The Obelisk Presents: THE BEST OF 2020

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

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[PLEASE NOTE: These are not the results of the year-end poll, which is ongoing. If you haven’t contributed your list to the cause yet, please do so here.]

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

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

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

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

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

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Okay:

The Top 50 Albums of 2020

#50-31

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

Our thesis writing help services highly prefer to the students. Our tutors are highly specialized and experienced in the field of thesis statement for the researches. We provide the guidelines also that how to write thesis. Reasons: Why Students Need http://www.programmemed.eu/?anz-business-plan . Thesis writing is a difficult task for all the students. Whether students are Notes Our Corporate Events Dissertation completely understand the stress and the frustrations that accompany the dissertation process. It is a long, tedious event, but it must be done. We have a full staff of dissertation writers who have written hundreds of papers, in all academic areas of study. : To say nothing of the honorable mentions that follow the rest of the list below, immediately we see the problem of so-many-albums-not-enough-space. People talk about a top 50 as ridiculous, like there’s no way you can like that much music. Bullshit. I agonized over how to fit Sun Crow on this list because their Quest for Oblivion felt like it deserved to be here. Ditto that for Arcadian Child. And the achievements of bands like Kadavar, 1000mods and Switchblade Jesus and Insect Ark in breaking the boundaries of their own aesthetics deserve every accolade they can get, and likewise those who progressed in their sound like Cortez, Shadow Witch, Lord Fowl, Hymn, Foot, Black Rainbows, Deathwhite and IAH. Add to that the debuts from Atramentus, Dirt Woman, Jointhugger, Acid Mess and Sergio Ch.’s Soldati, and you’ve got a batch of 20 records — some born of this year’s malaise, some working in spite of it — that vary in sound but are working to push their respective styles to new places one way or the other.

30. High Priestess, Casting the Circle

high priestess casting the circle

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29. Polymoon, Caterpillars of Creation

Polymoon Caterpillars of Creation

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High-powered cosmic metal from Finland pulling apart heavy psychedelia on an atomic level with an urgency that speaks of youth, progress and an ingrained need for exploration? Sign me up. A lot of bands on this list put out their first album this year. There are few for whom my hopes are as high as they are for Will Writing Service Uk and Proofreading. Our thesis editing includes checking for and correcting the basics (such as grammar, spelling, punctuation, word choice, sentence structure, etc.). In addition, your WordsRU academic editor will confirm that your thesis complies with the citation style you are using, as well as any school or department requirements for form and style. Finally, the chief editor Polymoon. If you haven’t yet heard Com service?. Welcome to TheDissertationTutors. Any Writing A Research Proposal For Masters level deadline Caterpillars of Creation, do.

28. Sons of Otis, Isolation

Sons of Otis Isolation

Released by help with writing college essays Pros And Cons Of Online Education Essay how to write a common app essay virginia woolf online essays Totem Cat Records. Reviewed Sept. 30.

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27. Lamp of the Universe, Dead Shrine

Lamp of the Universe Dead Shrine

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Organ, Mellotron, sitar, acoustic and electric guitars, various percussion elements, and of course the inimitable fragility in Get professional dissertation writing help online at BuyDissertation.net. Roman Soldier Homework Help with 50% discount! Prices start from per page. Craig Williamson‘s voice itself — the ingredients for Manuscript & esssay writign online. Our Journal & dissertation formatting support team keeps an eye on the necessary elements that you require in your paper which meets your journal's requirement. So, in case our experts from journal formatting support team find some missing elements in your work, they would send you the summary of missing elements along with the procedure to add Lamp of the Universe‘s Manuscript & Dissertation Fashion Design. Our Journal & dissertation formatting support team keeps an eye on the necessary elements that you require in your paper which meets your journal's requirement. So, in case our experts from journal formatting support team find some missing elements in your work, they would send you the summary of missing elements along with the procedure to add Dead Shrine were familiar enough for those familiar with the one-man outfit running more than two decades, but the lush acid folk created remains a standout the world over. Dead Shrine was a much-needed gift of peace and meditation.

26. BleakHeart, Dream Griever

bleakheart dream griever

Released by Sailor Records. Reviewed Nov. 18.

