The second and final Uzala album, Tales of Blood and Fire, was released in 2013 through King of the Monsters Records on CD/LP and Gypsyblood Records on tape, with a dissatisfied and up-to-no-good looking Pan by Tony Roberts on the cover who seemed like he was about to lead us all into the river. Comprised just of five tracks running 43 minutes, it was recorded by the esteemed Tad Doyle (TAD, Brothers of the Sonic Cloth, etc.) and not at all shy about the doomed intent of the Boise, Idaho-based band. “Seven Veils” and “Dark Days,” the opening salvo, cast out morose atmospheres and weighted buzz in the guitars of Darcy Nutt and Chad Remains, while Chuck Watkins — an import from Portland, Oregon, who was also in Graves at Sea at the time and has featured in enough other bands to earn the title “journeyman” — filled the drummer role with a suitably massive, slow-swinging style that only emphasized the soul at the core of their melodies.

Tales of Blood and Fire — my East Coast head always associates the title with Type O Negative‘s “Blood and Fire” from Bloody Kisses, but whether that’s a reference they were shooting for, I’ve no idea; Uzala‘s style was less outwardly goth than Peter Steele and company were working toward being some 20 years earlier, but that doesn’t mean you can’t appreciate a thing — followed behind their 2012 self-titled debut (review here), a 12″ two-songer and a quick-turnaround split with Mala Suerte (review here) that boasted the track “Burned,” which also would go on to be the centerpiece of the second LP. “Burned” is the shortest cut on Tales of Blood and Fire by a decent margin, but its roll seems to breathe life into the proceedings at just the right moment, rounding out side A with a more forward progression after the murk in which “Seven Veils” and “Dark Days” take place. It’s a righteous turn, and still consistent in tone and the overarching ambience. One recalls the band’s promo pictures at the time often featured Chad Remains giving a firm thumbs-down, and that was as efficient a summary of their perspective as one might ask, if perhaps a simplification in terms of what they had to offer in terms of the character in Nutt‘s vocals or Remains‘ solos. Tales of Blood and Fire was a grower in the genuine sense, to my mind Uzala were underrated for as long as they were around.

You can go around in circles forever with the layered verse lines of “Countess,” the penultimate track on the record, which is the first of two to top the 11-minute mark. Its slow nod and resolute crash is the stuff of backpatchy dreams, and might be the moment where Uzala most realize the balance between lush melody and raw, crusty tone that was at the heart of their approach. But every time I hit up Tales of Blood and Fire, I can’t help but go for the last cut, “Tenement of the Lost.” It’s the longest song on the album at 12:10, but it picks up from the feedback-caked ending of “Countess” with faded-in rumble and noise, and it spends nearly half its total runtime in precisely that mire. It’s nearly five and a half minutes of absolute tonal wash before the subdued central guitar figure emerges, and even then the noise holds sway for a longer on a gradual fade into a position deeper in the mix. Maybe the irony of it is that Uzala‘s last recorded statement is both their grossest onslaught of distortion and most minimalist, with Nutt‘s vocals topping that quiet guitar, no drums to speak of and no fuller-volume push coming. Almost a hidden track because how much they buried it, it’s a moment that nonetheless defines the atmosphere of the record, at least for me, in listening.

And as much as I relish in the revisit to Tales of Blood and Fire as a whole, I’ll confess my primary impression of “Tenement of the Lost” was live. I was fortunate enough to see Uzala twice during their time, and the first was Oct. 23, 2013 (review here), in Providence, Rhode Island. They closed the set with “Tenement of the Lost,” and it was late. The venue was called Dusk, and it had been hours since Mike Scheidt of YOB opened the show with a solo set. Crappy lights, cramped stage, but loud, and again, late. Late enough that as Uzala played “Tenement of the Lost,” the house lights came up in a classic wrap-it-up message from the bar to the band. Uzala kept playing. I guess Boise to Providence was enough of a trip they figured screw it, and standing in front of the trio while they played that quiet, mournful track, they could’ve kept going for as long as they wanted as far I was concerned. It was a thing of beauty, not just because the lights were up, but that feeling of a time already being passed gave the track’s emotionalism a sense of urgency that, when I listen to it now, it retains.

The second time I saw Uzala was at Roadburn 2015 (review here), and their set was likewise captivating. It would end up being released as Live at Roadburn MMXV (review here) through Burning World Records and my photos were used on the cover, which is always validating. They didn’t play “Tenement of the Lost,” but I stuck around for the entirety of their time just the same, and was all the more glad I did when they announced their disbanding early in 2017. Remains resurfaced in 2019 with the gleefully extreme Ghorot, which also features Carson Russell of Ealdor Bealu, and they finished a recording together late in Summer 2020 to be released through Transylvanian Tapes. I have no idea when, but it’ll be worth looking out for.

Maybe I’m feeling sentimental here, but whatever. It’s been eight years and this record holds up, so whatever your own association with it might be or if you don’t have one, hearing it isn’t gonna hurt any more than it’s intended to. This was a better band than people seemed to know.

As always, I hope you enjoy. Thanks for reading.

—

Kind of a rough week in the ol’ noggin, but so it goes. Yesterday I spent most of whatever time I could in bed. A bunch of writing to do, of course, but just couldn’t put my head in it, and the pace at which I’ve worked on the above this morning tells me maybe I should go put the pillow over my face again. I don’t know that I will. I could stand to shower. It’s been a couple days and I fairly well reek. Whatever.

I watched a little bit of the Roadburn Redux stuff yesterday, and I expect I’ll watch more at some point today, tomorrow, etc. They platform they’ve built is beautiful. Even just as a blog back-end, the design is amazing. Makes me want a new WordPress theme, if nothing else. 13 years later, maybe it’s time, but I figure if I hold out long enough, the look of this site will be retro and thus cool again. Much as it ever was. I don’t know.

Anyway. I’m not gonna review that or anything, because ultimately it just makes me sad, and I’m sad enough.

Next week is full. I don’t even know of what yet, but videos and reviews and such. I wanted to write more than I did this week. Exhausted. So it goes.

I don’t know.

Gimme Metal show today, 5PM Eastern. Standard or Daylight time, whichever one it is now. Daylight? I don’t know that either.

Great and safe weekend. Have fun, watch your head, hydrate, all that good stuff. Maybe I’ll go drink some water too. Yeah, alright.

FRM.

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Sad news out of Boise, Idaho, in that atmospheric doomers Uzala seem to have broken up. The announcement came via a brief Facebook post from guitarist Chad Remains that went like this:

R.I.P. UZALA
2009-2017
Our sincere thanks to everyone who supported us along the way. We love you all.

What he or the trio — which at last check was Darcy Nutt on guitar/vocals, Remains and drummer Chuck Watkins — has not said is why. Uzala had been relatively quiet since the release of their early 2016 Live at Roadburn MMXV (review here) CD/LP through Burning World Records, and it now looks like that will serve as the band’s final recorded statement.

Their two prior full-length albums, Tales of Blood and Fire and Uzala (track premiere here), were issued in 2013 and 2011, respectively. Both earned the band significant acclaim, and especially the latter found them coming into an atmospheric individualism bolstered by the melodic range in Nutt’s voice and the tonal onslaught from Remains. These elements, set to the steady foundation from Watkins’ drumming, the low rumble of then-bassist Nick Phit (see also: Graves at Sea), and a recording job by Tad Doyle, positioned Uzala for remarkable forward momentum.

They toured the US alongside Mike Scheidt of YOB in 2013 (review here) before following up with the aforementioned trip to Europe for Roadburn (review here), where they were nothing short of spellbinding. Having been fortunate enough to stand in front of the Green Room stage and see that set in its entirety (as well as take the pictures on the cover of the subsequent live outing), it seemed Uzala were living up to and through the potential their work had shown up to that point, and whatever was going to come next from them would not be something to miss.

Whether or not they’ll ultimately make some statement, and whether or not the breakup sticks — I don’t want to speculate at reasons without anything concrete to go on, so I won’t — their output stands in testament to what they had to offer, and while they appeared to be on the cusp of reaching a new aesthetic level, the accomplishments under their collective belt remain substantial enough to resonate for years to come.

You hate to see good bands go, but Uzala never operated under any terms but their own, so there it is. Respect and best wishes to them.

Uzala, Tales of Blood and Fire (2013)

Uzala on Thee Facebooks

Uzala on Bandcamp

If 135-plus releases sounds like a lot, you’re right, it is. I must be out of my god damn mind. To put it to scale though, last year, I did a feature every couple of months called the Quarterly Review that throughout the course of 2015 resulted in no fewer than 200 separate album writeups. 135 is a lot, but it’s not everything. It’s still January. It couldn’t possibly be everything.

The basic fact of the matter is there’s so much out there right now that anyone claiming to even hint at totality of coverage is either clueless or lying. I don’t come close to catching it all. I do the best I can to do as much as I can. I know you’ve heard this all before.

Over the last seven or eight months, I’ve been keeping track of albums, EPs, singles, etc., slated for 2016 release. Some of these are independent, some through labels, some names familiar, some names new. I’ve tried to mix it up as much as possible, and I reserve the right to add to the list over the next couple days anything anyone might suggest in the comments. Last year’s list turned out to be a resource I used throughout the entire time, so, fingers crossed, I’ll be doing the same this go around. Thanks in advance for your participation in making it more complete by leaving a comment.

Ordered Alphabetically by Artist

1. Alunah, TBA

The Birmingham doom-rollers seem to be on this list every year, but I have it on good authority — namely, Alunah posted about it on the social medias — that they’re writing and entering the studio with an eye toward a late-2016 release for the follow-up to their 2014’s excellent Awakening the Forest (review here), their third full-length and debut on Napalm Records. Alunah on Thee Facebooks, at Napalm Records.
 

2. Ancient Warlocks, II

I don’t even know how many pressings STB Records has been through of Ancient Warlocks‘ self-titled debut (review here), but the follow-up has been finished since September and is reportedly due sometime this Spring. Primo fuzz is expected from the dual-guitar Seattle outfit. Ancient Warlocks on Thee Facebooks, STB Records.
 

3. Asteroid, III

Since their late-2015 reunion (announced here), Swedish trio Asteroid have been added to the lineup for Desertfest in Berlin and just this past week re-signed to Fuzzorama Records — which also released their last full-length, 2010’s II (review here) — for an upcoming release they’ve appropriately-enough dubbed III. Much more to come. Asteroid on Thee Facebooks, Fuzzorama Records.
 

4. Atavismo, TBA

Not much more to go on here than the band alluding to a forthcoming LP being put together, but frankly, I was so enthralled with the Spanish group’s late-2014 debut, Desintegración (review here), that that’s enough to make me excited at the prospect of a next installment from them. Keeping my hopes up it gets here before December. Atavismo on Thee Facebooks, on Bandcamp.
 

5. Banquet, Jupiter Rose

Picked up last fall by Heavy Psych Sounds as part of a torrent of signings from the label, San Francisco’s Banquet make their debut next month with Jupiter Rose, following their 2015 single, Run to You / Mother Road, which was released by Who Can You Trust? Records and boasts soulful West Coast heavy ’10s thrust. Banquet on Thee Facebooks, Heavy Psych Sounds.
 

6. Beelzefuzz, Beelzefuzz II: The Righteous Bloom

When I starting keeping notes for this list, this album was pegged as the debut from Beelzefuzz-offshoot Righteous Bloom, but word came down in December that band had reassumed its former moniker and that Beelzefuzz II: The Righteous Bloom would be issued in the early part of 2016 via The Church Within as the follow-up their 2013 self-titled debut (review here). Whatever name the progressive doomers release it under, I can’t wait to hear it. Beelzefuzz on Thee Facebooks, The Church Within Records.
 

7. Bellringer, TBA

There hasn’t been any sort of official announcement of a debut LP from the Mark Deutrom-led Bellringer, but over the course of the last year, the Austin-based former Melvins/Clown Alley bassist has unveiled a number of singles (posted here), and if he keeps it up long enough, he’ll get to an album one way or another. As a fan of creative weirdo heavy rock, I’m looking forward. Bellringer on Thee Facebooks, on Bandcamp.
 

8. Blaak Heat Shujaa, TBA

As of this past April, L.A. desert psych rockers Blaak Heat Shujaa (aka Blaak Heat) were in pre-production for their third full-length and second for Tee Pee Records behind 2013’s expansive The Edge of an Era (review here). The album may or may not be done, but whenever it arrives, it’ll do so with extra interest due to the inclusion of Tom Davis (ex-Nebula) on bass. Blaak Heat Shujaa on Thee Facebooks, Tee Pee Records.
 

9. Black Black Black, TBA

I feel like Brooklyn post-hardcore heavy rockers Black Black Black caught a bum rap because of their name, but the band’s blend of melody and intensity was not to be ignored on account of moniker or anything else. No solid release date yet, but last I heard, Aqualamb Records, which issued the artbook version of their 2012 self-titled debut (review here) would have a sophomore album released in similar style in the first half of this year. Black Black Black on Thee Facebooks, Aqualamb Records.
 

10. Black Cobra, Imperium Simulacra

You’ll note several records on this list have a release date of Feb. 26, and it would seem only fair to put Black Cobra‘s fifth outing and first for Season of Mist, Imperium Simulacra (review here), at the head of the bunch even if it didn’t wind up there by alphabetical happenstance. Not by any means the San Francisco duo’s rawest outing, but definitely their most stylistically expansive, and with plenty of their trademark destructive gallop to boot. One you probably don’t need me to tell you that you should hear. Black Cobra on Thee Facebooks, Season of Mist.
 

11. Black Cowgirl, TBA

Last time Pennsylvania heavy rockers Black Cowgirl were heard from, they said one simple thing: “2016.” That was October. Well, it’s 2016 now, and if we’re talking new releases, an LP from them would just about be their debut. Their 2012 self-titled (discussed here) on Kozmik Artifactz paired newer songs with material from their 2010 demo (discussed here), so a straight-up album feels due. Maybe this is the year. Black Cowgirl on Thee Facebooks, on Bandcamp.
 

