Days of Rona: Mike Scalzi of The Lord Weird Slough Feg

Posted in Features on May 28th, 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

slough feg mike scalzi

Days of Rona: Mike Scalzi of The Lord Weird Slough Feg (San Francisco, California)

Content written by an experienced and passionate Can Pay Someone Do My Paper How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

It has been rough because we had 5 festivals scheduled for this Spring/summer, and of course they were all cancelled. Quite a let-down, but necessary of course. However, as a band we’re actually making good use of the time. We’ve created a podcast called “Slough Feg Radio” (http://sloughfeg.com/feed/). We’re up to episode #7 I believe. Since we cannot rehearse—Adrian and I meet at our rehearsal space each week (with masks, gloves, and a long distance between us!) and record a radio pod cast— we basically dj weird/eclectic music, including some of our own songs, demos, weird outtakes, etc. that we think might be interesting for people to hear, and banter and babble back and forth about the music, the band history, funny stories of what our lives are like now etc. It’s been great because it’s been well received and we have quite a few listeners, and it gives us, and the fans a feeling that the band is very much alive and active during this ‘downtime’.

We just finished an album last year, so I’m actually not really in ‘writing mode.’ Which is annoying because obviously this would be the time to write music — but we were ready to go do a bunch of live shows, so it makes it all the more annoying that we can’t. Oh well. If this lasts long enough perhaps we’ll write some more stuff, but for now we’re pretty excited about Slough Feg Radio.

Get your personal Medical Thesis Writing writer from reliable custom essay writing service! Price starts at per page! 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?

The public response has been generally good. San Francisco (where I live) was the first US city to practice shelter in place, the local and state government did a good job of getting on the case early, and as a result there has been an extremely low rate of infection and death count here. So I’ve been pretty lucky when you look at the kind of numbers other US cities are looking at. San Francisco is a city with relatively few older people, although there is much population density. New York has faced unbelievable tragedy, obviously. But even in the dire case of NYC, the local and State Governments have done an incredible job of fighting the virus.

If we had legitimate national leadership at this time, that would help considerably. But we clearly do not, so we must let the individual states do the heavy lifting and hope they can bear the burden. I think some of them are stepping up and doing a fantastic job — and I’m lucky enough to live in a state that had a pretty solid state government.

http://gammel.heming.no/?buy-philosophy-essay-online - Opt for the service, and our experienced scholars will do your assignment excellently Dissertations, essays & academic papers of 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?

I’m not sure how the music community has responded, outside of the mainstream music media (because I see them on TV, internet, etc.). I suppose they’ve responded pretty well, and pretty positively. Many mainstream musicians are doing remote performances and writing songs about the pandemic, etc. As for lesser known musicians, I am not as sure what they are up to — the ones I know, including myself, seem to be producing whatever they can at the time— as stated above, I’m really enjoying out podcast radio show, and I’ve had a lot of good responses from fans, telling us our show relieves some of their boredom and frustration sitting around the house all day etc.

As for myself, I was pretty terrified at first I suppose—for myself, my family and friends. Fortunately for me, nobody I know has passed away from the virus. Very, very lucky. I do have some friends who contracted it though and went through hell. I have also been rather bored at times — I am not a person who can sit at home all the time. So since the beginning of this thing my schedule has been active — getting out on my bike and riding in the mountains almost every day. Discouraged? At first yes after those festival cancellations. Inspired? At times. I was super frustrated and feeling trapped a month ago. Now I have adapted a little, fell into a bit of a new schedule, and am somewhat hopeful for the future. You can only get so terrified, angry, etc., until you begin to adapt (hopefully).

If you need to will write your thesis, you are on the right track. TopWritingService.com is ready to assist you with any writing service you need. Buy 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?

The band will survive. We’ve survived for 29 years, and we ain’t stopping now!! this is the longest Slough Feg has EVER gone without practicing. So It’s a bit maddening — but we’ll survive. Everyone is in good spirits and eagerly awaiting the day we can practice and play gigs again.

