Posted in Bootleg Theater on February 1st, 2019 by JJ Koczan
Acrimony, Hymns to the Stone (1994)
If you weren’t sure about Acrimony‘s roots in more deathly/doomly fare, look no further than the gracefully morose logo that’s on front of their debut CD, Hymns to the Stone. Released through Godhead Recordings — don’t worry, they’d sign to Peaceville soon enough — Acrimony‘s first outing arrived and helped jumpstart a pivotal moment in UK heavy. And their departure from the melancholic vibes proffered by their serif-logo forebears in Paradise Lost, My Dying Bride, Anathema, etc., came at just the right time. As those bands also sought out different sonic territory and in some cases more than flirted with gothic vibes, Acrimony went in another direction entirely. They got high and they rocked out.
1994: When stoner rock was stoned.
I don’t know if it’s Dorian Walters‘ vocals or the fact that they’ve got songs like “Leaves of Mellow Grace,” “Herb” and “Cosmic AWOL,” but something about Acrimony just always seemed that much more under the influence. The overarching sound of Hymns to the Stone shows some of its age these 25 years after the fact, but that hardly makes it less righteous. The guitars of Stu O’Hara and Lee Davies, Paul Bidmead‘s bass and Darren Ivey‘s drums managed to take some influence from the grunge that was saturating the US at the time, meld it with their own history in metal, and add more than a flourish of Sabbathian undertones — looking at you, “Spaced Cat #6” — and create something new from it. And they were legitimately right there at the start. Cathedral had embraced something of a rocking side with their 1993 sophomore outing, The Ethereal Mirror, but Acrimony took even that to a new level entirely. Consider that Orange Goblin were just getting together at the time, and Electric Wizard as well. Consider that Hymns to the Stone came out the same year as Welcome to Sky Valley. Acrimony were a nexus band. They helped craft the direction the UK heavy underground would take as it moved into the mid ’90s and beyond, and their impact can still be felt today in swaths of bands in the UK and out.
While it is a mystery how there hasn’t been a band who’s named themselves after the song “Urabalaboom,” that centerpiece track remains essential to Hymns to the Stone as Acrimony conveyed a jammier sensibility ahead of the acoustic start to “Herb” — also duly Iommic in its riff — and “Magical Mystery Man,” which follows and brings back some of the earlier catchiness of “Leaves of Mellow Grace,” “The Inn” and “Second Wind” at the outset. The vibe of the album is set largely by the tonal largesse of the opener and the looseness of its swing, taking a heavy crunch and making it roll with two guitars working in tandem to shove it along the path laid out with bass and drums. When Walters‘ vocals arrive, they’re lower in the mix than on some of the later tracks, and the riff-comes-first ethic is as plain to hear as the weed-worship of the lyrics. “The Inn” makes the most of some swirling wah as it marches forth, as well as some late-arriving shuffle, and “Second Wind” plays with tempo shifts effectively to convey a doom rocking feel with a nod in its midsection leading to more butt-boogie chicanery as they round out.
The fluidity there serves them well moving into the ultra-compressed start of “Space Cat #6” and the ensuing touch of psychedelic rock fervor brought to its arrangement that will be even further fleshed out soon enough on the penultimate “Whatever.” That song, which is the only one on Hymns to the Stone to hit the seven-minute mark, is little short of a revelation, playing out across a molten linear build that’s all the more about the journey than the payoff, taking the message of the prior “Urabalaboom,” “Herb” and “Magical Mystery Man” and bringing it to life in sound. Stretching out in this way suited Acrimony well, and it was a lesson they’d take to heart by the time they got around to their second full-length, Tumuli Shroomaroom (discussed here), in 1997, which even in its opening track, “Hymns to the Stone” (but wait! that’s the name of this album!), topped nine minutes en route to a total 65, as opposed to Hymns to the Stone‘s manageable 44-minute run. Likewise, the pairing of “Magical Mystery Man” and “Whatever” right next to each other hardly feels accidental, with the shortest and longest tracks offering direct contrast. “Magical Mystery Man” has a punkish feel, and “Whatever” is more spaced than “Spaced Cat #6,” so yeah. “Cosmic AWOL” finishes out by returning that massive cannabinoid sprawl somewhat to ground, still loading in plenty of wah to its just-over-4:20 push, ending with a languid percussion-laced jam on a long fade as it moves farther into the great far out.