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

25. Pale Divine, Consequence of Time

Pale Divine Consequence of Time

Released by Cruz Del Sur Music. Reviewed June 3.

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

24. Uncle Woe, Phantomescence

uncle woe phantomescence

Released by Packard Black Productions. Reviewed Oct. 21.

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

23. REZN, Chaotic Divine

rezn chaotic divine

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

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

22. Ruff Majik, The Devil’s Cattle

ruff majik the devils cattle

Released by Mongrel Records. Reviewed Oct. 29.

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

21. Curse the Son, Excruciation

Curse The Son Excruciation

Released by Ripple Music. Reviewed June 8.

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

20. The Atomic Bitchwax, Scorpio

The Atomic Bitchwax Scorpio

Released by Tee Pee Records. Reviewed Aug. 26.

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

19. Cinder Well, No Summer

cinder well no summer

Released by Free Dirt Records. Reviewed July 21.

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

18. Pallbearer, Forgotten Days

pallbearer forgotten days

Released by Nuclear Blast Records. Reviewed Dec. 24.

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

17. Slift, Ummon

slift ummon

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

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

16. My Dying Bride, The Ghost of Orion

my dying bride the ghost of orion

Released by Nuclear Blast Records. Reviewed Feb. 25.

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

15. Causa Sui, Szabodelico

causa sui Szabodelico

Released by El Paraiso Records. Reviewed Nov. 11.

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

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

All Souls Songs for the End of the World

Self-released. Reviewed Sept. 21.

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

13. Kind, Mental Nudge

kind mental nudge

Released by Ripple Music. Reviewed Oct. 20.

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

12. Molassess, Through the Hollow

Molassess Through the Hollow

Released by Season of Mist. Featured Aug. 17.

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

11. Tony Reed, Funeral Suit

tony reed funeral suit

Released by Ripple Music. Reviewed Sept. 28.

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

10. Geezer, Groovy

Geezer Groovy

Released by Heavy Psych Sounds. Reviewed May 18.

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

9. Big Scenic Nowhere, Vision Beyond Horizon

big scenic nowhere vision beyond horizon

Released by Heavy Psych Sounds. Reviewed Jan. 29.

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

8. Elder, Omens

elder omens

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

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

7. Forming the Void, Reverie

forming the void reverie

Released by Ripple Music. Reviewed April 15.

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

6. Grayceon, MOTHERS WEAVERS VULTURES

grayceon mothers weavers vultures

Released by Translation Loss Records. Reviewed Nov. 18.

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

5. Brant Bjork, Brant Bjork

brant bjork brant bjork

Released by Heavy Psych Sounds. Reviewed April 28.

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

4. Enslaved, Utgard

enslaved utgard

Released by Nuclear Blast Records. Reviewed Sept. 29.

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

3a. Colour Haze, We Are

colour haze we are

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

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

3. All Them Witches, Nothing as the Ideal

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

Released by New West Records. Reviewed Sept. 3.

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

2. Elephant Tree, Habits

elephant tree habits

Released by Deathwish Inc.. Reviewed April 13.

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

2020 Album of the Year

1. Lowrider, Refractions

Lowrider Refractions

Released by Blues Funeral Recordings. Reviewed Jan. 24.

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

The Top 50 Albums of 2020: Honorable Mention

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

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

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

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

Debut Album of the Year

Molassess, Through the Hollow

Molassess Through the Hollow

Other notable debuts (alphabetically):

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

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

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

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

Short Release of the Year 2020

King Buffalo, Dead Star

King Buffalo Dead Star

Other notable EPs, Splits, Demos, etc.:

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

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

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

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

Live Album of the Year 2020

Yawning Man, Live at Giant Rock

yawning man live at giant rock

Other notable live releases:

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

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

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

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

Looking Ahead to 2021

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

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

Thank You

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

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

More to come.