My daily schedule is basically: get up way too late (at 11 or noon!!) do whatever work I have to do (I teach a class that is now online of course) pack a bag with some food, a book, a face-mask etc. and try to get out the door by 2:30 or 3:00 on my bike, ride across the Golden Gate Bridge and into the Marin Headlands. This is truly inspiring. Another great thing about San Francisco is that you get out of the city, into areas of incredible natural beauty in less than an hour on a bicycle. I stay out in the headlands where there are parks, beaches, trails etc. until about 7 or 8 at night. I see very few people there. It’s saved my life — I would be utterly insane if I could not do this and had to stay in the house all day like many others are doing. I also work one day a week at a Brewery, serving beer and food for takeout. Gotta be careful there, but I am, and I’m grateful to have the work.

What have I learned so far from Covid 19? Well, mostly that I don’t wanna get it!! Honestly I think the most important thing I’ve learned is how important it is to stay healthy and strong as you grow older. Don’t get me wrong, I’m all for the rock ‘n roll lifestyle: drinking yourself half to death and being a parched-out wretch of a human being, sleeping in a different place every night. That stuff is great fun and has its place — mostly when you’re young. But that stuff can only go so far until it stops being fun — and especially during a health crisis. Whether you’re in good shape or not can be a matter and life and death.

But maybe this whole thing will be a big wake up call for the entire human race — reminding us of what is really important. NOT wealth and status and all that nonsense we spend our lives worrying about. That stuff ain’t gonna do shit for anyone is the face of a pandemic. Your health, activity, creativity, and the people you surround yourself with — that’s what matters in a pandemic, and in life. Period.

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The Obelisk Presents: THE BEST OF 2019

Posted in Features on December 24th, 2019 by JJ Koczan

the obelisk best of 2019

[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.]

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:

The Top 50 Albums of 2019

#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 of Light
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

what should i write my geography paper on http://www.wlpet.com.hk/?service-user-essay buy a resume online dissertation plagiarism checker mac Notes iWriter: Content & Coral Reef Research Paper - Buy Articles : 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.

30. Sun Blood Stories, Haunt Yourself

sun blood stories haunt yourself

Self-released. Reviewed Sept. 6.

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.

29. Church of the Cosmic Skull, Everybody’s Going to Die

Church of the Cosmic Skull Everybodys Going to Die

Released by Septaphonic Records. Reviewed Dec. 10.

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.

28. Devil to Pay, Forever, Never or Whenever

devil to pay forever never or whenever

Released by Ripple Music. Reviewed Nov. 4.

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.

27. Howling Giant, The Space Between Worlds

howling giant the space between worlds

Released by Blues Funeral Recordings. Reviewed Oct. 11.

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.

26. Saint Vitus, Saint Vitus

saint vitus saint vitus

Released by Season of Mist. Reviewed March 19.

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?

25. Ealdor Bealu, Spirit of the Lonely Places

ealdor bealu spirit of the lonely places

Self-released. Reviewed July 10.

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.

24. Yatra, Death Ritual

yatra death ritual

Released through Grimoire Records. Discussed Nov. 13, 2018..

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.

23. Ecstatic Vision, For the Masses

ecstatic vision for the masses

Released by Heavy Psych Sounds. Reviewed Sept. 17.

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.

22. Beastwars, IV

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.

21. Eternal Black, Slow Burn Suicide

eternal black slow burn suicide

Self-released. Reviewed June 7.

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.

20. Candlemass, The Door to Doom

candlemass the door to doom

Released by Napalm Records. Reviewed Feb. 22.

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.

19. Nebula, Holy Shit

nebula holy shit

Released by Heavy Psych Sounds. Reviewed June 13.

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.

18. Valley of the Sun, Old Gods

valley of the sun old gods

Released by Fuzzorama Records. Reviewed May 21.

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.

17. Kadavar, For the Dead Travel Fast

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.

16. Mammoth Weed Wizard Bastard, Yn Ol I Annwn

mammoth weed wizard bastard yn ol i annwn

Released by New Heavy Sounds. Reviewed Feb. 7.

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.

15. Magic Circle, Departed Souls

magic circle departed souls

Released by 20 Buck Spin. Reviewed April 3.

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.