12. Black Rainbows, Stellar Prophecy

If this one’s fresh in mind, that’s because it was just announced last week that Rome trio Black Rainbows would release their new album, Stellar Prophecy in April on Heavy Psych Sounds. It’s a quick turnaround for them from 2015’s Hawkdope (review here), but as that album was a marked step forward in their sound, I’m even more eager to hear where they go next. Black Rainbows on Thee Facebooks, Heavy Psych Sounds.
 

13. Black Shape of Nexus, Carrier

It’s an establish Spring release date for the new Black Shape of Nexus, whose brand of sludge crosses a threshold of thoughtfulness without falling into post-metal cliche. The German outfit’s last record, 2012’s Negative Black (streamed here), was plenty punishing, and I’d expect only creative progression on Carrier, though wouldn’t dare guess at the form in will take. Black Shape of Nexus on Thee Facebooks, Exile on Mainstream.
 

14. Blood Ceremony, Lord of Misrule

Toronto’s Blood Ceremony enter into their recently-announced fourth full-length, Lord of Misrule in something of a stately position. Since 2013’s The Eldritch Dark, their influence has only spread further across North America and beyond, so the question as the new LP makes its way out via Rise Above on March 25 is how they can stand out from the crowd formed at least partly in their wake. Blood Ceremony on Thee Facebooks, Rise Above Records.
 

15. Boris with Merzbow, Gensho

So you get your Boris record, then you get your Merzbow record, then you play both at the same time, and that’s your collaborative release. The intermittent pairings from Boris with Merzbow have always been unflinchingly creative and bold in their experimentalism, and going by the teaser posted last week, Gensho will be no different when it arrives March 18 on Relapse. Expect who the hell knows what. Boris on Thee Facebooks, Merzbow website, at Relapse Records.
 

16. Borracho, TBA

In mid-2015, Washington D.C.’s Borracho took part in a Ripple Music split with Geezer called The Second Coming of Heavy – Chapter One (review here). A bolt title, but it found them continuing to refine their sound as a power trio following 2013’s sophomore LP, Oculus (review here). No solid word of something due as yet, but a recent update from the band said they’d be hitting the studio next month. Borracho on Thee Facebooks, on Bandcamp.
 

17. Brimstone Coven, Black Magic

Out this week on Metal Blade, Brimstone Coven‘s debut album follows a well-received self-titled EP compilation (track stream here) that came out last year, and should prove interesting to see how the West Virginian doomers have grown since that material was recorded in 2013, just a year after they formed. I can’t claim to have heard it yet, but it seems like one that the doom converted should be all over. Brimstone Coven on Thee Facebooks, at Metal Blade Records.
 

18. Causa Sui, Return to Sky

Danish heavy psych instrumentalists Causa Sui posted an album teaser late last week for Return to Sky, and though it only showcased two tracks, it showed their tonal warmth intact and their will to explore as vibrant as ever. To be released through their own El Paraiso Records, my only hope is they don’t get saddled with pressing delays in the Spring, because really, the sooner it gets here, the better off we’ll all be. Causa Sui on Thee Facebooks, El Paraiso Records.
 

19. La Chinga, Freewheelin’

An awaited follow-up and Small Stone debut brings Freewheelin’ (review here) from Vancouver heavy rockers La Chinga on March 20. The new album reignites the hard-driving, classic-minded methods of their 2013 self-titled (discussed here), but refines the songwriting as well to affect a more memorable impression. The beginning of a big return year for Small Stone. La Chinga on Thee Faceboks, Small Stone on Bandcamp.
 

20. Church of Misery, …And Then There Were None

Unquestionably one of the most anticipated albums of the year. And Then There Were None brings Church of Misery founder Tatsu Mikami to the US from his native Japan and finds him teamed up with members of Blood Farmers, Earthride and Repulsion in a completely revamped lineup from that which appeared on 2013’s Thy Kingdom Scum (review here). Rise Above recently announced a March 4 release. Church of Misery on Thee Facebooks, Rise Above Records.
 

21. Cities of Mars, TBA

Swedish trio Cities of Mars caught attention with the big riffs and steady swing of their debut single (review here), and announced back in October that they’d have a new EP out in March via Suicide Records. Still somewhat in their formative stages, they’ve presented a sci-fi thematic and it will be interesting to see if they stick with it or move toward something else. Cities of Mars on Thee Facebooks, Suicide Records.
 

22. Cloud Catcher, TBA

The progressive Denver newcomers are set to hit the studio in Spring to record their sophomore LP and the follow-up to 2015’s Enlightened Beyond Existence (discussed here), so it might be summer or even fall by the time it gets issued, depending on timing of the recording, what label picks them up, etc., but it’s one to keep an eye out for anyway. They’ve shown a willingness to hit the road as well, and I wouldn’t be surprised if they did so again sometime after their Spring tour in Feb./March. Cloud Catcher on Thee Facebooks, on Bandcamp.
 

23. Comacozer, Astra Planeta

When Sydney trio Comacozer signed with HeadSpin Records last July, it was announced they’d be recording in October for a debut full-length to be titled Astra Planeta that would be due this Spring on the label. That process has been delayed somewhat, but there’s still no reason to think they can’t get the record out this year. Their 2015 EP, Deloun Sessions, found them pushing more into tense, moody atmospherics, and it was a shift that suited them well. Comacozer on Thee Facebooks, HeadSpin Records.
 

24. Conan, Revengeance

Out this week on Napalm Records, the third album from UK destroyers Conan, Revengeance (review here), finds the trio revamped around founding guitarist/vocalist Jon Davis, with longtime producer Chris Fielding adding a striking, effective counterpoint on bass and vocals and drummer Rich Lewis adding to the tectonic roll on drums. Happy to report, it still sounds like Conan, only perhaps even deadlier. Conan on Thee Facebooks, at Napalm Records.
 

25. Conclave, TBA

I don’t think Massachusetts four-piece Conclave — whose members trace their pedigree back to outfits like Warhorse and Grief — are ready to make the name of their full-length debut public yet, so I’m not going to say it, but I’ve heard the album and it’s full-on death-doom punishment that should bring a satisfied grin to even the most discerning of purists. Their debut EP, Breaking Ground (review here), was grim and brutal in kind, and the album only pushes further into the dark. Conclave on Thee Facebooks, on Bandcamp.
 

26. Corrosion of Conformity, TBA

Since the North Carolinian legends first announced they were reuniting with guitarist/vocalist Pepper Keenan, the question has been whether or not a new album would surface. Last October, they signed to Nuclear Blast while on tour with Clutch and The Shrine (review here), and followed that tour with a headlining run in December. I expect we’ll hear from them a lot in 2016 as they record the first outing with this full four-piece since 2000, and that’s just fine by me. Corrosion of Conformity on Thee Facebooks, Nuclear Blast.
 

27. Cough, TBA

Richmond doomers Cough entered the studio last August to begin tracking their first full-length since 2010’s Ritual Abuse (review here). I haven’t seen any announcement as to when it will be released, but it was finished in September, and we’ll see if it winds up coming out through Relapse, which would be expected, or if part of the delay has been in finding it a new home. That’s sub-speculation, mind you. I’m figuring on release news any minute now. Will let you know how that goes.Cough on Thee Facebooks, Relapse Records.
 

28. Curse the Son, Isolator

I was very glad I got to see Connecticut’s Curse the Son this past fall (review here), both because I dig what they do and because it gave me a sneak peak at the songs that will show up on their new album, Isolator, when it surfaces in March via Snake Charmer Coalition. Expect big, tone-led vibes a la 2012’s Psychache (review here), but with some new edge thanks to the addition of bassist/backing vocalist Brendan Keefe alongside guitarist/vocalist Ron Vanacore and drummer Michael Petrucci. Curse the Son on Thee Facebooks, Snake Charmer Coalition.
 

29. Dali’s Llama, Dying in the Sun

Perpetually underrated CA desert rockers Dali’s Llama will release their new album, Dying in the Sun, early this year. I’m not precisely sure when, but sooner or later it will come out, and when it does, I have full faith it will be a stirring reminder of just how overlooked the band continues to be as they’re now well past their 20th anniversary. The upcoming full-length was mastered as of December, so look out for an update hopefully sooner than later. Dali’s Llama on Thee Facebooks, Dali’s Llama Records.
 

30. Darsombra, TBA

Drone/noise/visual two-piece Darsombra toured across the US in 2015 across 109 different cities. That is no easy feat, and I can’t even imagine how an experience like that might play into the writing from Brian Daniloski and Ann Everton on the band’s next full-length, which, when they finished the last leg of that massive and ambitious run, they said was in the works. I’d like to find out, though, as Darsombra continue to aspire to inner peace through cosmic noisemaking. Darsombra on Thee Facebooks, on Bandcamp.
 

31. Dead Feathers, Dead Feathers 10″

Expected out Feb. 19 via HeviSike Records, the self-titled debut EP from Chicago heavy psych rockers Dead Feathers has been subject to some considerable pressing delays. The band was signed last Spring initially for an Aug. 2015 release that has continued to be pushed back, presumably as a result of so much interest in pressing vinyl at the moment. Still, the tracks have been streaming for a while now, so anyone looking to quench their thirst can do so readily on their Bandcamp. Dead Feathers on Thee Facebooks, HeviSike Records.
 

32. Deadsmoke, Deadsmoke

As announced a couple weeks ago, Duna Jam veterans Deadsmoke will issue their self-titled debut via Heavy Psych Sounds on March 25. The Italian sludgers have plans to tour Europe in May as well, and should they happen to pop on a late-spring or summer festival or two along the way, I wouldn’t necessarily be surprised. Heavy Psych Sounds‘ spree continues. Deadsmoke on Thee Facebooks, Heavy Psych Sounds.
 

33. Deamon’s Child, Scherben Müssen Sein

The German title of Deamon’s Child‘s second album, Scherben Müssen Sein, translates to “shards must be.” I’m not sure what it means, but I am sure that the trio’s 2014 self-titled debut (review here) was an intriguing and offbeat brand of noise rock-plus, so I’ve no problem getting down with the idea of another outing from them, though given their breadth I wouldn’t necessarily expect the second LP to be a carbon copy of the first. Deamon’s Child on Thee Facebooks, on Bandcamp.
 

34. Deathkings, All that is Beautiful

Hailing from what I’ll assume is the darkest underbelly of Los Angeles, Deathkings issue their sophomore LP, All that is Beautiful, on March 18 as the follow-up to a 2015 split with Boston’s Rozamov (review here). I’ve got a track stream slated for this week from these guys, so I’ll save more for that, but suffice it to say that it’s surprising music so grueling can come from a place where it never rains. Deathkings on Thee Facebooks, on Bandcamp.
 

35. Devil to Pay, A Bend Through Space and Time

Indianapolis heavy rockers Devil to Pay and their label, Ripple Music, have set a tentative “Summer” release date for the band’s fifth album, A Bend Through Space and Time, but as the recently unveiled “Your Inner Lemmy” showcased, the songwriting that has long served as their chief appeal is ready to roll on the new collection. That song surfaced early as a timely tribute to Lemmy Kilmister of Motörhead, so it might be a while before more solid details come down the wire, but whenever it shows, it’ll be welcome. Devil to Pay on Thee Facebooks, Ripple Music.
 

36. Dream Death, Dissemination

A second post-reunion album is always a tricky prospect. A band wants to continue to acknowledge what they were when they started out, progress from their last outing, and get over that hump of songs that may or may not have been written years prior and onto something fresh. How will Pennsylvania’s Dream Death tackle this issue on their forthcoming Dissemination, due out March 4 via Rise Above? Probably by being heavy as hell and sounding completely fucking miserable. Just a guess. More info here. Dream Death on Thee Facebooks, Rise Above Records.
 

37. Droids Attack, Sci-Fi or Die

Another Feb. 26 release, Sci-Fi or Die, the fourth long-player from Madison, Wisconsin’s Droids Attack, has been in the works for at least the last three years. I’ll be hosting a full-stream of it sometime between now and the release (which I’m stoked for), so keep an eye out for that, but these guys have deserved more attention for a while now one way or another, and the follow-up to 2010’s Must Destroy! (review here) might be the record that gets it for them. Droids Attack on Thee Facebooks, Droids Attack website.
 

38. Drug Honkey, TBA

Various announcements have floated around over the last year and a half or more from Chicago death-churners Drug Honkey, and I’m not sure at this point whether their next release will be an EP of or a complete album or what. Their last full-length was 2012’s Ghost in the Fire (review here), which was inhumane in its onslaught, abrasive in loud or quiet parts, and swirled out an otherworldly sense of terror. So yeah, something to look forward to in a new one. Drug Honkey on Thee Facebooks, Transcending Obscurity on Bandcamp.
 

39. Duel, Fears of the Dead

In addition to boasting a cover that has immediately made my list of the year’s best, look for hard-driving heavy rock swing on Duel‘s debut LP, Fears of the Dead, due out Feb. 12 on Heavy Psych Sounds. The Austin, Texas, four-piece have newly announced European tour dates that will start March 9 and run through April 2, and I’ve little doubt their brash ways will find favor among the beer-soaked good-timers abroad. Over here, I’m just looking forward to hearing the album. Duel on Thee Facebooks, Heavy Psych Sounds.
 

40. Egypt, Endless Flight

We know it’s awesome. It was streamed here last month in its entirety. The real question with Egypt‘s sophomore outing is whether it’s a 2015 or a 2016 release. Vinyl’s still forthcoming last I heard, but the CD hit in December. What counts? For what it’s worth, I’m clearly thinking of it as a 2016 outing, but whatever format you might prefer, think of this as a note to remind you that you should check out. Because it’s awesome. We knew that. Egypt on Thee Facebooks, Egypt on Bandcamp.
 