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Review & Full Album Premiere: Ruff Majik, The Devil’s Cattle

Posted in audiObelisk, Reviews on October 29th, 2020 by JJ Koczan

ruff majik the devils cattle

[Click play above to stream Ruff Majik’s The Devil’s Cattle in full. Album is out Oct. 30 on Mongrel Records and can be ordered here: https://orcd.co/thedevilscattle]

Well then. With their first offering for new imprint Mongrel Records, The Devil’s Cattle, South African heavy rockers Ruff Majik not only complete a three-albums-in-three-years trilogy, but they do so by working at a completely new level in terms of their craft and composition. Formerly the trio of guitarist/vocalist Johni Holiday, bassist Jimmy Glass and drummer Benni Manchino, the lineup has now expanded to a five-piece to include keyboardist/backing vocalist Cowboy Van (also guitar, bass, harmonica on the LP) and guitarist/vocalist/keyboardist Evert Snyman, who also produced and mixed the band’s first two full-lengths, 2019’s Tårn (review here) and 2018’s Seasons (review here), and returns to that role here as well.

Perhaps even more crucially, Snyman and Holiday seem to share songwriting duties throughout, and with swaps back and forth in lead vocals like that of “Lead Pills and Thrills,” and shifts in instrumentation between fuzzed-addled guitar, various keys and piano, periodic samples, etc., it’s hard to judge whether The Devil’s Cattle is more brazen in the step forward it takes conceptually or in all-out speed rockers like the opener “All You Need is Speed” — which, suitably enough, begins with tires peeling out — and subsequent thrusters “Heart Like an Alligator,” “Jolly Rodger,” “Who Keeps Score” and “Trading Blows.”

All told, the 13-track offering tops 51 minutes, which is an uptick from Tårn‘s unassuming 36, but Ruff Majik legitimately sound like a band with plenty to say, and as Holiday and Snyman play off each other as creative foils, the dynamic that emerges — as well as some of the tones, rush, arrangements, and Ale and Cake Illustration cover art — recalls Queens of the Stone Age circa Songs for the Deaf, with The Devil’s Cattle benefiting in a similar fashion from the multiple-personalities behind its songwriting. Who’s Oliveri and who’s Homme and who’s Mark Lanegan in all that mix seems to depend on the track — and when they slam into the scream-topped sludge of the seven-minute “Born to be Bile” late in the proceedings (a seeming sequel to “Seasoning the Witch” from the last record), nobody’s anybody — but most important of all is that as Ruff Majik have entered this next stage of growth, they’ve accorded themselves creative freedom to coincide.

Having previously handled all writing on his own, Holiday opening the floor to give any space whatsoever for Snyman for anyone else in that regard is a huge decision in terms of how The Devil’s Cattle plays out, whether it’s early mid-tempo groovers like “Swine Tooth Grin” and “Shrug of the Year” — the dual solos in the back half of which make it a highlight — or the funkified, handclap-inclusive “Gregory,” which precedes the starts, stops, twists, shifts and rolls of the title-track. It does nothing less than to make Ruff Majik a richer, less predictable outfit, and with guests Xan Stewart and Timothy Edwards on drums, Christiaan Van Reenen on keys and Vincent Houde on vocals (for “Born to be Bile”), further personality outside the founding trio is added to the proceedings and the Holiday/Snyman chemistry, which is central here as GlassManchino and Van don’t seem to appear on the album.

ruff majik

As regards timing, it’s worth noting that’s not a choice related to pandemic concerns; The Devil’s Cattle was recorded between Sept. 2019 and Feb. 2020, so before any lockdown would’ve come into effect. And what it might portend in terms of future incarnations of the band as a whole, I don’t know, but Holiday and Snyman both handling multi-instrumentalist/vocalist duties certainly works here, with the manic “Go with the Flow”-esque key line behind the shove of centerpiece “Jolly Roger” leading into the back half of the album, backed by the solid hook, strut and run of “Who Keeps Score,” the late break in which likewise stands out in post-Homme fashion, and “Lead Pills and Thrills,” which is a high point in bringing together Snyman and Holiday in a genuine vocal arrangement. Momentum by that point in The Devil’s Cattle is well set and maintained, and “Trading Blows” rounds out a four-songs-under-four-minutes succession with a slowdown and shouts that not only pull forth some of Ruff Majik‘s underlying metal influences, but act as further setup for “Born to be Bile,” a bleak gateway to the final stage of The Devil’s Cattle.