14. Spaceslug, Reign of the Orion

Spaceslug Reign of the Orion cover

Released by BSFD Records. Reviewed Nov. 22.

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.

13. Green Lung, Woodland Rites

green lung woodland rites

Released by Kozmik Artifactz. Reviewed Jan. 28.

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.

12. Lo-Pan, Subtle

lo-pan subtle

Released by Aqualamb Records. Reviewed May 9.

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.

11. Roadsaw, Tinnitus the Night

roadsaw tinnitus the night

Released by Ripple Music. Reviewed June 12.

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.

10. Worshipper, Light in the Wire

worshipper light in the wire

Released by Tee Pee Records. Reviewed April 24.

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.

9. Solace, The Brink

solace the brink

Released by Blues Funeral Recordings. Reviewed Nov. 21.

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.

8. Brume, Rabbits

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.

7. Mars Red Sky, The Task Eternal

mars red sky the task eternal

Released by Listenable Records. Reviewed Sept. 20.

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.

6. Kings Destroy, Fantasma Nera

Kings Destroy Fantasma Nera

Released by Svart Records. Reviewed March 15.

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” on its own 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.

5. Colour Haze, We Are

colour haze we are

Released by Elektrohasch Schallplatten. Reviewed Dec. 3.

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.

4. Blackwater Holylight, Veils of Winter

blackwater holylight veils of winter

Released by RidingEasy Records. Reviewed Sept. 26.

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.

3. Slomatics, Canyons

Slomatics Canyons

Released by Black Bow Records. Reviewed May 15.

Belfast, Northern Ireland, three-piece Slomatics — guitarists David Marjury 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.

2. Year of the Cobra, Ash and Dust

year of the cobra ash and dust

Released by Prophecy Productions. Reviewed Oct. 24.

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.

2019 Album of the Year

1. Monolord, No Comfort

monolord no comfort

Released by Relapse Records. Reviewed Sept. 12.

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.

The Top 50 Albums of 2019: Honorable Mention

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.

The Top 20 Debut Albums of 2019

green lung woodland rites

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

Professional Creative Writing About School Fast On-Time Delivery ? Additional Discounts ?? Business, Sales, Formal, Personal, Admission Letters Writing 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.

news - 100% non-plagiarism guarantee of exclusive essays & papers. Proofreading and proofediting aid from best specialists. put out a 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

The Top 20 Short Releases of 2019

geezer spiral fires

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

go to link UK Will Help You Out in Completing The Whole Assignment. What ever the deadline is You Can Order Your Dissertation 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.

http://meteo.geo.auth.gr/?research-paper-with-footnotes Requirements admission college essay help requirements Diversity Scholarship For Minority Students In Medicine At AUA!need help in writing an academic essay for london College Essay Requirement Admission essay on love gay marriage persuasive essayYour essay can give admission officers a sense of who you are, as well as showcasing your writing skills. 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.

Postwax

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.

Looking Ahead to 2020

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.

Thank You

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.

More to come.

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Review & Track Premiere: The Lord Weird Slough Feg, New Organon

Posted in audiObelisk, Reviews on May 24th, 2019 by JJ Koczan

the lord weird slough feg new organon

[Click play above to stream ‘Headhunter’ from The Lord Weird Slough Feg’s New Organon. Album is out June 14 on Cruz Del Sur Music.]

For nigh on 30 years, how to write a good application essay how to process Dissertation Abstract Online Keywords format of term paper general college admission essay questions The Lord Weird Slough Feg have served the greater good as classic metal’s gift to heavy rock. Or are they classic rock’s gift to heavy metal? Or metal’s gift to heavy? Plus Celtic influences? Whatever. The point is, across 10 full-lengths and a swath of other singles and splits, etc., the band have become one-of-a-kind practitioners of the metallic arts. Pearson Always Learning . Releasing the Social Science Research Imagination (SAGE letter writing company Study Skills Series) [Chris dradelsessayhelp com New Organon is the San Francisco-based outfit’s first long-player in the five years since 2014’s look at this site. american essay writing companies American essay writing companies, victorian primary homework help, eureka math homework helper grade 1Apr 14, 2015 Since academic writing is becoming one of the most prominent aspects of the educational system, the constant development of the custom-writing industry is clearly justified. Digital Resistance (review here) came out on online homework effectiveness. US-based service has hired native writers with graduate degrees, capable of completing all types of papers on any academic level. Metal Blade, and it finds them reunited with Once you use our live chat support and say Please write my assignment for me online you will not worry about Good Report Writing. Cruz del Sur Music for the first since 2009’s Ape Uprising! and 2007’s Hardworlder. It’s a solid fit, considering Slough Feg‘s traditionalist approach, and New Organon feels like a purposeful stripping down of tones and general vibe. Perhaps unsurprisingly to those familiar with Slough Feg‘s work, that suits the material well.