Acrimony‘s legend, like that of a lot of heavy rock from their era — see also the aforementioned Kyuss — would grow in their absence. They put out Tumuli Shroomaroom in ’97 and had done The Acid Elephant EP before that in 1995 and a split with Iron Rainbow in 1996, but their last recording session was in 1999 for tracks that would later see release in 2003 on a split with Church of Misery and they were long since done by then. Lee Davies would go on to play in Lifer, but the rest of the lineup was quiet until coming together in 2009 as Sigiriya, a four-piece with Walters, O’Hara, Bidmead and Ivey. They released their debut, Return to Earth (review here), in 2011 and would lose Walters afterward, bringing in Matt Williams from Suns of Thunder for 2014’s Darkness Died Today (review here; also discussed here). Ivey would also depart in 2015 and the band brought in Rhys David Miles on drums and they’ve continued to play locally in Swansea and around the UK, doing fests and support slots as well as the occasional short run of tour dates — they were out with the reformed Iron Monkey twice last year.
According to their social media, Sigiriya, now with O’Hara and Bidmead as the connection to Acrimony have a third album they’re putting the finishing touches on, so it may well be that they’re heard from later in 2019. Here’s hoping. However that might come together, Acrimony‘s stoner-is-as-stoner-does heavy rock legacy continues to be a standout from the United Kingdom, and though in current music culture it’s almost too easy to neglect anything that isn’t punching you in the face with streaming videos capturing every fart at every rehearsal, Hymns to the Stone is a reminder of the roots from which what we think of modern heavy has grown out from over the last two and a half decades.
As always, I hope you enjoy.
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Yesterday was amazing, thank you. Incredibly heartening and reinforcing. It felt like what I imagine birthdays probably feel like to most people. Thank you.
If you didn’t catch it, Shy Kennedy from Blackseed Design’s t-shirt for The Obelisk went up earlier this week at Dropout Merch. It’s awesome and I call it ‘Doom on the Moon,’ which is fun because I enjoy a slant rhyme as much as the next guy.
Next week is busy. They’re all busy. Did you know I’ve got the Quarterly Review for March booked already? I might push it up and do five this year. I’m not sure I’d be able to call it Quarterly so much as Everynowandagainly at that point, or Bimonthly or whatever, but yeah. I’m thinking about it. For all the planning out ahead of time I do, I don’t do much planning out ahead of time. Ha.
Did you catch the slant rhyme above? Good.
Let’s do some quick notes for next week. Honestly, my head’s been so deep in everything for yesterday I’ve kind of slacked on mapping it out, but there’s still some cool stuff slated. As such:
MON: Static Tension video premiere; News catchup.
TUE: The Asound album review/video premiere.
WED: BLACKWVS track premiere; Soldati video premiere.
THU: Mammoth Weed Wizard Bastard review.
FRI: Open right now. Maybe Old Mexico review unless something else grabs me.
It’ll be fun either way.
This Sunday at 7PM Eastern is also the ninth episode of The Obelisk Show on Gimme Radio. I need to go cut the voice breaks for it, so I’m going to wrap this up on the quick and plug in the mic and pretend to be interesting for 20 minutes or so. If you get the chance to listen: http://gimmeradio.com.
And again, thanks for all the kind words yesterday.
Please have a great and safe weekend, and please check out the forum and the radio stream and the merch at Dropout. Like such:
Posted in Whathaveyou on November 8th, 2018 by JJ Koczan
Welsh heavy grunge riffers Ironbird have released their second album, Persian Blade, as a six-years-later follow-up to their 2012 debut, Songs of Spite and Ire (get it?), and they’re streaming the record in full now. It’s easy enough to read a narrative progression into the tracks, and all the more so when one factors in the artwork by bassist Gob and the series of videos they’ve unfurled in support of the tracks. You can see one for the title-cut below, and it’s pretty pro-shop Flash animation in such a way as to make me think Gob is probably a pro of some sort in the graphic arts. It’s like Samurai Jack in the desert, which of course is cool by me, along with the ’90s viibes of the songs themselves.
Here’s the release announcement, followed by the album stream and that clip. Dig it:
‘PERSIAN BLADE’THE NEW ALBUM FROM IRONBIRD OUT FRIDAY 2ND NOVEMBER 2018
Cardiff, Wales premier stoner metal band, Ironbird return with their long awaited second album, ‘Persian Blade’ on 2nd November 2018 through False Lord Recordings. Recorded, mixed and produced by the bands guitarist Van and mastered by renowned engineer Pete Maher (Nine Inch Nails, Pixies, Jack White, Rolling Stones), ‘Persian Blade’ builds on the bands successful debut album (2012’s ‘Songs of Spite and Ire’) by displaying a more intricate and dynamic songwriting approach while also adding more colour and texture to the heavy vibes.