Vocals switch back and forth between Holiday‘s higher register — there are times on the record where he reminds of Axl Rose meeting John Garcia — and what are presumably Houde‘s guest screams, given a kind of gurgling compression effect, and to go with that is a tortured lumbering of the sort that most bands simply wouldn’t dare having spent so much of their time otherwise rocking out. But it’s not necessarily out of character for Ruff Majik, and one way or the other, they’ve clearly decided that The Devil’s Cattle is not a time to hold anything back. That continues to be the case as “Born to be Bile” fulfills its final cacophony and the subdued “God Knows” begins its linear build quietly paying off in equal amounts of fuzz and emotion, and the plod resumes with “Hymn No. 5,” the closing instrumental that’s topped with nothing but samples.

Crushing in a seeming answer to “Born to be Bile,” “Hymn No. 5” is as suitable an ending for The Devil’s Cattle as anything else one might come up with, since it’s unexpected right down to its final march outward, feedback, tom runs and cymbal wash, coming apart like the very opposite of “All You Need is Speed” and seeming all the more intentional for that. It’s hard to know what The Devil’s Cattle might portend in terms of Ruff Majik‘s lineup circumstances, if they’ll keep the five-piece configuration for live performances (and that’s before you get into who-the-hell-knows-when-tours-will-happen) and move forward with Holiday and Snyman along with others in the studio, or what their next LP might bring in terms of sound and development along the lines of songwriting and arrangement. But isn’t that also what makes it so exciting?

At least part of it. Certainly the sheer energy conjured throughout The Devil’s Cattle has a role to play in that regard, but there is something extra satisfying about not knowing where Ruff Majik might go next. That plays out across this collection of songs — and, indeed, often within the songs themselves — and in the bigger-picture sphere of who they are and their aesthetic. And even as they realize the potential of their first two full-lengths in such encompassing fashion, they may yet still just be getting started. It is astonishing to think their first EP only came out five years ago.

Ruff Majik, “Lead Pills and Thrills” official video

Ruff Majik, “Who Keeps Score” official video

Ruff Majik, “All You Need is Speed” lyric video

Ruff Majik website

Ruff Majik on Thee Facebooks

Ruff Majik on Instagram

Mongrel Records website

Mongrel Records on Thee Facebooks

Mongrel Records on Instagram

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Ruff Majik Post “Lead Pills and Thrills” Video; The Devil’s Cattle out Oct. 30

Posted in Bootleg Theater on September 30th, 2020 by JJ Koczan

ruff majik

Led by piano from band-newcomer Evert Snyman, who also handles lead vocals in the track with guitarist Johni Holiday taking over for the hook, “Lead Pills and Thrills” follows behind “All You Need is Speed” and “Who Keeps Score” as the third video the South African former-trio-now-five-piece have done leading up to the Oct. 30 release of their third album, The Devil’s Cattle. The band aren’t strangers to video media by any stretch, but the cinematic nature of “Lead Pills and Thrills” only seems to underscore the new dynamic that inevitably is embodied in the record, as Snyman and Holiday share vocalist and songwriting duties and bassist/guitarist Jimmy Glass shares those roles with Cowboy Van, who also adds backing vocals, keys and harmonica to the proceedings, while Benni Manchino drums. Madness of an even richer variety than that which took place across 2019’s Tårn (review here).

Though I’ll confess I’ve got it on as I write this, I’m going to resist the temptation to start talking about The Devil’s Cattle in full as I’m hoping to set up coverage closer to the release. Still, “Lead Pills and Thrills” puts emphasis on Ruff Majik‘s progression, and that would seem to be where the emphasis belongs, those for anyone who picked up on them via Tårn or 2018’s Seasons (review here), they remain almost instantly recognizable. The clip below, rife with zombies in all their visual-metaphor glory, is on theme from the Flash-animated “Who Keeps Score,” the charm of which extended all the way down to the “Thriller” dancing happening before the final confrontation. I’ve posted that, as well as the lyric video for album-opener “All You Need is Speed” below, in case you want to get caught up on all of it. And, again, as I’m listening to the album right now, you probably do.

The PR wire’s got plenty to say about it. Find that under the video below.