41. Eight Bells, Landless

Out Feb. 12 on respected purveyor Battleground Records with tapes through Tartarus, Landless casts a severe and progressive glance at the scope of atmospheric heavy and offers an individualized take developed even from what the Portland, Oregon, trio brought to their 2013 debut, The Captain’s Daughter. Doom, black metal and a stately sort of psychedelia intertwine over the album’s span, and it seems all the more likely the band will turn heads with their approach on tour with Voivod (dates here) starting Feb. 6. Eight Bells on Thee Facebooks, Battleground Records.
 

42. Electric Citizen, Higher Time

Before Electric Citizen posted the new track “Evil” in a RidingEasy Records sampler last month, word on the street was the Ohio heavy ’10s rockers were looking to add a full-time keyboardist. That search doesn’t seem to have panned out, but their Higher Time is hotly anticipated anyway as the answer to their 2014 debut, Sateen (review here), which showed the Sabbath worshipers how Sabbath worship is done. Electric Citizen on Thee Facebooks, RidingEasy Records.
 

43. Elephant Tree, TBA

Full disclosure: I know way more about Elephant Tree‘s upcoming Magnetic Eye Records debut LP than I’m putting in this post. Like that it rules. And why! Stick around. Later this week, I’ll have a track premiere from the album up with a review, but the follow-up to their 2014 debut EP, Theia (review here), has already made it into my best-of-2016 consideration and my best-debuts-of-2016 consideration, and I know it’s only January, but right now it’s the one to beat in the latter category. More to come. Elephant Tree on Thee Facebooks, Magnetic Eye Records.
 

44. Elevators to the Grateful Sky, Cape Yawn

Sicilian four-piece Elevators to the Grateful Sky signed to HeviSike Records last month, and while a March 11 release date for the band’s second album, Cape Yawn seems like a quick turnaround, until I hear otherwise it’s what I’m going with. The band released their debut, Cloud Eye, on Transubstans in 2013, but should fit well with HeviSike‘s growing and diverse roster, being growing and sonically diverse themselves. Elevators to the Grateful Sky on Thee Facebooks, HeviSike Records.
 

45. Faith in Jane, TBA

I have it on zero authority that Maryland heavy rockers Faith in Jane are working on a new release — I know they jammed with Wino earlier this month, and that’s cool — but having had the chance to see the trio play last September at Vultures of Volume II (review here), I’m including them on this list anyway just because they’re one to watch out for. Deep blues vibes roughing up some of the West Coast’s ’70s fetishizing; way heavy and way swinging. Not technical, but intricate, and thoroughly grooved. Lots of potential there.Faith in Jane on Thee Facebooks, on Bandcamp.
 

46. Fatso Jetson, TBA

They’re due, right? Sure, the last couple years have brought splits with Farflung (review here), Herba Mate (review here) and Yawning Man, but we’re coming up on six years since Archaic Volumes (review here) was released in 2010, and I’m dying to hear what a new Fatso Jetson album would sound like with Mario Lalli and son Dino, who’s joined the band in the interim, going head-to-head on guitar. Whenever it’s ready, so am I. Fatso Jetson on Thee Facebooks, Fatso Jetson website.
 

47. Fever Dog, TBA

Could be later in the hear, could be in 2017 that it shows up, but the next offering from Californian desert psych rockers Fever Dog is reportedly now in the writing stage, and given the effectiveness with which 2014’s Second Wind (review here) demonstrated their willingness to mess around with structure and sound alike, their third outing should find them at an important stage in their development. Still young and significantly underrated. Fever Dog on Thee Facebooks, on Bandcamp.
 

48. The Flying Eyes, Poison the Well / 1969 7″

It’s another year for me and you. Another year with nothin’ to do. Baltimore’s The Flying Eyes are covering The Stooges‘ “1969” (baby) on their new single from H42 Records, mashing it up with “Poison the Well” from their 2011 second album, Done so Wrong (review here). Might be a stopgap on the way to whatever’s next, but should be an interesting listen anyway. The Flying Eyes on Thee Facebooks, H42 Records.
 

49. Foehammer, TBA

Virginia soul-bashers Foehammer released my favorite EP of 2015 in the form of their Grimoire/Australopithecus self-titled (review here), and I’m eager to know how they’ll expand on the outright brutality of that offering over the course of a full-length, or if they will at all. Entirely possible they’ll just kill, kill, kill the whole way through, and that’s also something I’d like to see them pull off. Either way they go, count me in. Foehammer on Thee Facebooks, Grimoire Records, Australopithecus Records.
 

50. Fog Cult, The Dying Sun

Initially self-released by the band last year, The Dying Sun is the second full-length by Bethlehem, Pennsylvania, weedian rockers Fog Cult, and it’s set for a vinyl issue via Black Farm Records sometime this year. Not much fixing what isn’t broken about large-scale nod riffs and sludge vibing, but a track like “Altars of the Night” manages to evoke early Alice in Chains-type harmonies without falling into post-Creed cliche, and that in itself is something remarkable. Streaming in full now on their Bandcamp. Fog Cult on Thee Facebooks, Black Farm Records.
 

51. Foghound, The World Unseen

Might be May before it shows up, but The World Unseen will serve as Maryland heavy rockers Foghound‘s debut on Ripple Music. It’s their second offering behind 2013’s Quick, Dirty and High (review here) and a meaner, leaner take on their sound. The turns are tighter and the groove is more aggressive, but they still sound like they’re having a complete blast. More to come this Spring. Foghound on Thee Facebooks, Ripple Music.
 

52. Fuzz Evil, TBA

They’ll be playing the Borderland Fuzz Fiesta next month, which I’m proud to say I’ll be attending, and I hope to have a better picture of the debut album by Fuzz Evil‘s arrival date by the end of that if not before. The Arizona band, which shares brothers Wayne and Joseph Rudell with Powered Wig Machine, offered up a split with Chiefs in late 2014 (streamed here) and has piecemealed a track or two since, but the full-length was sent off to mastering in November, so it seems like it’s just a matter of time before it shows up. Fuzz Evil on Thee Facebooks, Fuzz Evil on Bandcamp.
 

53. John Garcia, TBA

Among the several Garcia-related releases that 2016 might have on offer — he appears no fewer than in three separate entries on this list — the former Kyuss, Slo Born, Unida, Vista Chino, Hermano, etc., vocalist has announced intentions toward a follow-up for his 2014 Napalm Records self-titled solo debut (review here) and an acoustic record, the second of which he reportedly began recording this month. The more the merrier, quite frankly. John Garcia on Thee Facebooks, Napalm Records.
 

54. Geezer, TBA

According to The Obelisk’s deep-running investigative team — by which I mean I looked at their Thee Facebooks page — New York heavy blues trio Geezer are heading into the studio in a couple weeks to record their next full-length. In 2015, the band offered up the already-noted split with Borracho, The Second Coming of Heavy – Chapter One (review here), via Ripple Music, and they’ve set about refining their chemistry on-stage as they hone their fluid mix of languid vibes and smoked-out shuffle. Looking forward to this one. Geezer on Thee Facebooks, STB Records.
 

55. Goatess, Purgatory Under New Management

First announced here with a track stream in November, the second album from Chritus Linderson-fronted doomers Goatess, titled Purgatory Under New Management, is due out this March of Svart, which also released the Swedish outfit’s 2013 self-titled debut (review here). I haven’t heard much about it since that track stream, so it may or may not be pushed back, but whatever, I’m just glad they did a second record either way. It’ll be out when it’s out. Goatess on Thee Facebooks, Svart Records.
 

56. The Golden Grass, TBA

Bring on the good vibes. The sophomore LP from sweet ’70s-style rockers The Golden Grass will be the band’s first for Listenable Records after releasing their self-titled debut (review here) via Svart in 2014. They finished mixing earlier this month, so once it’s mastered it seems like it’s really up to the label’s schedule as to when it will be out. Spring or summer would be my guess, which suits the warmth of their harmonies just fine. The Golden Grass on Thee Facebooks, Listenable Records.
 

57. Gozu, Revival

After issuing two albums through Small Stone in 2010’s Locust Season (review here) and 2013’s The Fury of a Patient Man (review here), Boston four-piece Gozu have aligned themselves to Ripple Music for the release of Revival, their LP overall. Recorded this past fall, it is easily the band’s tightest and most aggressive outing to-date, but their soulful, melodic core remains, and it is all the more identifiable as their own for that. More to come. Gozu on Thee Facebooks, Ripple Music.
 

58. Graves at Sea, TBA

I know I’ve used the phrase “More to come” several times already in this post — like right now, in the last entry — but while the full-length debut from reactivated West Coast sludge-doomers Graves at Sea was announced as being completed and ready for release by Relapse back in October, legitimately, more info on that prospect is coming up, so keep an eye out. That’s all I’m at liberty to say at the moment. I may have already said too much. Graves at Sea on Thee Facebooks, Relapse Records.

59. Greenleaf, Rise Above the Meadow

Oh fuck yes. How good is the new Greenleaf? So good. You know how 2014’s Trails and Passes (review here) kind of reset the band and gave a more stripped-down, stage-ready take? Rise Above the Meadow takes that, pushes it forward exponentially, adds some Dozer-style edge to the mix and presents it all with ferocious energy more common to bands on their second album rather than their sixth. Out Feb. 26. Will be a top 10 record in December, no question. Greenleaf on Thee Facebooks, Napalm Records.
 

60. Heavy Temple, TBA

There have been many changes in Philadelphia trio Heavy Temple since they offered up their self-titled debut EP (review here), or at least a couple involving the lineup of the band. Either way, it’s a revamped trio that last summer discussed a second extended-player for 2016. So far as I know, record label is still to be determined so far as I know — the first EP came out on Ván, which is an immediate endorsement — but they’ve been gaining traction in Philly and they seem to have ambitions beyond that city’s limits, so I can’t imagine someone won’t get on board with it, if they haven’t yet. Heavy Temple on Thee Facebooks, on Bandcamp.
 

61. Hermano, TBA

In addition to taking part in Hellfest 2016 in Clisson, France, this June, Hermano have put out word of an impending full-length to be released at some point this year. The John Garcia-fronted outfit also featuring bassist Dandy Brown (who will also play the Borderland Fuzz Fiesta solo) last released an album in 2007, which was Into the Exam Room, a striking, mature, engaging heavy rocker that not only showcased Garcia‘s vocals in creative arrangements, but them memorable songs to top and a variety of moods in which to work. Even nine years later, that record was enough to make me look forward to a follow-up. John Garcia on Thee Facebooks, Borderland Fuzz Fiesta.
 

62. Hexvessel, When We are Death

Out this week as their first release for Century Media, Hexvessel‘s When We are Death pushes beyond the confines of psychedelic folk rock (not that there were so many, particularly as regards their prior output) and into more solidified rock territory, an edge of gothic theatricality making itself felt alongside a stylistically amorphous late-’60s cultistry that doesn’t want to be defined nearly so much as to enthrall. I’ll have a review up one of these days soon, but I feel like I’m still getting to know the record, and that may be a permanent condition. Hexvessel on Thee Facebooks, Century Media.
 

63. High Priest of Saturn, Son of Earth and Sky

Here is yet another of Feb. 26’s many releases. I haven’t heard it yet, but given the traditionalism of the Norwegian outfit’s first LP and the fact that there are only five tracks on Son of Earth and Sky, it seems fair to expect High Priest of Saturn are letting their material flesh out a bit on their sophomore offering through Svart. Announced just a couple weeks ago, it’s been in the can since 2014, so it may not be all that long before a follow-up makes an appearance as well. High Priest of Saturn on Thee Facebooks, Svart Records.
 

64. Hijo de la Tormenta, El Manto de la Especie

I dug Argentinian heavy psych trio Hijo de la Tormenta‘s 2014 self-titled debut (review here), and last year, they followed it up with a quick live two-songer called En Vivo en Buenos Aires that found their sound no less engaging on stage than on record. The upcoming El Manto de la Especie was recently announced here, and should hopefully be together and out sometime in the first half of this year. Hijo de la Tormenta on Thee Facebooks, on Bandcamp.
 

65. Hollow Leg, Crown

Floridian sludgers Hollow Leg also appeared on this list last January, but the difference is not only has their third album been recorded, but it’s been given a solid March 4 release date by Argonauta Records. So I feel a good deal more comfortable saying it’s definitely going to be out, since it exists, has artwork, tracks, a teaser and all that kind of thing. Hollow Leg on Thee Facebooks, Argonauta Records.
 

66. Holy Grove, Holy Grove

There’s been a buzz around the Pacific Northwest’s fertile ground over the last couple years for Portland, Oregon’s Holy Grove, and on March 18, the soul-rock four-piece will make their full-length debut via Heavy Psych Sounds. The only other release from them I know about to-date is 2014’s Live at Joonior’s (review here), a two-track sampler, so for a lot of listeners outside the band’s regional homebase, this will really be their first experience hearing them. Holy Grove on Thee Facebooks, Heavy Psych Sounds.
 

67. Holy Serpent, TBA

The hot tip is look for it in August on RidingEasy. Melbourne, Australia’s Holy Serpent shroom-doomed their self-titled debut (review here) last year, and they’ll be going for a fast turnaround on the follow-up in 2016. No audio, info or art or anything like that yet, but I’m told it’ll be late summer, so that’s what I’m going on. Holy Serpent on Thee Facebooks, RidingEasy Records.
 

68. Inter Arma, TBA

So far, both Inter Arma and Relapse Records have been pretty tight-lipped on specifics when it comes to the Virginian genre-melders’ second LP for the label (third overall), but we know it was recorded by Mikey Allred, that it’s done and due out this summer, and that they’re starting their touring cycle for it even before it comes out. That’s not nothing. Given the laudatory response to 2014’s single-song EP The Cavern, I’d expect this one to get considerable attention both in the pre-release hype and the post-release exclamatory stages. Inter Arma on Thee Facebooks, Relapse Records.
 

