyond my language barrier to it and markedly individual.
Bismarck
Well then. Bismarck signed to Majestic Mountain today, and they debuted the rager “Sky Father” to mark the occasion. It was one among the multitude of pummelers they had on hand, and the lumbering groove, tonal largesse and atmoslusge heft was like a cold-cloth on a fevered soul. I stood, against better judgement, up front for about half the set and hung back thereafter, but my goodness this is what I need. When my son and I go on rollercoasters, the running joke is “this is what we need,” because if he doesn’t get that level of vestibular input periodically he loses his mind. If I don’t get regular doses of volume like this, it’s the same thing. Sometimes you just need to be crushed. Fortunately for me and whatever form of neural atypicality this represents — call it “doombrain” as a diagnostic shortcut — Bismarck were ready with a suitable nod of low end. They should give prizes for this kind of thing too. Or at least a grant, though I’ll admit that, being in a country that puts its money where its mouth is as regards funding, there may well already be such grants. In any case, Bismarck’s take on tone, ambience and aggression was just right in its moment, and I am swallowed by it.
Norna
Years from now I hope I’m able to recall Norna hitting the Chapel stage after Bismarck played in the Crypt and how good that one-two punch of weighted sludge felt. I don’t know that I’ll ever be able to listen to this band without thinking of Ole Helstad, one of the founders of Høstsabbat, who is a nigh-on-rabid fan, and one suspects that’s why they’re here — if you believe it should be otherwise, I would only ask what you think music is for in the first place — but that only made me want to see them more. Assured in craft and at times scathing in their delivery, they were a far cry from the deranged sensibilities of Indian last night, but showed how such leveling volume can be wielded toward ends as much about life as death. I say that, but they were largely unilateral in their destructive outletting, perhaps the moment when the old forest burns so that new growth can take hold. The band’s pedigree goes back decades to the more hardcore-minded Breach, and if Norna are post-that, they’re post- a few other things as well, but their sound held an urgency that felt born of a trash-punk youth, even if it’s long since left that style behind.
Dopelord
Stoner and doom! They mentioned from the stage that they were about to sing a song about the devil in a church, which if they did it in their home country of Poland would get them thrown in jail. I could see them catching flack for it — less likely imprisoned — in the US too, though that depends pretty much on the state. Another day carnival of weedian riffage here, I suppose. Dopelord’s resin-coated nod came through potent and duly sticky, guitars on either side of the stage leading through a well-constructed wall of distorted fog, lumbering like a dayjob but too stoned to hold one down. I’ve dabbled before in their studio stuff — a tourist’s interest in what I imagine even they’d have to admit is a pretty simple concept for a band; loud, thick riffs, big groove and the kind of themes that can get you arrested if sung in a Polish church — but the dual-vocal swaps lent character to what struck as a purposeful familiarity. That is, seeing them live, I don’t think they’re trying to get away with anything revolutionary so much as celebrating a specific stylistic and tonal ideal. Like the t-shirt says, “Sabbath worship.” The better bands are able to take that and make something of their own from it and I’ll happily put Dopelord in that category now that I’ve seen them. Also, the place went nuts for them, which, frankly, I get.
The Black Wizards
A boogie rock cover of “21st Century Schizoid Man?” Count me in. Portuguese trio The Black Wizards were good vibes even before they seemed to medley their way into and out again from the King Crimson classic, drawing on hard ’70s vibes with vigor enough to actually convey them. The Crypt was packed by the time I got there, but I wound up able to get a spot by the side of the stage area by following the band through the crowd as they went on. Dick move on my part, I guess, but it worked. The band brought a joyful shuffle from which the bass sounded especially smooth, and despite some feedback of the not-purposeful kind on the mics, they carried through with a bluesy spirit and a power trio ethic of bass and drums holding down the groove while the guitar solos. This, plus swing — which was in ready supply — equals the sum total of what one can reasonably ask, but the tempo shifts were a welcome bonus. The real test of boogie is can it twist, and The Black Wizards answered a hard yes. Their set was tight but fun, classic drawing as much from more modern interpretations of ’70s heavy as from that era itself, and the solos when they came were the kind of thing you’d answer with a fire wmoji, maybe followed by a heart, your choice, red or green. They could play, and knew it, but there was no pretense whatsoever about what they were doing. I think this might just be what party rock sounds like in Europe now. Cool by me. Probably really cool by Graveyard, who’ll play soon up in the Chapel.