And please enjoy:

Ruff Majik, “Lead Pills and Thrills” official video

DOWNLOAD / STREAM: https://orcd.co/leadpillsandthrills

Album Pre-Order / Pre-Save: https://orcd.co/thedevilscattle

“Lead Pills And Thrills” is the third single to be released from our upcoming album “The Devil’s Cattle”. It’s the first one to feature both Evert and Johni front and centre on vocal duties, and also the first time the band experimented with piano driven rock ‘n roll. Lyrically, the song deals with crippling addiction (to both lost love and alcohol).

The video is the conceptual follow up for the animated feature “Who Keeps Score”. Jimmy and Johni are both out in the wasteland, being pursued by zombies. Evert has been taken hostage by a zombie horde to be the personal piano man for their bar – and Jimmy and Johni set out to rescue him. Once there, they discover they have fallen right into a clumsily planned trap.

“Lead Pills And Thrills” (as with the previous videos and album art) is a love letter to B-grade horror and action movies, and this vision was captured perfectly by Tiger And Lilly Productions.

“When hell is full, the dead will walk the earth – turns out they like rock ‘n roll too.” – frontman, Johni Holiday

VIDEO CREDITS:

Starring: Johni Holiday, Evert Snyman and Jimmy Glass.
Also starring: Ella, Anni, Brendon, Innes, Finn, Terry, Gert, Scrone, Allas, Wilco, Henkie, Bez, Cassie, Eaton, Katja and Roelof as zombies.
Art Direction and M.U.A: Karien Goosen and Jessica Young
Video Production: Tiger and Lilly Productions
Poster design and title design: Annemarie Buchner

Special thanks to Terrence, Iggy and Casey for the use of Shamrock, and to Tiaan for the use of the worlds biggest motorcycle.

RUFF MAJIK:
Johni Holiday – guitar, vocals
Cowboy Van – guitar, bass, backing vocals, keys, harmonica
Jimmy Glass – bass, guitar
Evert Snyman – guitar, vocals, keys, percussion
Benni Manchino – drums, percussion

Ruff Majik, “Who Keeps Score” official video

Ruff Majik, “All You Need is Speed” lyric video

Ruff Majik website

Ruff Majik on Thee Facebooks

Ruff Majik on Instagram

Mongrel Records website

Mongrel Records on Thee Facebooks

Mongrel Records on Instagram

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Days of Rona: Johni Holiday of Ruff Majik

Posted in Features on May 26th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Johni Holiday Ruff Majik

Days of Rona: Johni Holiday of Ruff Majik (Lydenburg, South Africa)

How have you been you dealing with this crisis as a band?

Well, none of us have seen each other in about two months, which is a bummer. But we’ve been keeping in contact as much as possible, and planning for when things return to normal.

As an individual?

Got a bit of cabin fever at the start, but circled back around to normal after I started brewing my own liquor (which became essential after our government banned booze).

What effect has it had on your plans or creative processes?

Plan-wise, it wrecked everything -– but that’s okay, we’ll figure it out when we can. Creatively I’d say it’s done us some favours, which you might pick up on in our future releases.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

Well, it’s a really tough subject in our home country (where we are right now). We have widespread poverty and large parts of the country live in absolutely horrid conditions, so I think everyone is just trying their best to survive. The government did ban alcohol and cigarettes though, which I don’t think is reasonable, but a lot of people will disagree with me on that. All things considered though, I think we’ll pull through.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

A combination of everything really. I think everyone is being extremely supportive, and the bands are doing their absolute best to stay afloat. We just want to get out there and play again.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

Well, we haven’t quit yet. We could’ve, ‘cause things have gotten hard around here. But instead of quitting we decided to face the storm head on, release new music, new videos, all that jazz. So yeah, we’d want people to know we’re still here, and we will be for a long time to come.

http://www.ruffmajik.com
http://www.facebook.com/ruffmajik
http://www.instagram.com/ruffmajik
http://mongrelrecords.com
http://www.facebook.com/mongrelrecords
http://www.instagram.com/mongrel_records

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Ruff Majik Announce The Devil’s Cattle LP; Post “All You Need is Speed” Video

Posted in Whathaveyou on May 20th, 2020 by JJ Koczan

ruff majik

Now signed to an imprint of Just Music called Mongrel Records, South Africa’s brash heavy rockers Ruff Majik seem set to embark on a new era. Their lineup has expanded and they’ll have a new LP, The Devil’s Cattle, out later this year. As one can tell from the advance single “All You Need is Speed,” the core rawness of their foundation remains intact, so it will be interesting to hear how the full album plays out with guitarist/vocalist Johni Holliday sharing writing duties with newcomer guitarist/vocalist/keyboardist Evert Snyman.