69. Joy, Ride Along!

Announced just last week, Ride Along! will be West Coast jammers Joy‘s second album out through Tee Pee, following the psych spellcasting of 2014’s Under the Spell of… (review here). A few notable guests show up, but I’m looking for the band to distinguish themselves further this time around, find their niche within the post-Earthless sphere of instrumental Cali heavy. They showed some genuine personality on the last one, hope they keep it up. Out April 29. Joy on Thee Facebooks, Tee Pee Records.
 

70. King Dead, Woe and Judgment

Brooding atmospheres, a kind of post-metallic anxiety and moments of outright physical exertion are spread across Woe and Judgment (review here), the first LP from Pennsylvanian trio King Dead. The band released the album digitally last year on the sly in order to self-finance a vinyl pressing, and after succeeding in that endeavor, they’ll have the record out officially in April or thereabouts. King Dead on Thee Facebooks, on Bandcamp.
 

71. Lightsabres, TBA

Swedish one-man outfit Lightsabres began its association with HeviSike Records with a tape release for 2014’s sophomore album Spitting Blood (review here). The genre-spanning garage psych project linked up with STB for 2015’s Beheaded, but returns to HeviSike for the follow-up fourth long-player, which is due out March 4 with preorders starting this week. Lightsabres on Thee Facebooks, HeviSike Records.
 

72. The Linus Pauling Quartet, Ampalanche

Unlike most offerings on this list, Ampalanche by Texas noise rock weirdos the Linus Pauling Quartet is actually out now. Vincebus Eruptum released the vinyl on Jan. 15. It’ll be out digitally in April as well though, and there’s a big ol’ zip file on my desktop waiting to be reviewed — several, actually but bear with me — so sometime between now and then expect to hear more about the album, which is the band’s first full-length since 2012’s Bag of Hammers (review here), despite a slew of singles between. Linus Pauling Quartet on Thee Facebooks, Vincebus Eruptum Recordings.
 

73. Lo-Pan, TBA

I don’t know what Lo-Pan‘s secret plan is, but I know they were in the studio last week, so whether it’s a new album, a single, an EP, split or whatever, they’ve got something going. It would be a relatively quick turnaround from 2014’s Colossus (review here), but they’ve since added guitarist Adrian Zambrano (also Brujas del Sol) to the lineup, so a burst of creativity isn’t necessarily out of the question. Whatever they’re up to, they’ll be on the road as ever this year, touring with Black Cobra and Bongzilla this spring. Lo-Pan on Thee Facebooks, Small Stone Records.
 

74. Lord, Awake

As of last September, chaotic Virginian five-piece Lord were mastering their Awake album with an eye on a 2016 release. I’ve been keeping a relatively close eye, and I haven’t heard anything about a meteor crashing into the final tapes (or hard drive) or anything, so I’m just going to assume and hope that it gets out this year. Lord‘s last full-length, Chief (review here), came out in 2011 and they also issued the Alive in Golgotha EP (review here) in 2014. Lord on Thee Faceboks, Heavy Hound Records.
 

75. Lord Fowl, TBA

More wishful thinking than nailed-down guarantee, perhaps, but Connecticut’s Lord Fowl are due to give an answer to their 2012 Small Stone debut and second album overall, Moon Queen (review here). Last I spoke to the band was the middle of last year and they were writing, but in October, they entered the studio to begin the recording process, so hopefully that means it’ll be out sooner than later. Lord Fowl on Thee Facebooks, Small Stone Records.
 

76. Low Flying Hawks, Kofuku

Not exactly out of nowhere — apparently out of Los Angeles, or somewhere thereabouts — but Low Flying Hawks‘ forthcoming Magnetic Eye debut, Kofuku, did seem to show up as a sudden blip on the radar. Notable for working with such Melvins-related characters as producer Toshi Kasai, drummer Dale Crover, and bassist Trevor Dunn, the band effectively blends moody post-rock atmospheres with weighted, hypnotic grunge, keeping things dark as seen in their recent video for “Ruins.” Low Flying Hawks on Thee Facebooks, Magnetic Eye Records.
 

77. Mantar, Ode to the Flame

I’ll admit to being somewhat surprised when Germany’s Mantar signed to Nuclear Blast late last year. Their sound is so raw, so unabashedly extreme in its intent on their 2014 debut, Death by Burning (review here) — which was released by Brutal Panda and Svart both — and something tells me that with a title like Ode to the Flame, their second LP won’t offer much letup in intensity, but having seen the band live (review here), they are unmistakably a force. Mantar on Thee Facebooks, Nuclear Blast Records.
 

78. Mars Red Sky, Apex III (Praise for the Burning Soul)

The third album from Bordeaux-based heavy psych rockers Mars Red Sky feels like a logical step forward from 2014’s Stranded in Arcadia (review here), but it is very definitely a step forward, in its atmospheric complexity, in the depths of its arrangements and the breadth of its tones. Songs like “Mindreader” and “Under the Hood” exemplify how much the band has progressed since their 2011 self-titled debut (review here), and though it comes preceded by the newly-released Providence EP (review here), that’s really just the beginning of the story about to be told. Mars Red Sky on Thee Facebooks, Listenable Records.
 

79. Merchant, Suzerain

Finished recording as of Jan. 11, Suzerain will serve as the debut full-length from aggro tone-bearers Merchant, who announced their coming with a 10-minute single called Seismic (review here). Their principal task will be to distinguish themselves from the pack of Melbourne’s crowded heavy underground, but I’m looking forward to finding out how they go about it and where their apparent potential will take them. Merchant on Thee Facebooks, on Bandcamp.
 

80. Merlin, Electric Children

Kansas City doom rockers Merlin gave a taste of Electric Children back in November with a track premiere for “Bad Trip” and the album itself will see release on March 11 through 4One8 Records on CD. Vinyl will be through Poisoned Mind, who also issued the band’s Christkiller LP (review here) in 2014. To say they have a flair for the dramatic might be understating it, but Merlin do well to keep a reliable core of songwriting underneath. Merlin on Thee Facebooks, 4One8 Records, Poisoned Mind Records.
 

81. Mondo Drag, The Occultation of Light

Ready for release on — you guessed it — Feb. 26, The Occultation of Light is the third full-length from psych-prog traditionalists Mondo Drag, second via RidingEasy, and it gives a more updated take on their sound than did last year’s self-titled (review here), which was recorded in 2012 with a different lineup. They seem poised to really establish themselves with this record, which was announced in November, and from where I sit, the record is strong enough to do it. Mondo Drag on Thee Facebooks, RidingEasy Records.
 

82. Mondo Generator, TBA

Nick Oliveri oversaw some lineup changes last fall for Mondo Generator, but to go with that and their European tour, it was announced that the band was working — as a trio now — on their fifth full-length for an eventual 2016 release. That’s not to say it’s showing up tomorrow, but if they were writing in the fall, it doesn’t seem outside the realm of possibility that they could have something out before the year is done. Oliveri‘s last release was the 2014 solo album, Leave Me Alone (streamed here). Mondo Generator on Thee Facebooks, Mondo Generator webstore.
 

83. Monkey3, TBA

For Swiss instrumentalists Monkey3‘s Nov. 2015 European tour, the band specifically noted they would be playing out new material as a “preview.” I don’t know if that means their next album is recorded or if they were trying stuff out on stage before they went into the studio, but, now signed to Napalm, the band will hopefully in 2016 have a follow-up out for 2013’s The 5th Sun, which was their fourth long-player. Monkey3 on Thee Facebooks, Napalm Records.
 

84. Monobrow, TBA

Last time Ottawa’s Monobrow mentioned their new LP was Nov. 24. They said, “new album slowly coming together.” So there you go. They reportedly took more time after a Dec. 5 show with Public Animal to work on it, but there’s been no solid word of a release date or even recording date as yet. It’s in progress. Their 2015 single, A Handwritten Letter from the Moon (review here), presented a less bombastic feel than, say, 2014’s Big Sky, Black Horse (review here). We’ll see which impulse ultimately wins out in their sound. Monobrow on Thee Facebooks, on Bandcamp.
 

85. Mos Generator, TBA

Among the safest bets one might place this year is that Washington’s Mos Generator will release something, but the band, led of course by workaholic guitarist/vocalist Tony Reed, premiered an acoustic take on Easy Evil” back in September that was to be included on an unplugged release through H42 Records, and their last album, Electric Mountain Majesty (review here), came out in 2014, so I wouldn’t be surprised if in addition to continuing to road-dog across the US and likely beyond, they didn’t also find time to punch out a new studio LP. Mos Generator on Thee Facebooks, Listenable Records.
 

86. Mothership, Live over Freak Valley

True, Mothership released Live over Freak Valley on Jan. 15. You got me. The reason I’ve still got them on this list, however, is because I’m wondering if the Texas heavy rockers might keep the momentum they’ve got on their side after their recent tour with C.O.C., Saviours and Brant Bjork going by jumping back in the studio and belting out a follow-up to 2014’s Mothership II (review here). Even if it’s later in the year, crazier things have happened. Mothership on Thee Facebooks, Ripple Music.
 

87. Mountain God, TBA

Early last year, bleak Brooklyn atmosludge extremists Mountain God offered their single-song EP, Forest of the Lost (review here), which followed their prior 2013 demo tape, Experimentation on the Unwilling (review here). They’ve been writing all the while, and it seems likely they’ll manage a release of some sort this year as well. Whether that’s their debut full-length, which I’m hoping creeps as much as it shrieks — or at least a little — or something else, I don’t know. Mountain God on Thee Facebooks, on Bandcamp.
 

88. Mountain Tamer, Mountain Tamer

These West Coast stoner rockers were picked up by Argonauta Records last month after their Mtn Tmr Demo (review here) offered psychedelia-via-neo-grunge thrills and classic-minded swing. More to come on this self-titled debut from the Santa Cruz trio, which will be out on Feb. 12. Mountain Tamer on Thee Facebooks, Argonauta Records.
 

89. Naxatras, II

Sold out in numerous CD and cassette editions following its release in April, the live-recorded self-titled debut from Greek heavy psych rockers Naxatras continued to earn praise throughout the rest of last year. The Thessaloniki-based trio will reportedly release a single as a 10″ before their second long-player surfaces, but both have been recorded and seem like they’re ready to roll out as soon as they’re pressed. I wouldn’t mind if they did a CD re-press of the first album either, but no word on that as of yet. Naxatras on Thee Facebooks, on Bandcamp.
 

90. Neurosis, TBA

It’s done, it’s in the can, it’s mastered, and it pains me that a new Neurosis album exists somewhere on this planet and I haven’t heard it yet. It’s a downright tragedy. The post-metal progenitors also recently announced a deluxe anniversary boxed set of all their albums to-date (not including the new one) called Strength and Vision, but as ever, their eyes are forward even as they’re celebrating their 30 years as a band. But seriously, if I don’t hear that record soon, I’m gonna cry. Actual tears. Neurosis on Thee Facebooks, Neurot Recordings.
 

91. Om, TBA

The Al Cisneros-led trio Om were recently in the studio, and while I can’t say for certain it was for a new album to follow-up 2012’s brilliant Advaitic Songs (review here), I sure as hell hope so. Om are another band who were on last year’s list too, so take this for what it is, but I think it’s safe to say Advaitic Songs is one of the strongest albums of the decade so far, and a subsequent outing feels due. Om on Thee Facebooks, Drag City.
 

92. Oranssi Pazuzu, Värähtelijä

Effective, trance-inducing psychedelic black metal isn’t easily done, and when someone does it as well as Oranssi Pazuzu on Värähtelijä or as Deathspell Omega on Fas – Ite Maledicti, in Ignem Aeternum, it tends to get noticed by a very specific subset of the heavy metal literati. No doubt the same has been and will continue to be the case for the Finnish blackened hypnotists leading up to the Feb. 26 Svart/20 Buck Spin release of Värähtelijä, their fourth album, but the hype is legitimate, and the record crosses vast expanses over the course of an encompassing 69 minutes. Sometimes it’s hard to argue with consensus. Oranssi Pazuzu on Thee Facebooks, 20 Buck Spin, Svart Records.
 

93. Pale Divine, TBA

Pennsylvanian doomers Pale Divine take their time. Nothing wrong with that, and anyway, it’s only been four years since their last album, Painted Windows Black (review here), came out a full five after 2007’s Cemetery Earth, so, you know, no rush. In 2016, however, they’re coming closer to marking 20 years since the release of their first demo, 1997’s Crimson Tears, which in many ways established the course of their sound, so if a new full-length were to happen this or next year, it would seem only appropriate. Would also be their first since adding Ron McGinnis (Admiral Browning, Bailjack, etc.) on bass several years ago now. Pale Divine on Thee Facebooks, Shadow Kingdom Records.
 

94. Picaporters, TBA

Buenos Aires-based trio Picaporters posted a new track called “War is Over” on their Bandcamp a while back that will feature on their upcoming album, which is listed on that page as being released on Aug. 1, 2016. Last I heard it was due to be ready in January, so I’m not actually sure when the follow-up to their 2013 debut, Elefantes (review here), will actually be out, but the doomers have leaked a couple songs from it at this point and it sounds right on. Best I can say is keep an eye out. Picaporters on Thee Facebooks, on Bandcamp.
 

95. Iggy Pop, Post Pop Depression

The immortal badassery of Iggy Pop notwithstanding, his Post Pop Depression probably wouldn’t be in this site’s field of vision were it not for the involvement of Queens of the Stone Age frontman Joshua Homme as guitarist and songwriting collaborator. Announced to much fanfare on The Late Show with Stephen Colbert as being released March 18, the record is intended as a sequel to the Pop/David Bowie collaboration Lust for Life, and since Homme does a pretty mean Bowie I’m sure it’ll be just fine. I thought it was hilarious that the first song released from the album was called “Gardenia.” Iggy Pop website, Queens of the Stone Age on Thee Facebooks.
 