Årabrot
People worship this band. Like, religiously. I’m not arguing with doing so; just noting there’s a cult for Årabrot and I’m on the outside of it. In fact, this was my first time seeing them, which is something I think put me in the minority among the crowd assembled for their set. My knee was ‘barking,’ in the parlance of not-at-all-our times, so somehow it made more sense to go up to the Galleri — happy to call it what the sign says — rather than attempt to stay up front to get pictures. If you’ve been waiting to see me try and fail to get decent shots of Årabrot, I apologize. I don’t have a bad word to say about what I saw of their set, save maybe for ‘shit’ in the context of ‘well shit, I should probably listen to more Årabrot,’ though I knew that going into the experience. Love the Americana-that-isn’t via Sisters of Mercy post-noise rock though, and I respect both the niche and the performance aspect — they weren’t just playing; it was a show, costumes, hat and all — even if I’m still not ready to sign up for cult. They pulled the biggest crowd of Høstsabbat thus far though — I had a good view — and the Chapel seemed duly fit for worship. Fine. Again, I’m not ragging on it — I promise you I’m not — but I’d been looking forward to what was going to unfold in the Crypt soon, so I left my Galleri perch well in time to get a spot up front in the basement. I do get to say I’ve seen Årabrot though, so that’s one for the résumé, which I’ll be sending out hopefully never again.
Slomatics
Got treated to a new song — the name of which I didn’t catch; was it “Mightor?” — during their soundcheck. That alone made me feel justified in showing up like 40 minutes before they went on. I be honest with you, they were what my weekend was building toward and there was about zero possibility short of their not making the trip that I was going to walk away from their set disappointed. Just no chance of it happening. Their set? Riff after lumbering riff exactly like I knew it would be, and I count myself extra lucky for having seen them twice this year. All that aural weight, bouncing off the ceiling, off the back wall of the Crypt, off the floor. It would have been devastating were it not rapturous. I don’t know if I’ve seen another complete set this weekend, but aside from the packed crowd behind where I was up by the stage monitors, it was pretty clear early on that I was in it for the duration. No regrets. I closed my eyes, pulled my earplugs loose just for a minute of “And Yet it Moves” — you don’t want them out for long — and was perfectly content to nod my way into ultra-heavy oblivion. Marty Harvey vocals were low in the mix, but I actually suspect that was due more to where I had parked myself, and David Majury and Chris Couzens’ guitars, running through bass and guitar amps, offered maximum plunge. What an absolute fucking joy they were, and smiling and laughing and “skol”ing the crowd all the while. I could go on, but the bottom line is that anytime life affords you a chance to see Slomatics, you do it. Leaning there on my screwed up knee, sweaty, tired — that’s right I said I was tired at a rock and roll show, fight me; I’m like Prince fucking Valium out here — none of it or anything else mattered just for a little bit. Just to lose yourself in it for that little bit. An incomparable feeling.
Graveyard
I don’t want to say I wasn’t looking forward to seeing Graveyard — it’s been like seven years? — but they were the icing on my spire-shaped Høstsabbat cake, if you want to go that way with it. In fact, they were a thrill. I had a “oh yeah I know these songs!” moment early and from there it was just a matter of being reminded how much I actively like Graveyard. Joakim Nilsson, his head tilted just so, playing his hollow-body guitar, is aging into the bluesman he’s always been working toward being, and “Uncomfortably Numb” made the point all the more resonant. They’re pros to be sure. Now more than a decade removed from breaking through to a broader audience with 2012’s Hisingen Blues (review here), they’re every bit the headliner, and they played like it. Their influence over a generation of heavy rock, the way they took vintage methods and absolutely owned them. They played in the only spot they possibly could, which was last, and if they were the epilogue, then hell’s bells, what a story. “Ain’t Fit to Live Here.” Shit. Great band. I’ll leave it at that.