Across 10 tracks and a LP-prime 37 minutes, the four-piece of founding guitarist/vocalist Mike Scalzi, fellow guitarist Angelo Tringali, bassist Adrian Maestas — who takes a lead vocal on side B’s “Uncanny” — and relatively-new drummer Jeff Griffin (John Dust also plays on the album), set about renewing the faith of the denim-clad faithful while at the same time mining the lecture notes of Scalzi, a philosophy professor, for lyrical themes. From the Rousseau through Sartre, Plato through Francis Bacon, from whose work the title derives, Scalzi turns cerebral and existential query into the stuff of fist-pumping proto-thrash and heavy rock and roll. It does not seem like a coincidence that they should re-don their full moniker for the effort, having gone simply by Slough Feg since 2005’s Atavism instead of the full The Lord Weird Slough Feg, since the atmosphere in the clear but sans-frills production and the basic structure of the songs is no less directed to the band’s own roots than those of heavy metal itself. They are among the most woefully underappreciated acts in metal, too bizarre it would seem even for the most brazen of self-declared nonconformists, but all the more righteous for standing alone.

“Headhunter,” which opens, is also the longest track at just over five minutes (immediate points), and the band waste no time whatsoever in letting the listener know the order of things. Guitars intertwine in tense riffing for an early verse over tom runs and the chorus bounds through not quite paying off that tension, but driving it forward nonetheless. A post-midsection movement of starts and stops offset by NWOBHM-style lead work — not the last of it to come — leads to a more ripping-style solo and back to the verse telling tales of piles of shrunken heads and so on. It’s a rousing start to New Organon, and it leads to the brooding and likewise tense “Discourse on Equality,” on which the drums time quick stop-start thuds behind matching guitar/bass chug with a lead line sprawled over with the vocals.

slough feg

It is stomach-tightening, and when they finally let go a little bit and blowout consecutive solos in the back half of the track, it’s a palpable relief as, the go-where-they-want mood set, Slough Feg move into “The Apology,” with a creeping verse and a more standout hook, which perhaps is rivaled only by the title-track still to come as the strongest of the record. “Being and Nothingness” follows, and as every Slough Feg review must at some point include a Thin Lizzy reference, there’s mine, but even more striking is the initial thrust of the song’s intro, which emphasizes how well the band ties together thrash and classic heavy rock. New Organon is a dirtier-sounding album than anything Slough Feg have done in some time, and it’s meant to be. They’re digging in and inviting those who can get on board to do the same, but “Being and Nothingness” isn’t about accessibility. Cut short in its solo and giving way directly to the start of the title-track, it’s a moment meant to dangerously careen near the edge of oblivion, and it does that successfully without losing itself in the process, perhaps finding its completion in “New Organon,” with Scalzi donning Bacon’s perspective for the chorus, “The sum of my knowledge will conquer the earth/And the sons of my college will rise/And give birth.” Take that, scientific method of old!

The title-cut rounds out side A with more fervent chug and ripping soloing, squeezing in a last verse effectively amongst the fray, and turns over the proceedings to “Sword of Machiavelli” and an immediate shift in vibe. Slower and more fluid in its groove, it finds Scalzi‘s vocals more laid back and an almost garage-style feel to the drums and tape-worthy guitar. The shortest inclusion at 2:17, it soon gives way to the sharp, early-metal-style “Uncanny,” which brings Maestas into the vocalist role, which is a change that further builds on the signal sent by “Sword of Machiavelli” that the second half of the album represents a shift from the first. That holds true for the swaying strangeness of “Coming of Age in the Milky Way,” taking its title from Timothy Ferris’ 1988 book of the same name.