96. Psychedelic Witchcraft, The Vision

Though they’re still in the process as well of overseeing reissues of their 2015 Black Magic Man EP (review here) — the latest is vinyl through Taxi Driver Records with a bonus Sam Gopal cover that follows a CD through Twin Earth Records — Italian cult rockers Psychedelic Witchcraft have signed to Soulseller Records for the release of their debut long-player, The Vision. It’s due in Spring and can be reasonably expected to generate much fanfare, at least if the response to the prior EP is anything to go by. Psychedelic Witchcraft on Thee Facebooks, Soulseller Records.
 

97. Radio Moscow, TBA Live Album

Freshly returned from a South American tour, Radio Moscow will head to Australia for a run next month with Kings Destroy and Holy Serpent before they get around to issuing the double-live album they recorded last month in Los Angeles. And then after that, they’ll probably go tour somewhere else, because that’s how they do. The live record arrives at a particularly choice moment, though, since the material from their fourth LP, 2014’s Magical Dirt (review here) translates particularly well to the stage. Also they’re one of the best live bands in the world. That helps too. Radio Moscow on Thee Facebooks, Alive Naturalsound.
 

98. Red Fang, TBA

I’m twofold intrigued at the recently-announced prospect of Red Fang‘s fourth full-length. Maybe even threefold. First, automatic interest on the basis of their prior work. They’ve certainly earned that. Second, though it would be a mistake to call 2013’s Whales and Leeches (review here) anything other than a marked success, it was put together in a hurry and it sounded like it, so I’m wondering if they’ll be able to stretch out this process more. Third, it’s Ross Robinson producing, and given the commercial breadth of his work across genres, I’m eager to hear what he brings to a genuine heavy rock band. Could be a whole new take on the sound, one way or another. Red Fang on Thee Facebooks, Relapse Records.
 

99. Rozamov, TBA

Now veterans of Psycho California and tours across the US, having opened for Slayer in their hometown and spread their darkened gospel along the Eastern Seaboard, don’t you think it’s time Boston’s Rozamov put out an album? I know I do. I was in the studio with them for a check-in last August, and what I heard in progress sounded utterly punishing as a follow-up to their split with Deathkings (review here), and that holds true on the five tracks of the finished product as well, but it’s high time it came out. Side note, they recently announced the arrival of new drummer Tranxidis. Pretty sure that’s more recent than the recording though. Rozamov on Thee Facebooks, Rozamov on Bandcamp.
 

100. Salem’s Pot, TBA

Bizarro riff worshipers Salem’s Pot will have a new full-length out, reportedly, in June 2016. It will be their sophomore LP behind 2014’s …Lurar ut dig på prärien (discussed here), which garnered praise for its atmosphere and riff-rolling methods alike, stoner for stoners and all that. I was fortunate enough to catch the band’s set last year at Roadburn (review here), and they offered thrills in bulk, unabashedly basking in pill-popper groove but keeping a spirit of underlying violence in the material as well, as much drug as droog. A new 7″ titled The Vampire Strikes Back is also due Feb. 15. Salem’s Pot on Thee Facebooks, RidingEasy Records.
 

101. Samavayo, TBA

Not certain of the timing on the new full-length from Samavayo, who will also play Desertfest Berlin this April, but their 2015 Setalight Records split 10″ with The Grand Astoria (review here) was much-dug around these parts and efficiently presented a diverse take from the Berlin natives, between instrumental stretch-out and more traditional hooks and structure. Their last full-length, Soul Invictus, came out in 2012 as the third in a series of three albums each year (it was their fourth overall), so maybe they needed to catch their breath. Samavayo on Thee Facebooks, Setalight Records.
 

102. Serpents of Secrecy, TBA

This West Virginia/Virginia/Maryland collaboration between former members of Sixty Watt Shaman — drummer Chuck Dukehart and bassist Rev. Jim Forrester (both also of Foghound) — and King Giant guitarist Todd Ingram did right last summer in picking Ontario-based vocalist Al “Yeti” Bones as the singer for their debut record. Maybe not so much geographically, but no question Bones (formerly of Mister Bones and The Mighty Nimbus) has all the burl their riffs could ask for, and I haven’t heard the album yet, but I’m sure they’re asking for plenty. Serpents of Secrecy on Thee Facebooks, their website.
 

103. Sinister Haze, Laid Low in the Dust of Death

After issuing their Betrayed by Time EP (review here) via Heavy Slab Records last year, Virginian doombringers Sinister Haze have signed on with STB to issue their debut full-length, Laid Low in the Dust of Death. The trio played Psycho California this May, touring out and back, and also had a two-song self-titled cassette out in 2015 that they took with them on the road, but no word as to whether any of that material will make it onto the album. In fact, no word on if the album is an album. I’m just kind of going by what STB says they have coming up in the next few months. Presumably more info will surface before the release arrives. Sinister Haze on Thee Facebooks, STB Records.
 

104. -(16)-, TBA

Blunt as ever, Los Angeles/San Diego sludge metallers -(16)- pulled no punches on Dec. 31 when they rang in the New Year by saying, “We will be releasing a new album in 2016.” They finished recording in December, and I’m relatively sure that whatever the new album is called, it’ll be released by Relapse — using the logic of, if you were the label, why wouldn’t you want to put out a new -(16)- album? — but other than that, there’s no info. They said it’s coming this year. Seems like they’d be the ones to know. -(16)- on Thee Facebooks, Relapse Records.
 

105. Skuggsjá, A Piece for Mind and Mirror

If you know, then you know. I was pleasantly surprised that the Skuggsjá collaboration between Enslaved‘s Ivar Bjørnson and Wardruna‘s Einar Selvik was doing anything at all, let alone putting out a studio release of their commissioned work for the 200th anniversary of Norway’s constitution. A Piece for Mind and Mirror was recently given a March 11 release date through Season of Mist, and while it may be a few who latch on to the combined vision of Bjørnson and Selvik, that’s going to be a lucky few indeed. Skuggsjá on Thee Facebooks, Season of Mist.
 

106. Slabdragger, Rise of the Dawncrusher

If I’m not mistaken — and to be sure, I probably am — this is the last release on this list coming out on Feb. 26. Slabdragger‘s sophomore LP, Rise of the Dawncrusher is being delivered via Holy Roar, and it comes some six years after their debut, Regress. I remember being at Desertfest in London circa 2012-2013 and hearing people talk up Slabdragger as having significant boot-to-ass potential. Listening to Rise of the Dawncrusher, it’s pretty easy to hear what might’ve given them that impression. Slabdragger on Thee Facebooks, Holy Roar Records.
 

107. Slomatics, TBA

Yes. Bring on new Slomatics. The sooner the better, the louder the better. The riff-bashing Belfast trio signed to Jon Davis of Conan‘s Black Bow Records last November, and quickly set about reissuing their first two albums, 2005’s Flooding the Weir and 2007’s Kalceanna, and that’s super, but as someone who caught on relatively late to the glories of the band’s 2014 album, Estron (review here), there’s no way I’m letting the next one get by me. Slomatics on Thee Facebooks, Black Bow Records.
 

108. Snowy Dunes, Atlantis

Stockholm heavy rockers Snowy Dunes left a resonant impression with their 2015 self-titled debut, and on Jan. 13, they unveiled a completely improvised 19-minute track called “Atlantis, Part I” digitally as a precursor to their second LP, Atlantis, which is reportedly set to release next month as they head out on tour with countrymen riffers Skraeckoedlan. The extended piece is impressive in building on the boogie rock of the debut, but how much its atmosphere will ultimately play into the record itself remains to be seen. In any case, a good band who don’t seem like they’ll be under the radar of Europe’s heavy rock scene for much longer. Snowy Dunes on Thee Facebooks, on Bandcamp.
 

109. Soon, Vol. I

I’ll readily admit my ignorance when it comes to indie rock, so I haven’t heard of The Love Language, Bitter Resolve or Grohg, which are the bands from whose lineups the ungooglable Soon draw, but after checking out a couple demos when the March 4 release of Vol. I was announced, I dug the sound anyway. Someone else might have a completely different context for hearing it, but to me it just sounds like interesting, wide-ranging excursions into sonic heft. It’s pretty rare something like that isn’t going to find welcome, as far as I’m concerned. Soon on Thee Facebooks, Temple of Torturous.
 

110. Spidergawd, III

For the last two years, Norwegian four-piece Spidergawd have been churning out high-grade heavy rock and roll with a vitality that few could come close to matching. 2015’s Spidergawd II (review here) fleshed out elements of psychedelia from their 2014 self-titled debut (review here), and with Spidergawd III, the approach continues to be refined and honed to an even finer point on hooks like “El Corason del Sol” and “The Funeral.” Reportedly out now, so go get it. Spidergawd on Thee Facebooks, Stickman Records, Crispin Glover Records.
 

111. Spirit Caravan, TBA

By now I’m sure they’ve played “Be the Night” (live video here) at more than just the Vultures of Volume II fest, which was where I saw it, but either way, the first new material from a reunited Spirit Caravan — also kind of a The Obsessed hybrid with Ed Gulli on drums — reignites the collaboration between bassist/vocalist Dave Sherman and guitarist/vocalist Scott “Wino” Weinrich, who since they got back together in 2014 have been reminding audiences of just how vital that one-two punch of tone is to what heavy rock has become over the last decade and a half, in Maryland and beyond. Hope they get a record together, hope it gets out in 2016. Spirit Caravan on Thee Facebooks, Tone Deaf Touring.
 

112. Spiritual Beggars, Sunrise to Sundown

Back to business for Swedish heavy rockers Spiritual Beggars. The Michael Amott-led troupe recently revealed that they will offer their ninth long-player, Sunrise to Sundown on March 18 (March 25 North America) through InsideOut Music. Turns out they’ll also have a 7″ out concurrently via H42 Records, and they’re set to tour in Europe beginning the week after the album comes out, hitting Desertfest Berlin and more. This will be their third album with vocalist Apollo Papathanasio, but for me, the band is even more about the blend of Amott‘s guitar and the keys of Per Wiberg (ex-Opeth, Candlemass). Doesn’t get much more classic than that. Spiritual Beggars on Thee Facebooks, InsideOut Music.
 

113. Stone Machine Electric, TBA

The recently-released jammer EP, The Amazing Terror (review here), was intended as a precursor to the next full-length from Stone Machine Electric, which is reportedly now in the process of being recorded. On Jan. 11, they also asked their audience if they’d get behind a crowdfunding campaign to support a vinyl release, so it might be a while before the album actually shows up, but given the response they received, it seems fair to expect a pressing on wax. Stone Machine Electric on Thee Facebooks, on Bandcamp.
 

114. Suma, The Order of Things

2016 makes it 15 years since Swedish aural devastators Suma got their start, and it’s been six years since their last album, Ashes, was released, but that album continues to gain a following, having been snagged for a re-release on Argonauta Records just a couple weeks ago. The Malmö four-piece were on the US West Coast this month to record The Order of Things with the venerable Billy Anderson — who also helmed Ashes and 2006’s Let the Churches Burn — and they managed to sneak in a couple shows playing with, among others, Brothers of the Sonic Cloth. Now that is a fucking bill. Suma on Thee Facebooks, Suma on Bandcamp.
 

115. Summoner, TBA

Been a quick three years since Boston neo-prog heavy riffers Summoner released their second album, Atlantian (discussed here), and pushed ahead of the already sprawling, richly arranged approach of their 2012 debut, Phoenix. Well, I saw the band last month, and I’m happy to report they haven’t fallen apart or anything in the interim. I have it on good authority — by which I mean they told me — that they’ll be recording later this year, and while that may or may not mean a 2017 release, I thought it better to serve early notice of their impending third LP. So heads up on that. Summoner on Thee Facebooks, Magnetic Eye Records.
 

116. Sunnata, Zorya

Announced just after the New Year for an April arrival, Zorya will serve as the second album from Warsaw-based Sunnata, who delivered their debut in 2014 with Climbing the Colossus. I haven’t heard it yet, but the band effectively blended heavy rock groove with progressive ideals on the first outing, and I see no reason to expect anything but a step forward along the same lines this time around. I’ll take it. Sunnata on Thee Facebooks, on Bandcamp.
 

117. Sun Voyager, TBA

Time for Sun Voyager to do this thing. The New York heavy psych rockers put out one of 2015’s best short releases in their Lazy Daze tape (review here), but after putting themselves on the hook last month in announcing their first album release, it’s time to make that a reality. Like a reality I can listen to. And groove out on. Because that would be awesome. They were also working on a split single with The Mad Doctors for King Pizza, and that’s all well and good so long as it doesn’t delay the full-length. Sun Voyager on Thee Facebooks, King Pizza Records.
 

118. Swans, TBA

Sometimes it’s too easy to be greedy. Since getting back together at the start of the decade, Swans have released three albums — 2010’s My Father Will Guide Me up a Rope to the Sky (review here), 2012’s The Seer and 2014’s To be Kind (review here) — as well as older LP reissues, limited-edition live recording, and so on. They’ve toured the world over and have a fourth post-reunion album due out this year, but even so, when Michael Gira said last summer that the next Swans would be the last Swans for the time being — he didn’t even say forever — it was hard not to feel sad. Enjoy yourself, it’s later than you think. Swans on Thee Facebooks, Young God Records.
 

119. Teacher, TBA

It took Seattle duo Teacher about 49 seconds to get me interested in hearing their forthcoming debut LP. Really less than that, because by the time the vocals kicked in on the recently-posted teaser clip, I was already on board. Whenever it comes out, the album will be released by Devil’s Child Records, which is quickly making a name for itself in the Pacific Northwest with offerings by Mos Generator/Sower and Year of the Cobra. No release date yet, but it sounds like the band are sneaking into a niche of natural, unpretentious swing, and I hope that’s exactly how the record goes. Teacher on Thee Facebooks, Devil’s Child Records.
 