I also can’t help but think there’s a bit of mischief at play too as the band present the title of the new single as the acronym “A.Y.N.I.S.,” which one only has to say out loud to get the gag. Well played.

Here’s word from the PR wire:

ruff majik all you need is speed

RUFF MAJIK: South Africa Sludge ‘N’ Roll Wizards Unleash “All You Need Is Speed” Video; The Devil’s Cattle To See Release Later This Year Via Mongrel Records

South Africa’s sludge ‘n’ roll wizards RUFF MAJIK have unleashed “All You Need Is Speed,” the first single from their upcoming full-length The Devil’s Cattle, set for release later this year via Mongrel Records. The track is a high octane, riff fuelled, round-house kick to the head. The video is visually captivating with unique illustrations by local artist Llewellyn Van Eeden and includes an array of occult, Norse mythology, Americana, and Africana imagery. RUFF MAJIK are pioneers in every way and are set to bring a distinct flavor to the new world.

When asked to comment on the inspiration behind the track, vocalist and guitarist Johni Holiday laughed, “Sometimes you just want to drive really fast and get wasted on the cheap stuff.”
“All You Need Is Speed” captures that feeling perfectly.

“All You Need Is Speed” is available now on all digital platforms HERE.

RUFF MAJIK was originally formed in 2012 when the band moved from Lydenburg to the realm of Pretoria. They entered the city as a three piece (Holiday with bassist/guitarist Jimmy Glass, and drummer Benni Manchino) with no real experience in the scene, but a certain drive and ambition that only gods could counter. After three years of adjusting and playing a handful of shows, the band finally released some music.

2015 saw the release of The Bear, an EP roughly inspired by the DIY ethos of black metal recording techniques. Recorded with two mics in a garage which ultimately explains its grit and distortion, The Bear earned the band some recognition. The following year RUFF MAJIK released The Fox which ultimately led to more shows, a spot within the then newly established South African doom/stoner scene, and a few small touring opportunities. 2016 was also the year of the track “Wax Wizard,” a crowd pleasure to this day.

The Swan stuck its neck out in 2017 followed by Seasons, the record that earned the band international recognition. Freak Valley Festival reached out to the band which led to a German/Austrian tour with The Devil And The Almighty Blues in early 2018. Later that year, RUFF MAJIK played Sonic Blast Moledo in Portugal. The band composed T?rn shortly after their return. Recorded in October of 2018 and released through Lay Bare Recordings (Netherlands), the album was followed by a lengthy European tour which included appearances at such illustrious festivals as Smoke Over Warsaw (Poland), Rock In Bourlon (France), Bevrijdigings and Sonic Whip (Netherlands), Desertfest (Belgium), and Keep It Low (Grrmany), as well as shared stages with the likes of Sleep, EyeHateGod, All Them Witches, and many others.

RUFF MAJIK is currently signed to Mongrel Records, an imprint of Just Music, and will be releasing a new album later this year. Recorded in 2019, the album is equal parts Johni Holiday and new member Evert Snyman.

RUFF MAJIK:
Johni Holliday – guitar, vocals
Cowboy Van – guitar, bass, backing vocals, keys, harmonica
Jimmy Glass – bass, guitar
Evert Snyman – guitar, vocals, keys, percussion
Benni Manchino – drums, percussion

http://www.ruffmajik.com
http://www.facebook.com/ruffmajik
http://www.instagram.com/ruffmajik
http://mongrelrecords.com
http://www.facebook.com/mongrelrecords
http://www.instagram.com/mongrel_records

Ruff Majik, “All You Need is Speed” lyric video

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