Near as I can tell, that’s as modern as the philosophy gets on New Organon, which is fair enough, and the more laid back sensibility that accompanies feels like a massive change from the tightened-fist of “Discourse on Equality” and “Headhunter,” turning back to the Thin Lizzyism on “Exegesis/Tragic Hooligan” with acoustic and electric guitars woven together effectively in the chorus, ahead of the fitting summary that is closer “The Cynic,” with one last megadose of soloing amid a roll-credits melody and something of a return to where Slough Feg came from on the first half of the record. Of course they end on a fading guitar ringout — how could they not? — but as ever with the band’s material, there’s more at play throughout New Organon than riffs and leads, and it’s in the less-tangible nature of what they do that one finds their personality. The sound of struggle in Scalzi‘s vocals. The quick turns of bass and drums. The willful way in which they set their own rules and then play at breaking them. The Lord Weird Slough Feg are unique even among classic metal loyalists. I don’t know if they’ll ever get their due for the quality of the work they’ve done over their time, but they’re clearly engaged in a broader conversation.

The Lord Weird Slough Feg website

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Cruz del Sur Music website

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The Lord Weird Slough Feg to Release New Organon in June

Posted in Whathaveyou on April 19th, 2019 by JJ Koczan

American traditional metal/heavy rock treasures The Lord Weird Slough Feg will issue their first LP in five years, New Organon, in June through Cruz Del Sur Music. As regards metallic righteousness, there are few of their caliber, and as they re-don their full moniker, having issued 2014’s Digital Resistance (review here) and several other outings before it as the truncated Slough Feb, one can’t help but wonder what that might mean in terms of the sound of the album itself. Certainly the fact that founding guitarist/vocalist Mike Scalzi is embracing his background in philosophy to greater degree than he has before is an interesting turn, though they’ve never exactly wanted for intellectual appeal. The life of the mind, plus riffs.

I’ll always remember what Bible of the Devil told me about Scalzi when I interviewed them in 2012. They had done some touring together, and because Slough Feg is a band with such character and because I’d never spoken to Scalzi, I asked what he was like. The answer I got was, “he suffers no fools gladly.” To sure, I’ve never had it in me to interview Scalzi since, because if I’ve ever been anything, it’s a fool. Especially on the phone.

Here’s PR wire info for the album. I already put in a request to host a track premiere, so I’m keeping my fingers crossed that comes together:

the lord weird slough feg new organon

THE LORD WEIRD SLOUGH FEG Returns With First Album In Five Years, ‘New Organon’

“I didn’t want to just ‘put out another album,’” begins SLOUGH FEG vocalist/guitarist Mike Scalzi. “I remember telling people that I didn’t want to do another album just to do another album, like so often happens. So, we wrote a lot of songs and only picked the best ones.”

Such was the approach for SLOUGH FEG’s long-awaited tenth studio album, New Organon, which will see the light of day via Cruz Del Sur Music on June 14 in European territories and June 21 in North America. New Organon also marks the recording debut of drummer Jeff Griffin (who split studio duties with John Dust) and joins Scalzi and longtime members Angelo Tringali (guitar) and Adrian Maestas (bass).

New Organon is another definitive statement from one of America’s most enduring and unique true metal bands, whose penchant for THIN LIZZY-inspired guitar harmonies and Scalzi’s timeless storytelling has turned albums such as 2005’s Atavism, 2007’s Hardworlder and 2010’s The Animal Spirits into proto-metal bedrocks.

Since the release of 2014’s Digital Resistance, SLOUGH FEG did three touring jaunts through Europe in addition to some shorter American runs, not to mention the release of the New Organon seven-inch, which was issued last year. Scalzi freely admits that real life has gotten in the way of SLOUGH FEG making a new LP. That, and his desire to make sure the band still sounds fresh after nine studio albums. “A lot of stuff ended up on the cutting room floor,” he says. “There were some songs we tried to work out for months but ended up dropping because they bored us. We have to be excited about new songs or there’s no point in recording them. We dropped several songs I came up with and some that the other guys came up with, too. It’s tough, but sometimes you have to be honest with yourself and the people in your band and move on when an idea is not working. So, we came up with a lot of song ideas and only kept the ones that sounded exciting for months.”