Steeped in sounds synonymous with 90’s stoner and grunge bands such as Kyuss, Fu Manchu, Soundgarden and Alice in Chains, while also being influenced by classic rock melded to progressive metal, ‘Persian Blade’ delivers thunderous tales of assassins, curses and false messiahs reflecting uncertain times. Formed in 2010 through the desire to create something unique in the genre, Ironbird were immediately thrown to the forefront of the burgeoning South Wales stoner rock scene and quickly built up a cult following on the local circuit. Their eclectic blend of hard rock and heavy metal was perfectly captured on their debut album, 2012’s ‘Songs of Spite and Ire’, which spawned the singles ‘Black Sunrise’ and ‘Assassins of the High Crag’. Gigs supporting the likes of Karma to Burn, Sigiriya and Bloody Hammers soon followed.
1 White Stork 2 The Healer 3 Persian Blade 4 Last Siren 5 Cradle of Time 6 From the Slave to the Grave 7 Circle of Sin 8 The Hunt Goes On
Ironbird are: Eli – vocals Van – guitars Ad – drums Gob – bass
Posted in Whathaveyou on January 2nd, 2018 by JJ Koczan
Cheers to Cardiff weirdos Lacertilia on hitting the five-year mark in 2018. The band, who continue to support 2016’s We’re Already Inside Your Mind, have announced an anniversary gig in their hometown on Feb. 3 with a pretty awesome poster by Antoine Defarges of Headbang Design with five as its suitable-enough theme. Also playing the show will be Cybernetic Witch Cult and The Biggest Thing Since Powdered Milk, who I’ll just assume are huge, since, you know, powdered milk and all.
I haven’t heard if Lacertilia have anything new in the works for this year vis a vis an album or anything like that, but anything’s possible when bands start getting down to transcending space and time and all that. When I find something out I’ll let you know. In the meantime, if you want one of those posters you gotta get to the gig, though maybe if you’re from elsewhere and you ask nicely enough on the internet they could be convinced to sell you one. Might take some arm twisting, but seems worth a shot.
Check it out:
. . . . Whoah! That was a blur. When you’re zooming about playing shows all over the place time really does fly. We’ve almost hit the milestone that is 5 years of Lacertilia! And what a mad blast it’s been so far. It’s very humbling to see so many faces continually show up at our gigs and promoters booking us back for more. Thank you! To celebrate our coming of age as a 5-year-old quintet we’ve roped in one of our favourite artists Antoine over at Headbang Design to create a commemorative, hand drawn, limited edition screen print for Lacertilia, all based on themes, ideas and mysticism surrounding the number 5.
This limited edition screen print is 5 colours printed on 280g cardboard paper in A3 size (29x42cm). These will be available for purchase exclusively at the show. Any remaining prints will be go up for sale on our Bandcamp page the week after the show. Limited run of 50 prints.
Our 5th anniversary celebration will take place at Clwb Ifor Bach, Cardiff on 03/02/2018 and we’ve compiled a monster line up to go with it. ‘Not Since The Accident’ return after a 2 year hiatus to kick things off with their brand of frenetic punk, Cardiff’s ‘The Biggest Thing Since Powdered Milk’ follow with enough grooves to burn out your dancing shoes and our touring buddies ‘Cybernetic Witch Cult’ will be journeying up from darkest Cornwall to bring tales of Space Travel, Wizards and Dinosaurs to a backdrop of heavy stoner riffage!
One does not have to wade far into Lacertilia‘s 2016 debut album, We’re Already Inside Your Mind, to find the ethic by which the record as a whole is defined. Indeed, even before the seven-minute hard-driving stretch of “The Wired and the Weird” has begun, the point of that title has been made in the percussive oddity of the preceding intro, “Inside Your Mind Part 1.” From there, the Cardiff five-piece only continue to flesh out a quirky, space-minded take on heavy rock — here and there reminding of Steak, particularly in the vocals, as I’ve noted before — and by the time they get around to “Fire up the Engine of God,” they’ve established a pretty broad sonic range, leaving the possibilities fairly open for where they might go next.