120. Ulver, ATGCLVLSSCAP

Ulver‘s good-luck-making-a-word-of-this-acronym new album ATGCLVLSSCAP came out last week. Doesn’t mean it wasn’t one of 2016’s most anticipated. Really, anytime this Norwegian post-genre leviathan breathes, it’s an event, and as ATGCLVLSSCAP draws on live-recorded improvisations and explorations, but I’m not sure it’s proper to call it a live record in the is-everybody-having-a-good-time-tonight sense of the phrase. Info is plentiful and descriptive, but vague on the actual nuts and bolts of the makings, and that’s likely not an accident. Mystery is part of the fun. Is everybody having a good time tonight? Ulver on Thee Facebooks, House of Mythology Records.
 

121. Uzala, TBA

I know, I know. Uzala just put out Live at Roadburn MMXV (review here). Hell, I know that. And that vinyl is reportedly coming soon, but I’ve got the Boise trio on this list because I’m holding out for a studio follow-up to 2013’s Tales of Blood and Fire. I’m not saying it has to happen immediately, or really at all. I’m just saying I’d greatly prefer it if it did. That last album still gets fairly regular plays around here, so it only seems reasonable to call it haunting, and the live record had two new songs on it, so maybe there’s more in progress. Uzala on Thee Facebooks, on Bandcamp.
 

122. VA, Brown Acid: The Second Trip

How could RidingEasy Records not do a second Brown Acid compilation of lost heavy ’70s freakout and heavy singles, how could they not call it Brown Acid: The Second Trip, and how could they not release it on April 20? The whole thing seems so inevitable it’s astounding. Look for forgotten cuts by Sonny Hugg, Buck, Glass Sun, Ash, the awesomely-monikered Iron Knowledge and a whole host of others you can pretend you knew about beforehand. RidingEasy Records website, on Thee Facebooks.
 

123. Venomous Maximus, TBA

Like several others on this list, Texas’ Venomous Maximus will take part in the Obelisk-presented Heavy Metal Parking Lot 3 at SXSW (info here). They’re no strangers to awesome bills, having toured this past fall alongside High on Fire to support the release of their second album, Firewalker (review here), which was released on Shadow Kingdom. Looking back on my notes, I’m not sure where I heard they had a new release in the offing, but it would be awesome to see them recapture the momentum they had coming out of their first album, 2012’s raging Beg upon the Light (review here), and a quick turnaround certainly wouldn’t hurt that. Venomous Maximus on Thee Facebooks, Shadow Kingdom Records.
 

124. Vista Chino, TBA

Maybe most of all the entries posted today, this one is wishful thinking. I saw a couple months back that Vista Chino — the John Garcia and Brant Bjork post-Kyuss Lives! incarnation that wound up with Mike Dean of C.O.C. on bass in a lineup rounded out by guitarist Bruno Fevery — were confirmed for Hellfest in France this summer, and couldn’t help but think about the possibility of a follow-up to their 2013 debut, Peace (review here). Doesn’t seem likely with everyone working on their respective projects, but I’m still hoping those guys get back in the studio someday. Cool they’re playing out at all, if nothing else. Vista Chino on Thee Facebooks, Napalm Records.
 

125. Vodun, Possession

Preorders are up now for the debut album from London ritual-psych purveyors Vodun, and the Possession vinyl will also mark the first physical offering from Riff Rock Records, the new label spearheaded by Groan bassist Leigh Jones. Clearly someone who knows how to make an entry, Jones brought Vodun on board and issued a digital single last year for “Minos Army” (video here), the band tearing through influences in the metallic, heavy, Afrobeat, psychedelic and beyond. I haven’t heard the full-length yet, but it’s out March 25 and I feel safe guaranteeing that nothing else in 2016 will sound quite like it. Vodun on Thee Facebooks, Riff Rock Records.
 

126. Vokonis, TBA

After releasing an impressive demo last year called Temple (review here) under the moniker Creedsmen Arise, Swedish riffers Vokonis swapped out bassist, swapped out monikers, signed to respected purveyor Ozium Records and set a February entry to hit the studio and record their debut album. They’ve gotten a good response so far, but I think we’re only seeing the beginning of what they can do. Look for more throughout the year. Vokonis on Thee Facebooks, Ozium Records.
 

127. Wight, Love is Not Only What You Know

German trio-turned-foursome Wight make a bold shift with their upcoming third full-length, Love is Not Only What You Know, digging deep into full-on psychedelic funk on tracks like “Kelele,” “The Love for Life Leads to Reincarnation,” and the opener “Helicopter Mama,” which came out last year as a 7″ single (review here) to herald the change in direction from their jammy 2012 LP, Through the Woods into Deep Water (review here). It’s a fine line to walk, but Wight do right by dancing all over it instead. They’ve also got a limited tape, Live in Athens, due March 7, on which a good portion of the new album is played. Wight on Thee Facebooks, Wight on Bandcamp.
 

128. Witchskull, The Vast Electric Dark

Word came out last month that Canberra three-piece Witchskull had inked a deal with STB Records. The Aussie band check in with a particularly classically metallic take on heavy rock and doom, as evidenced by their 2015 debut full-length, The Vast Electric Dark, which will serve as their debut vinyl on the NJ-based imprint. Haven’t heard a solid release date for it yet, but “early 2016” was the ballpark figure given, so I guess anytime between now and summer would be a possibility. Witchskull on Thee Facebooks, STB Records.
 

129. Wo Fat, Midnight Cometh

If Wo Fat‘s Midnight Cometh is not near the top of your most wanted list, you are fucking up. Unless you’re going alphabetically with your list, as I am with mine, in which case their position at #129 makes sense. In whatever organizational method, the coming sixth long-player from these Texan fuzz forerunners deserves the utmost consideration. Their first for Ripple Music after two on Small Stone (info here), Midnight Cometh boasts all the riffy jamming and heavy grooves we’ve come to love from the three-piece, but refines the vocal approach markedly, giving the band even more of a sense of command of the material. Sure to be a highlight of the year. Expect it this summer. Wo Fat on Thee Facebooks, Ripple Music.
 

130. Worm Ouroboros, TBA

Sorry to say I missed out completely on Worm Ouroboros‘ second album, Come the Thaw, when it was released by Profound Lore in 2012. I’d dug their 2010 self-titled debut (review here), but the next one, yeah, just kind of got by me. Never too late, you might say, and I’d have to agree. Maybe I can sneak in a purchase before the band are finished in the studio for their third record, which they were set to begin recording this month. In any case, will do my best to see that the same doesn’t happen with the new LP as happened with the last one. Hence putting them on this list. What, you thought it was for you? Worm Ouroboros on Thee Facebooks, Profound Lore Records.
 

131. The Wounded Kings, Visions in Bone

Always fascinating, always changing, UK progressive doomers The Wounded Kings have managed to deliver high-quality material seemingly no matter who is in the lineup. For the forthcoming Visions in Bone, founding guitarist Steve Mills reunites with former/founding vocalist George Birch, who hasn’t been in the band since their 2010 second album, The Shadow over Atlantis (review here). Haven’t seen an official release date yet, but they’re touring in March to support the record, so one might reason a Spring arrival. Not saying I’ve heard it, but the record kills. The Wounded Kings on Thee Facebooks, Candlelight Records.
 

132. Wretch, TBA

By the last update, The Gates of Slumber offshoot Wretch were starting to record their debut album in December. I don’t know whether that was a long-term process or a couple days in and out of the studio, but I’m betting that at some point in 2016 we’ll find out. Having had the opportunity to see the Indianapolis trio last fall at Vultures of Volume II (review here), I’m glad to report that the ultra-downer vibes that pervaded The Gates of Slumber’s final album, 2011’s The Wretch (review here), have found a new home and that frontman Karl Simon seemed as soulfully, Sabbathly miserable as ever. Wretch on Thee Facebooks.
 

133. Yawning Man, Live at Maximum Fest

The last couple years of these lists have featured Yawning Man, more specifically the perpetually-in-the-making next studio offering, Gravity is Good for You, but as that may or may not get out this year, it seemed fair to include them for the Go Down Records live outing, Live at Maximum Fest anyway. Put up for preorder in Nov., it was recorded back in 2013 and features the founding lineup of guitarist Gary Arce, bassist Mario Lalli and drummer Alfredo Hernandez; an allstar roster of desert rockers if ever there was one. Yawning Man on Thee Facebooks, Go Down Records.
 

134. Year of the Cobra, TBA

Somehow, I think it probably won’t be out until later in the year, but if you caught onto Seattle duo Year of the Cobra‘s 2015 EP, The Black Sun (review here) when it was released by Devil’s Child or DHU Records, then you’re probably already hip to the fact that the follow-up LP will be released by STB Records and is set to be recorded by a certain legendary West Coast producer of heavy who used to be based in the Bay Area but has since set up shop in Portland, Oregon. Not naming names or anything, but as you already know, it should rule. Year of the Cobra on Thee Facebooks, STB Records.
 

135. Young Hunter, TBA

I have been dying to hear the next full-length from Portland-by-way-of-Arizona mood rockers Young Hunter since long before I hosted the premiere of the track “Nothing Shakes the Void” (posted here) back in Oct., and I’m going to continue to be dying to hear it until I actually do, so there. Very, very much looking forward to it, hoping the stars align and whatever else needs to happen happens so it can get out in the early part of the year. We’ll see how it pans out, but last I heard they beat their crowdfunding goal to press it, so something should show up from that. Not soon enough, in any case. Young Hunter on Thee Facebooks, on Bandcamp.
 

136. Zaum, TBA

The mystical, Eastern-influenced doom trafficked longform by Canadian outfit Zaum has offered immersive vibes across the band’s debut LP, 2014’s Oracles (review here), and their 2015 split with Shooting Guns (review here) and that’s enough to make me look forward to their second album without reservations. The New Brunswick duo started out with a firm idea of what they wanted their sound to do, and I’m hoping they continue to follow that vision where it takes them on the next offering. Summer release expected. Zaum on Thee Facebooks, I Hate Records.
 

137. Zun, Burial Sunrise

First made public three years ago via the track “Come Through the Water” (posted here), which will also appear on the album, Zun began as a collaboration between guitarist Gary Arce of Yawning Man and vocalist Sera Timms of Ides of Gemini, the album Burial Sunrise also brings in John Garcia as a lead vocal contributor, Mario Lalli, Harper Hug and a host of others (detailed here) for an atmosphere of subdued desert rock that’s unmatched in recent memory, in the desert or out of it. I mean that. This one is essential. Out March 25. Zun on Thee Facebooks, Small Stone Records.

—

What’s that you say, 137 releases isn’t enough? You want more? Okay.

Well, I’m pretty sure I just put up news about a new album from Iron Man vocalist Dee Calhoun due in Spring. That’s one. And fucking King Buffalo. Their record will be out not at all soon enough.

And while you’re hawkishly keeping an eye out for the stuff listed above, why not also watch for word from Bongzilla, whose reunion is now well underway, as well as The Body, who have a new collaborative release with Full of Hell coming out, Ice Dragon, who spent the better part of last year curiously silent, and All Them Witches, who probably won’t have a new LP out but are always putting together singles, jams and so on for those aching for a digital fix?

There is a “slim but real” chance of a new Clamfight record in the fall. I’ve heard murmurings indicating Elder are working on a follow-up to 2015’s glorious Lore, and since Baby Woodrose are playing Freak Valley, is it possible they could blow our minds with a new album as well? Conny Ochs has a new one on Exile on Mainstream, Mount Desert could easily follow-up their 2015 two-songer that made such a splash, and EYE — oh EYE! — I’ve been waiting for their new one since last year, so hopes are high it’s out soon. And I didn’t include them because the album already came out in Europe, but The Shrine make their Century Media debut with Rare Breed this week in North America.

Other names to watch for in no particular order or likelihood: Argus, Serpent Throne, Them Bulls, War Drum, Black Lung, Worshipper, The Exploding Eyes Orchestra, 3rd Eye Experience, Switchblade Jesus, Seedy Jeezus, Horsehunter, Bright Curse, It’s Not Night: It’s Space, Black Moon Circle, Bison Machine, Fogg, Electric Moon, Arc of Ascent, Beastwars, Thera Roya, Svartanatt (late Spring), Red Wizard (on STB), and Ripple Music‘s second chapter of The Second Coming of Heavy split series with Supervoid and Red Desert.

Still not enough? Check back soon. Just in the time I was putting this list together, I got emails about new releases from Nicklas Sørensen of Papir, Mr. Bison, Instant Boner, Duckhunters, Lord Summerisle and Sonic Mass — and others. Point is there’s always more to come.

What’d I miss? Let me know in the comments.

Thanks for reading.

If you turn the volume way up at the end of “Seven Veils,” after Uzala guitarist Chad Remains announces they’re going to play a new song, you can hear some dork in the crowd ask, “What’s it called?” I’m that dork, and in the interest of full disclosure (and a bit of bragging), I also took the photos that appear on the cover of the Boise, Idaho, trio’s Live at Roadburn MMXV document of that set at the 013 venue, the first night of this year’s Roadburn fest in Tilburg, the Netherlands (review here). I said at the time and have noted since that the performance by Uzala — Remains, bassist/vocalist Darcy Nutt and drummer Chuck Watkins — was something special, and while I’d hardly consider myself impartial in doing so, I’ll say the same for the six-track/50-minute live album (digital out now, vinyl early 2016, both through Burning World Records) that captures its feedback-drenched ethereal plod, as gorgeous as it is grueling and most effective when it’s both at once.