In true SLOUGH FEG tradition, there is a strong theme running throughout New Organon, which was inspired by the 1620 book published by Francis Bacon of the same name. “It presents a new version of the scientific method, as originally presented by Aristotle 2,000 years earlier,” notes Scalzi, who is also a philosophy professor at a college in California. “According to Bacon and others, the science method had remained stagnant for this long period, through the middle ages and renaissance, and needed a refresher. ‘Organon’ refers to a scientific ‘instrument’ or more literally, ‘organ.’ So, it represents a new method for scientific revolution. The songs are all basically about philosophy—from my lecture notes! It starts out talking about primitive tribal society like shamanism as the first philosophers and then proceeds though the pre-Socratics era and then Plato, Aristotle, medieval catholic theology, enlightenment and then existentialist philosophy — mostly in chronological order.”

Fans of the band’s early output when they went under the extended name of THE LORD WEIRD SLOUGH FEG will no doubt be enthused for what’s in store on New Organon. The album has a more natural, if not “rustic” feel to it, recalling the band’s halcyon Twilight Of The Idols and Down Among The Deadmen era. “Very simply, the songs are more heavy, rough and produced rawer than the last album or two,” says Scalzi. “The themes are not about technology, but about ancient philosophy and science. It’s just more metal, but in a very primitive way — but that’s sort of our specialty anyway.”

Around the release date of New Organon, SLOUGH FEG will be trekking across the United States with labelmates SANHEDRIN. “We’ll be doing ten shows on the east coast in late May/early June, right about the time when the album comes out, including New York, Boston, Baltimore and Pittsburgh,” says Scalzi. “In early August, SANHEDRIN is going to come out we’ll do another run with them up and down the west coast.”

Track Listing:
1 Headhunter
2 Discourse on Equality
3 The Apology
4 Being and Nothingness
5 New Organon
6 Sword of Machiavelli
7 Uncanny
8 Coming of Age in the Milky Way
9 Exegesis/Tragic Hooligan
10 The Cynic

SLOUGH FEG/SANHEDRIN Tour Dates:
May 30 – Baltimore, MD, Metro Gallery
May 31- Brooklyn, NY, Saint Vitus
June 1- Montreal, QC, Bar LeRitz
June 2 – Ottawa, ON, Mavericks
June 3 – Toronto, ON, Velvet Underground
June 4 – Pittsburgh, PA, Spirit
June 5 – Detroit, MI, Sanctuary
June 6 – Cleveland, OH, Now That’s Class
June 7 – Philadelphia, PA, Kung Fu Necktie
June 8 – Boston, MA, Middle East

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Slough Feg, Digital Resistance (2014)

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Slough Feg Announce The New Organon Recording; Re-Sign to Cruz del Sur

Posted in Whathaveyou on July 20th, 2017 by JJ Koczan

Maybe that’s just how long a Slough Feg record takes to absorb, but it’s kind of surprising to think it’s been three years since the perennial San Fran-based NWOBHM-via-Celtic-folk-via-classic-rock-via-you-don’t-know-what-the-hell-to-call-it-so-just-call-it-progressive outfit released Digital Resistance (review here). That album was their ninth as well as their debut release for Metal Blade Records, and along with the news that the Mike Scalzi-led troupe either will begin or have begun this month to record their 10th long-player, to be titled The New Organon, comes word that said offering will be issued via Cruz del Sur, with whom the band was previously signed for three highlight LPs between 2005 and 2009.

Too strange for the bigger imprint to know what to do with? Possible. Or possible it was just a one record deal. In any case, it was four years from 2010’s The Animal Spirits (review here), which was released by Profound Lore, to Digital Resistance, so even if The New Organon doesn’t show up until 2018, that would at least be on pace. Good food takes time, even if you don’t realize time has passed.