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Before I turn you over to the rest of the photos (if you’re so inclined to check them out), one more word of thanks to Jens, Ole and Vesper, whose efforts now that the fest is over I hope make them proud. This thing they made was incredible, and the world is a better place because it happened. Thank you. Thank you. Thank you. And thank you for reading, and thanks as always to The Patient Mrs., through whom all things are possible. My love.
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 Black Wizards’ Reflections in its entirety. Album is out Aug. 23 through Kozmik Artifactz and Raging Planet.]
Reflections is what it sounds like when a band learns the lessons of their past releases and incorporates them into the next one. The third full-length from Portuguese heavy psych blues rockers The Black Wizards, the seven-track Kozmik Artifactz and Raging Planet-issued outing scales back from the 2LP that was 2017’s self-released What the Fuzz! (review here) to a single 41-minute platter with a structure that seems to maximize the overarching flow and still manage to capture a sense of the breadth in their approach, from fervent boogie rock to bluesy sway and onward into resonant psychedelic drift as it rounds out. This range, coupled with the organic style and songwriting approach from guitarists Joana Brito (also vocals) and Paulo Ferreira and the double-João rhythm section of bassist João Mendes and drummer João Lugatte, helps make Reflections an easy bet to win hearts and minds among the converted, as some of the boogie in What the Fuzz! is drawn down into the taffy-pull psych of “Starlight” and closer “Kaleidoscope Eyes,” the band clearly saving their most immersive vibes for the end of each side, in traditional fashion.
“Traditional fashion” could be seen as a kind of running theme for the album, but Reflections is by no means retro. Given the usage of the title-line in “Kaleidoscope Eyes” — a highlight unto itself — I wouldn’t necessarily think the band intended so when they named the album, but their approach to classic heavy rock and psych and blues and all the rest of the stylistic combustibles melted into their sound is very much reflective. Not an exact emulation in the sense of capturing a “vintage” spirit in the actual listening experience — their scope is way too broad and production way too vast for such a thing — but reflecting those ideas back on themselves in a different form. It begins with opener “Imposing Sun” as Lugatte‘s sticks-on-rim tension and Brito‘s vocals lead into a swirl-laced heavy rocker with layers of backing vocals dug deep into the mix and a forward guitar line that’s like sped-up Monster Magnet doing Hawkwind doing Rolling Stones. The vibrato in Brito‘s voice will be familiar to anyone who heard What the Fuzz! or the prior 2015 debut, Lake of Fire, but as everything seems to be, it’s put here to more mature and accomplished-feeling use.
Side A presents a few fascinating turns. True, it works as shorter songs offset by longer ones — three minutes, six, four, six, goes the tracklisting — but second cut “Outlaws” (6:26) introduces more of the psych-blues spirit, with echo ringing out from Brito over rising-sun riffing and a build of effects wash that leads to an immersive linear progression the payoff for which is a righteous return to the central hook riff. The track is little short of a triumph and a fair enough summary of The Black Wizards‘ encompassing style at its best, but it doesn’t tell the whole tale, which continues with the boogie-down spirit of “56th Floor,” though even that start-stoppery has a sense of space to its guitar and drums and some drift in its second half, asking more questions even as it sees fit to answer a few of them as well. The presumed side A finish is in “Starlight,” which is shorter than “Outlaws” at 6:16, but more drawn out in its unfolding of guitar and more patient in its execution overall, presenting Reflections‘ most atmospheric moment in a departure from the groove-groove-groove of the track prior, because take that, expectation. As the whole-album centerpiece and the transition into side B, its role is vital, and “Starlight” lives up to that without a doubt.
That’s all the better to lead into “Symphony of the Ironic Sympathies,” which is the longest track on Reflections at 7:57 and moves from wah-drenched verses to a tuned-in psych rock explosion in its choruses to a righteous melodic slowdown at its midpoint that moves through an instrumental section and into a spoken preach from Brito that reminds of Colour Haze‘s “Peace, Brothers & Sisters!” as she gains intensity before dropping out as the song begins to draw down. It’s a surprising moment, but not at all out of place, since by that time the flow of the record is broad enough to allow The Black Wizards to go pretty much wherever they want sound-wise. Accordingly, the penultimate “Soul Keeper” touches on All Them Witches-style blues licks and jams itself forward for about the first five minutes before cutting the volume behind the vocals to let their reverb carry the ending as the shift into “Kaleidoscope Eyes” takes hold, guitar, bass and drums introducing the album’s finale with grace that’s by then well established but every bit deserving of the reinforcement it gets.