Somehow it makes sense in context that where they go is basically to ground. “Fire up the Engine of God” follows “Journey to Agartha” — by no means lacking for charge — and is about as close to pure thrust as Lacertilia get on their first album. One can hear desert rock roots in the sans-frills three-minute course, but the winding progression could just as easily be traced to Motörhead. Soon enough they’ll delve into the more spacious “Round and Round,” playing between loud/quiet trades and echoes recounting the hypnotic motion of the big wet ball we all call home, but for “Fire up the Engine of God,” it’s all verse/chorus shove and a motion set dead ahead. They’ve by then demonstrated a knack for hooks in cuts like “Tangled Up” and “Never See the Sun,” never mind the aforementioned “The Wired and the Weird,” but “Fire up the Engine of God” might be the purest display of that on We’re Already Inside Your Mind, casting off much of the atmospheric basis for other songs in favor of all-out scorch.
Lacertilia — who head out in the UK with Chubby Thunderous Bad Kush Masters later in April (dates below) — have a new 100-copy LP pressing of We’re Already Inside Your Mind in a gatefold that can be preordered now through their Bandcamp. That info follows the clip itself, which you can see right here.
Hope you enjoy:
Lacertilia, “Fire up the Engine of God” official video
Music video for ‘Fire Up The Engine Of God” taken from Lacertilia’s debut album ‘We’re Already Inside Your Mind’ out now on Red Sun Sounds.
Filmed and edited by Mei Lewis of Mission Photographic
Album now on Black Void Vinyl in a Gatefold sleeve. Limited to 100 copies available to pre-order now at https://lacertilia-uk.bandcamp.com
Catch Lacertilia on tour with Chubby Thunderous Bad Kush Masters in April 19/04 – Arches Venue, Coventry 20/04 – Mulbery Tavern, Sheffield 21/04 – Opium, Edinburgh 22/04 – Rebellion, Manchester 23/04 – Stag & Hounds, Bristol
Posted in Whathaveyou on December 29th, 2016 by JJ Koczan
Last heard from this past Fall when they headed out on tour in support of their 2016 album, We’re Already Inside Your Mind, Cardiff-based Lacertilia have put out word of a follow-up short UK run in April 2017. The Fall stint was with Cybernetic Witch Cult and the Spring one will find them out with mischievous sludge rock purveyors Chubby Thunderous Bad Kush Masters, so they continue to keep good company as they go and spread the word on their LP, which was released on Red Sound Records in July.
In the meantime, Chubby Thunderous Bad Kush Masters have dropped hints of new stuff to come in 2017, including a split with I-don’t-know-who-yet and potentially a debut album follow-up on 2015’s Earth Hog EP (review here). Whether or not that first long-player will show up before the end of the year, I don’t know, but if it does, I’ll take it. They’re currently signed to Riff Rock Records, having signed with the imprint in November and announced it here while also premiering their video for “Mother Chub,” which if you haven’t seen it is a damn good time.
We’re heading out on tour with our brothers of the riff, Chubby Thunderous Bad Kush Masters in April!
Lacertilia // Chubby Thunderous Bad Kush Masters hit the road in April 2017:
19/04- Arches Venue Coventry // Coventry 20/04- Mulberry Tavern // Sheffield 21/04- Opium – Alternative Club & Bar // Edinburgh 22/04- Rebellion Manchester // Manchester 23/04-The Stag and Hounds // Bristol
Lacertilia are a cosmic blend of primal rock ‘n’ roll energy, heavy psychedelia and sludgy groove rock. Their new album ‘We’re Already Inside Your Mind’ is out now on Red Sun Sounds and is available to buy via their Bandcamp page https://lacertilia-uk.bandcamp.com
Chubby Thunderous Bad Kush Masters: Tie dye Fuzz & Stoner.
Posted in Features on December 20th, 2016 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2016 to that, please do.
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I say this every year: These are my picks. If you’re unfamiliar with this site, or you don’t come here that often, or if you do and just normally don’t give a crap — all of which is cool — you should know it’s all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I’ve kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it’s a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That’s the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we’ve seen them doing all year and over the last several years, one must be malleable in one’s own taste. We’ve seen a new generation of heavy rock bands emerge in the last three-plus years. It’s been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There’s been experimentation around melds that have led to considerable triumphs, and it just doesn’t seem to me that rigid standards can apply. It’s why I don’t grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it’s only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let’s get to the list:
Seems only fair to start with a record I couldn’t put down. Finnish trio Talmud Beach‘s second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like “Mountain Man” and “Snow Snow Snow.” I think it flew under a lot of people’s radar, but I’ve kept going back to it over the course of the year and I see no reason to stop.