Across the span, Uzala dole out churning riffs and slow-crawling malevolence, as Nutt recounts various medieval terrors, her voice cutting through the tonal morass of her bass and Remains‘ guitar, all poise and zero posturing, the overarching lurch of “Countess” from 2013’s Tales of Blood and Fire setting the bar high as the set-opener for what’s to follow. In their momentum, in their engagement with the crowd and in the dark red sense of psychedelia they brought to their material even on the stage, how raw it both was and wasn’t, Uzala delivered one of that weekend’s most memorable sets. Not everyone who listens to Live at Roadburn MMXV will have that associative framework — i.e. they won’t all have been there — but I think the set stands up even if you didn’t happen to be in front of the Green Room stage letting it punch you in the face.

Tales of Blood and Fire is, reasonably, the focal point of the set. Uzala‘s second LP behind 2012’s self-titled (track premiere here), a 12″ single and a 2012 split with Mala Suerte (streamed here), it was a noteworthy step forward from the first album for the atmosphere it was able to cast — ritualized without a dogmatic adherence to genre. In addition to “Countess,” they include “Seven Veils” and “Dark Days” from the record. Those two appear in succession as the opener and second cut on Tales, but are spread out on Live at Roadburn MMXV, and the longer “Countess” makes a nodding launch to the set to lead into the commanding lumber of “Seven Veils,” Remains setting up the song’s chorus beforehand by responding to an “I love your wife!” shout from the crowd (not me) with, “I love your wife. And your girlfriend,” before calling for the head of John the Baptist and clicking into the feedback from whence the song starts.

Ultimately one of two new songs included, “The Gallows” rounds out side A of the live vinyl with a more uptempo, swinging take. It’s the shortest piece on Live at Roadburn MMXV — the track runs 5:30, and the song itself is shorter — but lacks nothing for expansiveness, Nutt echoing out a chorus of “ohhs” before a noisy guitar solo kept in fluid motion by Watkins‘ drumming. Just before the halfway point, “The Gallows” transitions into a particularly doomed march, returning to the verse progression before finishing in a swell of amp noise. The room responds vehemently, and reasonably so. “This is a song about being burned at the fucking stake,” Remains says just before they hit into “Dark Days,” adding, “Don’t burn your steak.”

Though somewhat shorter than it is in its album incarnation, the Vitus-esque “Dark Days” is a compelling argument for Tales of Blood and Fire in itself and Uzala‘s approach overall, an opportunity for vocal showcasing that Nutt absolutely nails on Live at Roadburn MMXV and an ambient take on doom that’s hypnotic without being redundant, which is a finer line to walk than the stomp in the song itself might lead the listener to believe. The second new song, “Shores,” takes hold directly from “Dark Days” and opens with a sparse and murky guitar line gradually built up over the first three minutes or so until it seems like Watkins can’t take it anymore and loses it on his toms, propelling the energy of the track forward.

Obviously that’s scripted into the song — I don’t actually think the drummer lost his patience — but it’s an effective turn and all the more because the transition back to the initial, slower pace is pulled off without a hitch. “Shores” builds again its second half toward a climactic finish that in many other contexts would be straight-up psychedelic rock, but here never seems to lose its bleak intent. More feedback shifts into “Death Masque,” from the self-titled, which provides an especially chaotic closeout to the set, mounting an initial tension in the drums before the first verse and never quite letting that slip as it makes its way, noisily, but melodically, through an oppressive landscape of nodding doom. Right around the eight-minute mark, they crash out a couple times and commence quickly tearing the song apart with feedback, noise and drum fills, and that’s how Live at Roadburn MMXV caps, some final words from Remains and calls for more manipulated to give a sense of the room being transformed by what it just witnessed.

Again, I’ll make no claim toward objectivity when it comes to listening to Live at Roadburn MMXV, but whether it’s as a complement to Tales of Blood and Fire or a precursor to their yet-unannounced next release with the new songs, their Roadburn set is a beast to behold, and if having been there affords me any authority at all on the subject, let it be to say that the live album accurately reflects how it went down on stage. They actually were this crisp and this on-point throughout their time in the Green Room, and at a fest where the impulse to be pulled in (at least) five directions at once, it was the kind of thing you couldn’t help but stand and watch front to back. I’m glad I did, and I’m glad I have Uzala‘s Live at Roadburn MMXV to remember it by.

Uzala, Live at Roadburn MMXV (2015)

Uzala on Thee Facebooks

Uzala on Bandcamp

Burning World Records/Roadburn Records

Burning World Records on Bandcamp

Roadburn Festival

Some good stuff here, but that’s pretty much like walking outside and noting all the oxygen in the air. Roadburn 2015’s newest batch of audio streams continues the thread from last time around in including one of the most talked-about performances at the festival in Tilburg, the Netherlands, this past April — namely Bell Witch. Many American bands head over there and make a special impression on the largely European crowd, but Bell Witch, the Seattle duo who were traveling abroad to herald the arrival of their 2015 sophomore outing, Four Phantoms (review here), on Profound Lore, seemed to earn extra acclaim from those who caught their performance. I wasn’t lucky enough to be one of them, but the response was universally positive.

Likewise the impact made by Monolord, who also feature here, but for my money, one of the highlights of the entire weekend was watching Uzala slay the Green Room. The ethereal doom trio who trace their roots to Boise, Idaho, were a surprise even though I’d seen them before, to the point that I did something I don’t often do at Roadburn, and that’s stay put for the entire set. Massive sound. Killer. Argus (pictured above) were a fist-pumping launch for the Afterburner on Sunday after the fest proper came to a close, and their classic metallurgy is no less welcome now as I pay it a revisit with the live stream.

Hope you enjoy the whole bunch:

Anthroprophh – Live at Roadburn 2015

Argus – Live at Roadburn 2015

Bell Witch – Live at Roadburn 2015

Monolord – Live at Roadburn 2015

Oozing Wound – Live at Roadburn 2015

Svartidauði – Live at Roadburn 2015

The Osiris Club – Live at Roadburn 2015

Uzala – Live at Roadburn 2015

Special thanks to Walter as always for letting me host the streams. To read all of this year’s Roadburn coverage, click here. For the first and second batches of streams, click here and then click here.

Roadburn’s website

Marcel Van De Vondervoort on Thee Facebooks

04.09.15 — 23.37 — Thurs. Night — Hotel

Some good Roadburn‘ll cure what ails you. Especially if what ails you — it’s what ails all of us, really — is the fact that the rest of your life isn’t Roadburn. Today was my busiest day, and it felt like it. A lot of back and forth. My dogs, such as they are, are barking. It was an early start and a late-enough finish, though it’s worth noting that the finish could’ve been even later. One has to find balance in these things. It’s a four-day fest. This was day one.

I sat on the backside of the photo-pit barrier before Sólstafir went on. They were opening the fest at 15.00, the same time Bell Witch were taking the stage at Het Patronaat — Roadburn means hard choices, always. I sat there, early, alone, tilted my head back and closed my eyes, took a breath in through my nose and let it out through my mouth. My last quiet moment, you see. I let it go, and a short time later, the Icelandic outfit took the stage, performing a live soundtrack to the 1984 film, also Icelandic, Hrafninn Flýgur (translated: When the Raven Flies). It would be my first time seeing them perform, and my first time seeing the movie, so I was probably at a significant disadvantage to some in the crowd, but essentially I was glad to be seeing the band at all, and knowing they’ve got a regular set scheduled for tomorrow, I went in with a pretty open mind. Whatever they were going to do, I was happy to be watching Sólstafir play. Not the most impartial of attitudes, but I dig the band.

Interestingly, a lot of what they did to accompany the movie, was rework their material as instrumental or atmospheric rock. Parts from last year’s Ótta (review here), the back end of the title-track — a landmark for the album if there ever was one — was distinct as the film went on, subtitles in English at the bottom of the big screen behind the band, who were spread out in a manner almost orchestral on the Main Stage. Maybe not surprising, but their sound fit pretty well with images of revenge-seeking Viking-types on horseback, distant mountains, stone weapons and the like. I’m still not entirely sure what was going on, but even to catch Sólstafir playing parts of their songs, I was glad to see it, and it made me look forward to their regular set. They took a bow when they were done, after the credits had rolled, and it seemed like they earned it. Over in the Green Room — the middle-size space, smaller than the 013‘s Main Stage or Het Patronaat, bigger than 013‘s Stage01 or the back of Cul de Sac where the stage is (got all that?) — Salem’s Pot were setting up for a buffet of riffs soon to unfold.

Swing, swing, swing. Swing like madmen, and they dressed the part too, all in masks, one in a dress and fishnets, like a troop of droogs gone stoner cult. The Swedish five-piece released their …Lurar ut dig på prärien debut LP (discussed here) last year on RidingEasy Records, and they had a new song for the Roadburn crowd as well as stuff from the album, which was more than solid in that heavy but kind of familiar way, but took on a different character live. Even apart from the theatrics, I guess so much on …Lurar ut dig på prärien was down to the rhythm, but on stage, the songs had different off-kilter melodies in the guitars, the dual vocals worked more dynamically, and the synth and effects swirl was a major factor in how it all came together. “Creep Purple” and “Nothing Hill” were rolling-groove highlights, and the shorter “Ego Trip,” released as the A-side of a 7″ last fall, was right on as well. I hate to think I had dismissed them, but in presence and performance, Salem’s Pot exceeded my expectations and not only had swing, swing, swing working in their favor, but a more complex approach overall than I saw coming.

A pleasant surprise, then, even though I kind of knew what they’d get up to. In the next room, the Main Stage was being set up for Floor. Now, I’ve seen Floor a few times at this point, and even since they put out their long-awaited studio comebacker Oblation (review here) about a year ago, and my general rule for Roadburn is that the bands I’ve already seen get low priority. Lower, anyway. The difference with Floor was that I’d been hearing all along about how excited people were to see them. I’m not 100 percent, but I think that until this tour, the trio of guitarist Anthony Vialon, drummer Henry Wilson (also of House of Lightning) and guitarist/vocalist Steve Brooks (also of Torche) had yet to play Europe since getting back together half a decade ago. That would make them, if nothing else, due.

The bomb-toners lived up to what one might’ve hoped for on the big stage. As it will, their 2002 self-titled featured prominently in the set, starting off with the one-two-three of “Scimitar,” “Return to Zero” and “Downed Star,” Brooks and Vialon pushing out now-classic riffs as Wilson seemed to drum with his whole body behind the kit. The guitarists kept a more quiet presence, Brooks here and there on stage, moving with the music but hardly thrashing about, and Vialon more or less still in a zen-through-volume kind of fashion, but the thrust of those songs is undeniable, and as they moved into “Dove” and “Night Full of Kicks” and Oblation cuts like “Trick Scene” and “Find Away” and “The Key,” they kept their momentum, fast or lumbering. “Tales of Lolita” is always a good time, and it worked well next to the thudding “The Quill,” and closing duo “Loanin'” and “Triangle Song” wrapped up to ensure that no bases were left uncovered. They weren’t, and yeah, I’ve seen Floor before, but there was no question doing so again was the right choice.

That said, there was no way in hell I was missing Spidergawd. Largely unknown in the States, and I think known mostly to those in Europe who’ve heard their two Stickman/Crispin Glover Records LPs to date — 2014’s Spidergawd (review here) and 2015’s Spidergawd II (review here) — because of their affiliation with Norwegian prog magnates Motorpsycho, whose bassist, Bent Sæther, and drummer, Kenneth Kapstad, double in the more boogie-oriented outfit alongside saxophonist/vocalist Rolf Martin Snustad and guitarist/vocalist Per Borten, who is related to but not to be confused with a former Norwegian prime minister of the same name. Spidergawd were a must-see for me. One of several, but a must-see all the same, and they delivered all the way in the energy and upbeat feel of their songs. By the time they got down to “Fixin’ to Die Blues” from the new record, maybe three songs in, they had Het Patronaat eating out of their hands.

And rightly so. I saw a lot of music today and I’ll see a lot more before this weekend’s out, but I don’t know if anyone will give off a genuinely-happy-to-be-here vibe as much as Spidergawd did, still managing to both groove and be heavy while enjoying themselves. Their spirit was infectious, as are their hooks, and though it was hot in the church — damn hot — they had no letup, Snustad, Kapstad and Borten up front on the stage while Sæther played behind in a curious configuration, but one that obviously works for them. They’re a band more people should know, based solely on the merit of what they play and how they play it, never mind anyone’s pedigree or anything like that. They lit that room up, closing with the Thin Lizzy-style “Sanctuary” from Spidergawd II as if to portend even better things to come. They’ve been working quickly over the course of their first two records, and hopefully it’s not long before a third surfaces as well. The more the merrier.

I stopped by to see some of Primitive Man through the door of the Green Room before they finished. Unsurprisingly they were punishing as fuck. Floor had started something of a bang-bang-bang for the rest of my night, one to the next to the next, and I had planned on catching a bit of Uzala in the Green Room and moving on to the next set, but once they went on, the Boise, Idaho, three-piece held me in place. I didn’t know it at the time, but they were just what I was looking for. Guitarist Chad Remains, guitarist Darcy Nutt (also running her guitar through a bass rig, for extra low-end) and drummer Chuck Watkins had a new song in tow called “The Gallows,” and that moved a little faster than some of their more plodding material from 2014’s righteous Tales of Blood and Fire, songs like “Dark Days” and “Seven Veils,” but wherever they headed, they were just the right blend of beat-you-over-the-head heaviness in Remains and Nutt‘s tones, melody and lurching groove that I couldn’t have left even if I’d wanted to. They were not to be missed, in other words. Vocals were a little low, at least up front where I was standing, but Nutt has a powerful voice and as dense as those tones got — seriously, there were parts where they sounded like a machine grinding to a halt; I wondered how they’d restart it for the next measure — she cut through with little trouble and palpable soul.