It isn’t necessarily a surprise that The Black Wizards would save the most expansive moment on Reflections for last — though I suppose there are arguments to be made for “Starlight” in that regard as well — but they deliver the finishing move as a summary of the offering preceding and tie together sometimes disparate turns with a fluidity that lets the listener know for sure there’s been a master plan at work all the while. That too underscores the idea of Reflections as an actual reflection, but in this case, the band reflecting on what they’ve done before and how to bring a new level of accomplishment to their sound. There’s no question they’ve done precisely that, as the full and natural melodies and weight of their material is nonetheless carried with such ease both by them and by anyone who would take on the record to discover where it and the band end up by the time it’s done. The Black Wizards‘ obvious internalizing of their strengths is palpable here, and the paring down they’ve done in terms of runtime has allowed them all the more to bring the songs into focus, which is exactly where they belong.
Last time around, I actually managed to post the playlist for The Obelisk Show before Gimme Radio aired it, and I thought that worked pretty well, letting people know what was going to be on and all that. As it stands, I haven’t even had the chance to record the voice breaks yet for this one, but it’ll get done before airtime. Again, lots of new stuff this episode and a lot of it drawn from recent coverage around here, as well as some stuff that will be upcoming, whether it’s V‘s new single or the 20-minute Comacozer track that ends out.
That song and the We Lost the Sea track before it make up the final 35 minutes of the show. I wanted a couple longer tracks this time out, so between those, V, Monolord, Oblivion Reptilian and Hound the Wolves, I feel like we got there. There’s a couple rockers up front with Bison Machine, Blackwater Holylight and Lightning Born, but from then on pretty much all bets are off. I never know how that kind of thing will be received by the Gimme listenership, but screw it, I haven’t been fired yet, so I’ll take that for what it tells me. Not much, I suppose.
Dug these songs though. The Lightning Born, Sleeping Giant and The Black Wizards cuts were standouts from their respective albums, and the new Goatess single was just premiered elsewhere, but I’ll be covering the album too, so wanted to give that a chance to shine here. And a little bit of Crowbar seemed appropriate as I’ve already seen them once this month and plan to do so again before the month is out. Some bands you just can’t get enough.
Thanks for checking it out if you get the chance.
Here’s the full playlist:
The Obelisk Show – 08.16.19
Bison Machine
The Tower
Seas of Titan*
Blackwater Holylight
Motorcycle
Veils of Winter*
Lightning Born
Salvation
Lightning Born*
BREAK
The Black Wizards
Kaleidoscope Eyes
Reflections*
Sleeping Giant
Serpent
Sleeping Giant*
Oblivion Reptilian
Alien Shit
Fried on Rock*
Hound the Wolves
Godhead
Split with Glasghote*
BREAK
Crowbar
All I Had I Gave
Crowbar (1993)
Monolord
The Bastard Son
No Comfort*
V
Phantasmagoria
Led into Exile*
Goatess
Dunerider
Blood and Wine*
BREAK
We Lost the Sea
Towers
Triumph & Disaster*
Comacozer
Kykeneon Journey
Mydriasis*
The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 30. Thanks for listening if you do.
Posted in Whathaveyou on August 8th, 2019 by JJ Koczan
So, I don’t want to sound like Captain Jaded or anything, but it doesn’t always happen to me that I put on a preview track, video, teaser, whatever and then immediately feel the impulse to check out the entire record. And yet, here I sit, having just made my way through The Black Wizards‘ new clip for “Kaleidoscope Eyes” and needed to put on their new record, Reflections, pretty much as quickly as I could open the folder on my desktop. Regrets? Not a one. The third album from these Portuguese ministers of heavy takes something of a more psychedelic turn than I recall for their boogie-laced 2017 offering, What the Fuzz! (review here). They’ve also trimmed about 25 minutes off the runtime, no doubt at least in part to be able to fit it on a single LP, which Kozmik Artifactz will release on Aug. 23, while Raging Planet handles the CD release.