Space is still the place. I’ve already highlighted closer “Artificial Light” from Comet Control‘s sophomore LP, Center of the Maze as my favorite song of 2016, so I’ll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of “Dig out Your Head” to the dream-drift of “Sick in Space,” it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
There was not a level on which Madison, Wisconsin’s Droids Attack didn’t make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called “Clawhammer Suicide” a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, “Death to false stoner thrash.” Droids Attack brought that ethic and more to life across the entire record.
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27. Beelzefuzz, The Righteous Bloom
Released by Restricted Release and The Church Within. Reviewed Aug. 2.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I’ve said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore’s Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of “Message in the Sky” and Rockin’ and Rollin'” to the quiet interlude of “Bridge of Stonebows” and the mid-paced heavy rock nod of “Never Return,” they made a strong case for themselves among their label’s foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren’t going to forget.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt‘s second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence “25a.,” above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate “Black Words,” which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
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25. 1000mods, Repeated Exposure To…
Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece’s populous and vibrant heavy rock underground. Progressed well beyond where even 2014’s impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller “Loose” and the sizable crashes of “Groundhog Day.” Momentum working in their favor could be heard front-to-back from “Above 179” to “Into the Spell,” moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced “Woman” and 11-minute jam-out triumph “Golden Widow” showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that’s part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year’s most efficient psychedelic immersion.
Borracho don’t seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013’s Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of “Gold from Sand” into the 10-minute sample-laden jam “Overload” to start out with such ease that the listener had little choice but to follow along. With an expanded scope on “Drifted away from the Sun” and the lightly-strummed memento mori “Flower,” Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
Nothing Brooklyn’s The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there’s an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014’s self-titled debut (review here). A more progressive take showed itself in “Reflections” and “Down the Line,” and taken in combination with the bookends “Get it Together” and “See it Through,” the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
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21. Curse the Son, Isolator
Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.
For something so awash in fuzz, so nodding in its rhythms, so let’s-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son‘s Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of “Callous Unemotional Traits,” the far-off spaces of “Hull Crush Depth” and the stoner metal despair of “Aislamiento,” the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-‘d’ Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, “Sleepwalker Wakes”) weighted tonality and found justification for their largesse in its own being. Like 2012’s Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
I feel like I need to explain myself here. Make no mistake, Neurosis‘ Fires Within Fires is among the year’s most accomplished offerings. There’s just about no way it wouldn’t be. So why not top 10? Top five? It’s a question of timing. With the long-running post-metal progenitors, it’s always a longer digestion period. It was about two years before 2012’s Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they’ve ever been.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener “Throne of Fire” onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014’s Blood Eagle (review here). Adding Fielding‘s deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan‘s past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
Some records just feel like gifts, and though many of its lyrical positions were cynical — “Reality,” “21st Century Slave,” “Mind Control Machine,” “Red the Sign Post,” etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012’s Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar “Termination” were like a welcome check-in from another dimension, and I only hope it’s not four years before Woodrose sends the next signal. Earth needs this band.
I’m not going to discount the shuffle of “Sunday Speed Demon” or sleeze of “Sunday Speed Demon,” but where Geezer‘s self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, “Sun Gods,” “Bi-Polar Vortex” and “Dust,” each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of “Hangnail Crisis,” raucous push of “Superjam Maximus” and concluding bounce of “Stoney Pony” brought them back down to earth to finish out with a symmetry to the album’s opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
Beautifully experimental with its 27-minute finisher “As Sure as the Sun,” EYE‘s Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro “Book of the Dead” and the subsequent “Kill the Slavemaster,” “Searching,” “Dweller of the Twilight Void” and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013’s Second Sight (review here) and found a place for themselves where prog complexity didn’t need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010’s Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut “Portuguese Dream” into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener “Transparent Eyeball” or the grim pastoralia of “Mirror Boy” and the condemnations/proclamations of “Drugged up on the Universe,” but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders’ deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like “Cosmic Truth” or the later “Mushroom Spirit Doors,” not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun‘s Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like “Come Through the Water” and “All that You Say I Am” as well as the subtle hooks of “Into the Wasteland” and “All for Nothing” that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn’t hurt either, but the wash of ethereal presence in Arce‘s guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
One had reasonably high expectations for the debut full-length from London’s Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would’ve been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see “Dawn” and “Aphotic Blues,” as well as the acoustic “Circles” between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won’t have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator‘s tenure, since their reactivation with 2012’s Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014’s Electric Mountain Majesty (review here), I’d say “go.” I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on “Strangest Times” and “You’ve Got a Right” and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on “There’s No Return from Nowhere,” “Time and Other Thieves” and harmonized closer “Outlander,” so that in addition to representing their furious creativity, it also brought them to places they’ve never been before in sound.