From the PR wire:

slough feg

SLOUGH FEG Rejoins CRUZ DEL SUR MUSIC

San Francisco true metal troubadours SLOUGH FEG have rejoined Italy’s Cruz Del Sur Music, the label behind the band’s heralded “Atavism” (2005), “Hardworlder” (2007) and “Ape Uprising!” (2009) albums.

Comments vocalist/guitarist Mike Scalzi: “We are happy to announce that we are back with Cruz Del Sur Music and will begin recording a new album in July! We believe that a smaller ’boutique’ label such as Cruz Del Sur is appropriate for our sound, fanbase and work ethic, and look forward to working with Enrico [Leccese] and company again.”

“I am extremely excited to have SLOUGH FEG back on Cruz Del Sur!” says Leccese. “It is always nice when bands you like track you down. It’s even more special when it’s someone you’ve worked with for about ten years and established a friendly relationship. It’s a recognition that we were doing something right in the past. I can’t wait to hear the new album and share it with the metal world.”

Continues Scalzi: “The new album will be called ‘The New Organon’, and the songs are somewhat of a return to the heavier side of our sound: more rustic, heavy, churning, medieval/Celtic and proggy sounding riffs, as opposed to the more ’70s rock sounds of more recent albums. But don’t worry: there will be a couple of rockers as well! We will also have some newer, experimental songwriting styles, mixing heavy rock and metal with the melodic sounds of ’50s and ’60s pop. Imagine DEL SHANNON singing for BLUE CHEER! After all, it wouldn’t be a SLOUGH FEG album without some bizarre surprises!

So, journey we more into the vaults of the Voi-vaudevillian…the Epic-cure for all Epicurean Angst and Ennui. The Celtic cacophony continues!”

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Slough Feg, Live at Muskelrock 2016

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Slough Feg Perplex the Pontiff and Confuse the Cardinal with The Animal Spirits

Posted in Reviews on November 23rd, 2010 by JJ Koczan

There isn’t much outlandish or sonically experimental in their structures or intent, but San Francisco metallers Slough Feg have always been regarded more as a critic’s band than a fan favorite. On their eighth album in their 20-year existence – a first release through Profound Lore (appropriately enough a critic’s label, literally and figuratively) — The Animal Spirits, the venerable four-piece reinforce this notion by simply being too good at what they do to be accessible. Understand, I’m not saying that Slough Feg is showing off Robert Fripp-style guitar manipulations or anything like that – their riffs have more in common with Iron Maiden, Dio and Thin Lizzy – but just that the band’s material is so full and compact that it’ll go right over the heads of most casual listeners. I’m not saying that’s a good thing or a bad thing, and it’s only my theory, but The Animal Spirits, which follows 2009’s unabashedly awesome Ape Uprising! and offers no fewer moments of demented genius from vocalist/guitarist/auteur Mike Scalzi, seems to bear out that Slough Feg are working on a different level entirely from fans and most bands alike.

For example, take “Trick the Vicar,” the opening track of The Animal Spirits and seemingly the inspiration for the album’s scowling cover. At 1:55, the song is barely an intro, and yet Scalzi and fellow lead guitarist (they’re both credited in the liner notes with lead guitar and I’d argue that’s fair given how much time the two of them spend soloing and how often the lead tracks take the place of what most bands would consider rhythm tracks) Angelo Tringali pack enough barn-burning riffage and clever angularity into the song to make it feel three minutes longer, while the alliterative and referential lyrics wink at Black Sabbath and Iron Maiden and remind those who can keep up that it’s all in good fun. The galloping “The 95 Thesis” reinforces Slough Feg’s reputation as one of the finest American producers of classic metal, and what it and the instrumental “Materia Prima” that follows epitomize is the band’s ability to balance the epic and the unforced. Where some power metal feels over-the-top and stagey (granted, in some cases that’s the appeal), Slough Feg accomplish a sound no less grand with a feel as natural as low lights in a barroom. The defiant triumph in Scalzi’s voice on “Free Market Barbarian” is no less effective for the lack of pomp surrounding.

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