If you’re feeling up for being similarly convinced, the video for “Kaleidoscope Eyes” follows the PR wire info below, and even if you can’t get your fix right away, there’s always some satisfaction to be derived from a preorder.
Have at it:
THE BLACK WIZARDS release brand new video! Reflections coming August 23rd!
August 23rd will see psychedelic fuzz rockers The Black Wizards return with their brand new album, Reflections. Born in the digital era, these Portuguese rock talents enthrall with an analogue and unique sound of fuzzadelic grooves. Drinking from the same fountains as many of the contemporary bands around, The Black Wizards give a new twist on previously heard tunes and stamp their own personality.
Today the band is sharing with us their brand new video to the psychedelic juggernaut “Kaleidoscope”, taken from The Black Wizards’ upcoming album!
“Kaleidoscope eyes is one of my favorites songs from this record.” Guitarist and vocalist Joana Brito comments. “It’s a psychedelic floating dream song with a very up-bright vibe. For the video, we had the idea of having eyes on it and we did some experiences with Lugatte’s lens and it worked out, so we thought that maybe we could do it ourselves and take it as a new challenge. So then we did it all by ourselves, from capture to edition and it was quite fast but we are proud that we could do it and capture the same nice vibe that you have in the song to the video, we think it fits very well.”
The band exploded on the scene in late 2015 with their debut Lake of Fire, followed by the Fuzzadelic- EP, the sophomore critically acclaimed album What the Fuzz! and numerous tour dates and festival appearances all over Europe. Their live performances are known for being an intense explosion of emotions with lots of soul and of course, a heavy fuzz. The Black Wizards have grown in their sound, they have upped their ante with sonic experimentation without ever losing sight of the core roots having their feet on the ground. The band has learned and archieved a lot, and the time has finally come to present the hotly anticipated, third album: Reflections is like a sunny day and fresh breeze of groovy beats and psychedelia, swaying between sweet moments and massive fuzz deliriums. This record is here to prove more than ever, The Black Wizards are one of the most prolific and promising bands around!
Reflections is set to be released August 23rd on Vinyl with Kozmic Artifactz and on CD plus Vinyl with Raging Planet (including a deluxe edition with a 7”inch Vinyl outakes)!
Album Tracklist: 1. Imposing Sun 2. Outlaws 3. 56th Floor 4. Starlight 5. Symphony of the Ironic Sympathy 6. Soul Keeper 7. Kaleidoscope Eyes
THE BLACK WIZARDS are: Joana Brito – Vocals & Guitar Paulo Ferreira – Guitar João Lugatte – Drums João Mendes – Bass
Posted in Whathaveyou on February 19th, 2019 by JJ Koczan
Desertscene in London — the same good people who put together Desertfest there and have worked to bring it to New York as well — have paired up with the country/Americana/blues Black Deer Festival to present a stage called The Roadhouse that’ll have custom motorcycles hanging around, camping and a lineup that’s pretty kickass front to back. It’s not exactly like they’re sneaking into the bill, but you’ve got Yawning Man, Asteroid, Brant Bjork and Groundhogs and King Buffalo and Radio Moscow and Duel and Steak and Child and so on bringing their wares to Edridge Park in Kent and it seems to me you could do a hell of a lot worse than kind of having a mini-Desertfest built into another festival. That’s how you reach a broader audience, by playing for people who maybe haven’t already heard you. Seems likely a few heads will be turned across the three-day event.
The PR wire has info:
BLACK DEER FESTIVAL REVEAL MORE NAMES FOR 2019
Another round of carefully curated names have been added to the Black Deer Festival lineup today, making for an impressive second year for the award-winning new event. The three-day celebration of Americana and Country, set in the beautiful Eridge Park in Kent, presents a unique experience combining music, food and Americana culture that can’t be found anywhere else in the UK.
Brant Bjork, the member of two of the most influential 90’s stoner rock bands Kyuss and Fu Manchu, whose desert rock and roots style will resonate from The Roadhouse stage in June. Brant Bjork joins the all American heavy blues contingent of previously announced Left Lane Cruiser, Radio Moscow and The Roadhouse ‘house band’ Steak – all curated by Desertscene for Black Deer.