Their set was a highlight of the day for me, all the more because I’d seen them before, knew what I was getting into and they still managed to surprise with how switched on they were. Remains shredded his solos in top form and had some technical trouble along the way that was fixed so promptly by the Green Room crew that I’m not even sure he noticed. Only complaint? No “Tenement of the Lost.” The closer from Tales of Blood and Fire that begins with a wash of feedback and culminates in one of the sweetest minimalist doom ballads my ears have heard in the last five years — it’s my go-to sad song — would’ve certainly been welcome, but honestly, I think the maximum-volume approach they took was probably a more practical call given the room. I could’ve gone to see Russian Circles on the Main Stage, or Thou at Het Patronaat, or Moaning Cities, whose merch I later looked for and could not find, in Stage01, but Uzala kept me where I was. They were a thrill to watch.

Somewhere in there, it would’ve made sense to have dinner. I did not. No time. Wovenhand would be on the Main Stage shortly, and I knew that was where I wanted to be. It was a return appearance for them and the second time I’d have seen them at Roadburn — never seen them anywhere else, come to think of it — but as I consider the set they played in 2011 a personal landmark, as in, “before I saw it” and “after I saw it,” I’d been very much anticipating their arrival. They were headliners this time along with Eyehategod, who’d play the Main Stage afterwards, but Wovenhand had the longer set, and put their 80 minutes to use in the most dynamic manner I saw all day, frontman David Eugene Edwards far to the left side of the stage while drummer Ordy Garrison had the middle, and guitarist/backing vocalist Chuck French and bassist Neil Keener anchored the right. Edwards is among the more charismatic stage presences I’ve ever seen, and though he said before they ended that they knew they were “out of their league” in coming back to Roadburn, I felt more like I was out of mine watching them.

Last year’s Refractory Obdurate (review here) featured prominently in their set, which opened with “Hiss,” arguably their heaviest work to-date. Ultimately, it would be a much different kind of intensity they brought than four years ago, when Edwards, seated, laid bare a deeply spiritual — religious, Christian — neo-folk, worldly in its arrangements and deeper than the eye could follow. Standing, the vocalist/guitarist still had a feather in his hat and still taunted or teased the audience in a kind of war-whoop, but he also softshoed while he played, and Wovenhand this time around was a much more stripped-down, rawer, meaner-toned outfit. Garrison‘s drums, aided now and then by some extra percussion by French, were a driving force, and the seething energy of their rhythm could be felt throughout the main hall, whether they happened to be raging at the time, as in “Hiss,” or engaged in a more quiet brooding, à la “Closer” from 2012’s The Laughing Stalk (review here). Opener “Long Horn” from that album was also a highlight, and I was amazed what a few years could do for band like that progressing in unexpected ways and pursuing different avenues of sound. “Good Shepherd” lacked nothing for its melody, but even that had a coinciding element of pummel.

It was to the point where, I knew I wanted to see Monolord. I’d wanted to see Monolord all along, and they were playing Het Patronaat at the same time Wovenhand were on the Main Stage — Roadburn giveth and Roadburn scheduleth conflicteth. I left Wovenhand and went down the block to the other venue just as Monolord were going on. How heavy were they? They were superlatively heavy. A monumental sonic impact that seemed to hit all at once, as though the guitar and bass were also kick drums. It was ridiculous, and the line outside the Patronaat was backed up the longest I’d seen it yet to get in, but as I stood there and watched them, I couldn’t take the fact that Wovenhand were playing Roadburn and I wasn’t in the same room where it was happening. Monolord slayed the place, absolutely. I saw people coming out of there when they were done and they looked even more in a daze than usual. But me, I had to back and watch Wovenhand finish. They were too good to let it pass. And when they were done, they came back out and did an encore. Fucking a.

My evening was more or less done and I knew it, but when Wovenhand finished their encore, I swung back to Het Patronaat to watch some of Kandodo, who are led by guitarist Simon Price of The Heads and were doing a special set with Robert Hampson of Loop sitting in as part of The Heads‘ residency. I didn’t know what that collaboration might bring, but it brought a fervent run of heavy psychedelia that was perfect for me to close out the night. They started in the dark, Price and Hampson on guitar on opposite sides of the stage, bassist Hugo Morgan (also The Heads) and drummer Wayne Maskell (also also The Heads) between, but the lights gradually came up as they jammed their way through a first song — read as “Kandy Rock” on the setlist — and into the next. Watching them made me want to buy many albums, I’ll say that, but time was getting on and I had a review to write, so I cut out after a bit and made my way back to the hotel. It was a mindbender of a first day, but I know there is still much more to come over this weekend.

More pics after the jump.

Read more »

Just days after announcing Anathema‘s special reunion set, Roadburn 2015 turns around and lets loose with another round of lineup additions, including Wovenhand headlining Thursday night — ask me about how they were the heaviest band I saw at the fest in 2011; I’d love to tell you all about it — and Enslaved and Wardruna each playing individual sets on top of their collaborative Skuggsja set. Russian Circles will also play, and Helms Alee with whom they’ll be on tour in Europe, and it’s kind of buried under all the other details, but some other killer acts have joined the bill as well.

Among those, an immediate standout is Uzala, whose “Tenement of the Lost” has been stuck in my head the last few days, with its glorious wash of feedback and the sweetly depressive melody that emerges therefrom. The thought of Argus taking stage at Roadburn is a thrill as well, and Tombstones, who released their Red Skies and Dead Eyes (review here) album last year, and Bell Witch and Eagle Twin and Sun Worship and even more than that. It’s an astounding and exciting bunch of acts.

I won’t delay any further. Dig in:

Wovenhand, Russian Circles, and more announced for Roadburn 2015; Enslaved and Wardruna unveil more show details

Roadburn is very pleased to announce Wovenhand, Russian Circles, Wardruna, and a second Enslaved performance among the latest additions to the 20th edition line up of the festival which will take place in April 2015.

Wovenhand and Russian Circles added to Thursday line up

Wovenhand’s incendiary performance at Roadburn 2011 remains one of the most talked-about shows in the festival’s history, and it’s a great pleasure to have David Eugene Edwards and his band back at the festival for what should be another thrilling, transformative concert. The band will reignite the 013 stage as the headline act on Thursday April 9.

Led by former 16 Horsepower frontman Edwards, Wovenhand similarly delves deep into the darker, more gothic side of Americana, only on a much more personal, introspective level. The latest album ‘Refractory Obdurate’ is the band’s most visceral work yet, with its heavier arrangements packing a devastating punch.

Already veterans of Roadburn, Chicago instrumental trio Russian Circles will return to the 20th edition of Roadburn Festival for a much anticipated main stage performance on Thursday, April 9, filling the main hall with their spacious, tonally lavish sound.

With a blend of post-rock airiness, heavy riffing and progressive rhythms, they are one of the most evocative instrumental bands in the underground today, and we at Roadburn couldn’t be more excited to welcome them back.

Roadburn curators confirm details of special performances

After a stunning sneak preview of the upcoming Enslaved album, we can only conclude that the band keeps blasting past their own and their associated genres’ limits. Listening to the album prompted us to invite the band for a second show at Roadburn 2015 on Saturday, April 11th, so that all of our beloved attendees can bask in the band’s creativity and talent, and share our excitement about what is sure to become another Enslaved classic.

We at Roadburn are huge admirers of Enslaved, thus it won’t have come as a suprise that we have invited their guitarist/composer, Ivar Bjornson, along with Einar Selvik (Wardruna), to curate the 20th edition of Roadburn Festival (a special event named ‘Houses of the Holistic’) on Friday, April 10 at the 013 venue.

Besides performing Skuggsjá, the sound of Norway’s Norse History, together with Wardruna, Enslaved will also perform a show dubbed ‘House of Northern Gods’, which will consist of a set list specially put together for ‘Houses of the Holistic’, featuring songs from the band’s entire catalogue that embody the Norse gods, with accompanying visuals created by revered Romanian artist, Costin Chioreanu.

“The Friday show during Roadburn 2015 will indeed be a special one”, says Ivar Bjørnson. “We have named the concert ‘House of Northern Gods’ and it will consist of a walk-through of an imaginary, magical house. It is a mental construction that could represent the mythological Valhalla with its inhabitants – or in Jung’s school of psychology: the archetypical roles of the human psyche. This will be the foundation for the set-list and the framework around the concert; there’s a stem of thematic songs from ‘Allfadr Odinn’ (the Paternal archetype) on ‘Hordanes Land’ in 1993 up to ‘Materal’ (the Maternal archetype) from 2012’s ‘RIITIIR’ where various characters/ roles in the ‘House of Northern Gods’ are represented and materialized into music. These are the songs that will make up the Friday show at Roadburn 2015!”

“As if it wasn’t a big enough honour to play one show at Roadburn 2015, we get to play a second show Saturday!” Ivar continues. “We are already hard at work with planning to turn these into the most spectacular two Enslaved shows possible, as we know that this double-Roadburn-whammy is not likely to happen again (we’ve heard of lightening striking twice, but thrice?). This second show will be one of the first European shows where we present our new album, that will be released something like a month prior to Roadburn 2015. We don’t like to brag; but be prepared for something monumental! We will also make use of the fact that Tilburg will be loaded to the brim with friends and colleagues at this point, so don’t be surprised if the show culminates in Enslaved having good friends on stage to make sure we go out with a blast! He who lives will see…

Ivar Bjornson’s fellow curator, Einar Selvik will also be performing with Wardruna in a special performance, dubbed ‘House of the Spinning Seer’. The winners of Metal Hammer’s Golden God award for Best Underground Band, will take to the stage on Friday 10th of April as another part of ‘Houses of the Holistic’.

“We are very excited as well as honored to be back to perform at Roadburn 2015″‘ says Einar “Kvitrafn” Selvik, “and so we plan to use this occasion to give the audience a concert out of the ordinary. It will be a Wardruna concert in an all-new form. With almost twice the amount of musicians that we normally have on stage our sonic threads of old and new shall be majestically spun and our soundscape carefully woven on the loom of the spinning seer.”

Argus, Bell Witch, Darkher, Eagle Twin, Helms Alee, Sun Worship, Terminal Cheesecake, Tombstones, Brimstone and Uzala have also been confirmed for the 20th edition of Roadburn Festival.

Tickets are still available HERE.

Curated by Ivar Bjørnson (Enslaved) and Wardruna‘s Einar “Kvitrafn” Selvik, Roadburn Festival 2015 (including Fields of the Nephilim, Anathema, Skuggsjá, Enslaved, Wardruna, Claudio Simonetti’s Goblin performing Dawn of The Dead and Susperia in its entirety, Zombi, Sólstafir, White Hills, Bongipper, Floor, Eyehategod and The Heads as Artist In Residence among others) will run from Thursday, April 9 to Sunday, April 12 at the 013 venue in Tilburg, The Netherlands.

http://www.roadburn.com/roadburn-2015/tickets/
https://www.facebook.com/roadburnfestival
https://twitter.com/roadburnfest
roadburn.com

Uzala, “Tenement of the Lost” from Tales of Blood and Fire (2013)

Boise ethereal doom trio Uzala will hit the road for two weeks starting Nov. 1. The impetus behind the trip in support of last year’s way-better-than-the-amount-of-coverage-I’ve-given-it Tales of Blood and Fire seems to be a stop at the No Thanks Fest in Texas on Nov. 8 with a varied host of badass acts, but just as well since they’re playing with some excellent company along the way there and back, including Sorxe, He Whose Ox is Gored and Eagle Twin. After an initial pressing of Tales of Blood and Fire on tape in chrome red — I managed to pick one up at a gig in Rhode Island last year — they’ve also got a new version through Gypsyblood Records in a variety of colors, each limited to 100 and linked below.

The PR wire takes us there:

UZALA: Boise Psych-Doom Coven Announce November Tour

Following the release of last year’s critically-acclaimed LP Tales of Blood & Fire and a triumphant appearance at this year’s Gilead Fest, Boise fuzz-doom peddlers UZALA will once again take their spellbinding show on the road, joined by a few very special guests. For the first leg of their upcoming NovemBer tour, the Northwestern trio will be joined by Oakland doom raiders CARDINAL WYRM before meeting up with PINKISH BLACK at No Thanks Fest and forging ahead towards home.

UZALA NOVEMBER TOUR
Nov. 1 Bay Area, CA TBA with Cardinal Wyrm
Nov. 2 San Bernadino,CA with Cardinal Wyrm and Ancient Altars
Nov. 3 Las Vegas, NV at Dive Bar with Cardinal Wyrm, Demon Lung, He Whose Ox is Gored
Nov. 4 Phoenix/Tempe, AZ at Yucca Tap Room (FREE SHOW) with SORXE, Cardinal Wyrm, Funerary, He Whose Ox Is Gored
Nov. 5 Albuquerque, NM at Launchpad with Cardinal Wyrm
Nov. 6 drive day/look at Texas out the van window/day off
Nov. 7 Austin, TX at The Lost Well with Pinkish Black, Old and Ill, Garrett T. Capps
Nov. 8 Emory, TX NO THANKS FEST with In the Company of Serpents, Sabbath Assembly, Pinkish Black, and many more!!!
Nov. 9 Little Rock, AR at The Rev Room with Iron Tongue and others
Nov. 10 Columbia, MO at TBA
Nov. 11 Kansas City, KS at Vandals
Nov. 12 Omaha, NB at The Hideout
Nov. 13 Denver, CO at Bar Bar
Nov. 14 SLC, UT at Bar Deluxe with Eagle Twin and Making Fuck
Nov. 15 Boise, ID at Crazy Horse with Eagle Twin and Black Cloud

The album is now available from King of the Monsters Records here: http://kingofthemonstersrecords.bigcartel.com/

Those who prefer a more lo-fi approach can preorder the cassette version from Gypsyblood Records here: http://www.gypsybloodrecords.bigcartel.com/product/uzala-tales-of-blood-and-fire-cassette-preorder

Stay tuned for more bewitching UZALA news in the new year!

https://www.facebook.com/pages/UZALA
http://uzala.bandcamp.com/

Uzala, Tales of Blood and Fire (2013)