Completing today’s line up is British blues rock band Groundhogs, who are best known for their 70’s single Cherry Red – a name adopted by one of Britain’s longest standing independent record labels – as well as heavy psych-blues trio King Buffalo, Australian blues-rockers Child, 60’s psychedelic songwriter Roxanne De Bastion, California’s experimental rockers Yawning Man, Country preacher Paul Cauthen, larger than life boatman and bluesman Sonic Gypsy and Hertfordshire’s rock band Redwood.
ARTISTS ANNOUNCED TO DATE (A-Z) Asteroid, Band of Horses, Brant Bjork, Chance McCoy, Child, Daniel Antopolsky, Duel, Fantastic Negrito, Ferris & Sylvester, Gordie MacKeeman and His Rhythm Boys, Groundhogs, Hayseed Dixie, Irish Mythen, Jerron Blind Boy Paxton, John Butler Trio, John Smith, Justin Townes Earle, King Buffalo, Kris Kristofferson & The Strangers, Larkin Poe, Left Lane Cruiser, Lucero, Martin Harley, Morganway, Mountains, Neko Case, Paul Cauthen, Radio Moscow, Redwood, Roxanne De Bastion, Ryan Bingham, Sonic Gypsy, Steak, Stubb, The Black Wizards, The Dead South, The Marcus King Band, The Mavericks, The Sheepdogs, The Staves, The Vintage Caravan, The Wandering Hearts, The Trials of Cato, William Crighton, Worry Dolls, Yawning Man.
TICKET INFORMATION Tier 1 tickets on sale now and are available from https://blackdeerfestival.com/tickets/ Ticket prices from £105 – subject to booking fees.
Tier 2 tickets will be on sale from 26th February.
Posted in Whathaveyou on May 10th, 2018 by JJ Koczan
Alright, book my flight. I’ll crash on somebody’s couch; I don’t care as long as there’s wifi. SonicBlast Moledo 2018, you’ve won my heart. 1000mods, Causa Sui, Samsara Blues Experiment and The Atomic Bitchwax on the same bill? By the beach? Plus Atavismo and Earthless and Nebula and Naxatras and Conan are playing? Come on. It’s like the people who put this fucking thing together all sat around a table and said, “What’s gonna make that dickweed from that shitty American website really wish he could come to Portugal in August?”
Note: I’m not actually narcissistic enough to believe that happened — though if it was going to, it would definitely be that phrasing — but yeah, wow. It’s pretty hard to stare at this lineup and process it as something I have zero chance in hell of experiencing for myself. What a bummer. If you make it to Moledo, I hope you fucking treasure it. Because you should.
Gadzooks:
SONICBLAST MOLEDO 2018
Stoner Doom Psych Heavy – Sea Beach Camping Pool Surf Skate
With the dates settled for August 10th and 11th, the eighth edition of SonicBlast Moledo is stoked to announce Causa Sui, Samsara Blues Experiment, 1000mods, Mantar, The Atomic Bitchwax, The Black Wizards, Solar Corona and Greengo! They join the previously confirmed acts Earthless, Kadavar, Nebula, Conan, Ufomammut, Naxatras, Purple Hill Witch, Atavismo and Ruff Majik!
They could be simply described as Psychedelic Rock, however Causa Sui goes far beyond the term. With more than eight albums released, the Denmark’s group creates a distinctive musical universe with diverse influences such as Krautrock, Progressive Rock, Stoner or Jazz, in order to achieve unique instrumental feats. Their first performance ever in Portugal, for one of their rare concerts during the year, could not be more expected.
Six years after their debut in Portugal, right at the second edition of SonicBlast, the German trio Samsara Blues Experiment is preparing to make the long-awaited return to Moledo. Considered one of the greatest precursors of the European Psychedelic Stoner, the group brings now with them their latest album “One With The Universe,” one of the most acclaimed records within the genre last year, which shows the band’s full maturity and their way to outdo themselves.
Formed only by two elements, the German Mantar view their sound as a brutal sonic destruction, where genres like Doom, Black Metal and Punk unite in a primal rage. On the road since 2013, the duo has released three albums, one of them being recorded live, demonstrating the hard work they’ve done over the past years. Their concerts are known for being absolutely demolishing and intense, which manage to elevate the duo name to another level. Forget about Rock ‘n Roll, this will hurt!
Recognized as one of the most important bands within the Stoner Rock universe, 1000mods return to Portugal with the aim of showing the overwhelming power of their fuzz. Hailing from southern Greece, the quartet already counts with three EP’s and three albums, several European tours and a North American tour. From their live concerts, we can only expect one thing; an astounding and memorable experience.
Present at the festival back in 2014, the power-trio The Atomic Bitchwax, visit us again to spread a great amount of “Super Stoner Rock”. This time, the North Americans Finn Ryan, Chris Kosnik and Bob Pantella (also from Monster Magnet) bring with them their seventh studio album “Force Field”, a refreshing and stimulating record, where Psychedelic influences and Rock n ‘Roll are never missing.
The Black Wizards are no longer unknown to the majority fans of the Heavy Rock subculture, whose immense work evidences their enormous value and dedication to their music. With their undisputed talent, they can skillfully play blues, psychedelic or sheer rock n’ roll, as it’s well demonstrated on their latest album “What the Fuzz”.
From Barcelos to Moledo, Solar Corona arrive moved by cosmic psychedelia and spacey grooves. Now counting with a new rhythm section, the trio certainly knows how to induce each listener into a increasingly hypnotic atmosphere, which will guarantee a monumental musical journey.
Born between the union of massive fuzz noise and greenish fumes, the duo Greengo practices a Sludge Stoner Metal filled with massive riffs, dominant vocals and trembling sonic vibrations, capable of shaking any stage where they appear.
Posted in Whathaveyou on November 13th, 2017 by JJ Koczan
Desertfest Berlin 2018 welcomes its second round of bands, including the likes of Graveyard, Elder, The Black Wizards, Church of Misery, MaidaVale and Vonavibe. As is tradition, some of the bigger acts named here are shared with the London-based edition of the fest — Graveyard and Elder — though there’s usually some staggering, so while I don’t believe Church of Miseryhave joined the UK lineup, they may yet. As for the other three, to the best of my knowledge, they’re all Berlin’s as of now, so in keeping with the usual modus of the two Springtime Desertfests, they’re gradually beginning to distinguish themselves from each other even as they share groups between them in common cause. It’s always fun to see this happen over the few months that the lineups take shape.
To wit, this from the PR wire:
DESERTFEST BERLIN ANNOUNCES GRAVEYARD, ELDER, CHURCH OF MISERY & MANY MORE FOR 2018!
Today, a third announcement for DESERTFEST BERLIN 2018 has been revealed! Six new kick-ass bands have been added to next year’s line-up, including GRAVEYARD as second headliner! The Desertfest Berlin crew wanted the Swedes for many years, and it’s now finally happening! On top ELDER, CHURCH OF MISERY as well as many more exciting acts have been added to the 2018-festival edition, which will take place between May 4th – 6th 2018 at the Arena in the heart of Berlin:
GRAVEYARD (SWE) ELDER (USA) CHURCH OF MISERY (JP) THE BLACK WIZARDS (POR) MAIDAVALE (SWE) VONAVIBE (GR)
But make no mistake: not even half of the entire line up is announced yet and way more great bands will be announced soon. DESERTFEST BERLIN 2018 will be outstanding, so better make sure to join the capital of the almighty Riff! Early bird tickets are already sold out, regular weekend tickets for the 7th DESERTFEST BERLIN can be purchased here: https://www.desertfest-tickets.de/produkte
DESERTFEST BERLIN @ Arena // 4th, 5th & 6th May 2018 – 2 STAGES in 1 MAIN HALL – No overlapping sets!
MONSTER MAGNET – GRAVEYARD – EYEHATEGOD – CHURCH OF MISERY – ELDER – PLANET OF ZEUS – NEBULA – DOPELORD – YURI GAGARIN – DEATH ALLEY – JEX THOTH – THE BLACK WIZARDS – MAIDAVALE THE NECROMANCERS – VONAVIBE – AND MANY MORE TO BE ANNOUNCED!