In some ways, Future Echo Returns was simply picking up where Belfast’s Slomatics left off with 2014’s Estron (review here), as heard on the riff of lead-in track “Estronomicon,” but as the third in a purported trilogy following that record and 2012’s A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like “Electric Breath,” the ambient “Ritual Beginnings” and ultra-catchy “Supernothing,” found a genuine sense of resolution in the finale “Into the Eternal” that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
After two landmarks issued by Small Stone in 2014’s The Conjuring (review here) and 2012’s The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like “There’s Something Sinister in the Wind,” “Of Smoke and Fog,” “Three Minutes to Midnight” and “Nightcomer” emphasized the next stage of this process, while the shuffling “Riffborn” and swaggering blues rock of “La Dilleme de Detenu” gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It’s also my pick for 2016 Debut of the Year, and to hear cuts like “She Sleeps on a Vine,” “Kerosene,” the sprawling closer “Drinking from the River Rising,” or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there’s just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
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7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012’s Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like “The Muse and the Mule,” the jammed-out “Kelele” and “The Love for Life Leads to Reincarnation,” which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like “Helicopter Mama” and “I Wanna Know What You Feel” (still plenty funky) and the Eastern-tinged interlude “Three Quarters,” gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
A decade and a half after 2001’s Revolution Rock (discussed here), Sweden’s Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014’s Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in “Howl,” “A Million Fireflies,” “You’re Gonna be My Ruin,” the stomping “Golden Throne” and “Tyrants Tongue,” among others. I refuse to discount the quality of Trails and Passes, 2012’s Nest of Vipers (review here) or 2007’s landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa‘s later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut “The Gree Heen” from Brant Bjork‘s Tao of the Devil: “I got all that I need. I got the gree-heen.” From the prominent pot leaf on the cover to that single clause — which set the tone for that song’s mega-nod as much as everything that followed in the boogie of “Humble Pie” and “Stackt,” the so-laid-back-it’s-almost-unconscious title-track and the longer-form explorations of “Dave’s War” and the wah’ed-out “Evening Jam” — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014’s Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man’s historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork‘s solo catalog, which it’s increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio’s certified-organic chemistry undulled by that long stretch. The songs — “Pale Moon,” “Last Days,” “Til Dawn,” “Wolf and Snake,” “Silver and Gold,” “Them Calling,” “Mr. Strange” — there wasn’t a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn’t just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016’s most welcome return.
Though it would carry the context of its scorching opener “Nature Boy” with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu‘s fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010’s Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in “Big Casino,” the echoing soul of “Tin Chicken” and shuffle-thrust of “Oldie,” and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called “By Mennen,” and, you know, references.
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2. Mars Red Sky, Apex III (Praise for the Burning Soul)
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014’s Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was “Alien Ground” if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016’s Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky‘s growth in songs like “The Whinery,” “Mindreader,” the tear-inducing “Under the Hood,” the swing-happy “Friendly Fire,” the willful atmospheric crash of closer “Prodigal Sun” — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky‘s own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City’s SubRosa adapted themes from 1924’s We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to “Despair is a Siren” through the depiction of privilege in “Wound of the Warden,” the 97-second Italian-language ballad “Il Cappio” (translated: “the noose”) and into the gut-wrenching finale of “Troubled Cells,” their musical accomplishment was no less stunning than lyrics like, “Isn’t it good to be acquainted with darkness?/To caress it gently/To slit its throat,” from “Black Majesty.” Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on “Killing Rapture,” it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of “Troubled Cells” in which Heaven itself is rejected with the clearest of justifications, “Paradise is a lie if you’re not by my side,” the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
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The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It’s Not Night: It’s Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard’s ethereal synth-laden doom, there are more than a few essentials here. I’ve never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn’t have been simpler: They were simply too good and had too much to offer to leave out. It would’ve been an oversight to do so.
Honorable Mentions
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment
And if that’s still not enough, here are 60-plus more names who shouldn’t be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they’ll be back on next year’s list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem’s Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
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Thank You
In case none of the above has made it clear, I’ll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there’s nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you’re still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that’s another list for another time, so I’ll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there’s anything I forgot, got wrong, misspelled, or if you just think I used the word “breadth” too many times, please let me know about it in the comments.
Posted in Whathaveyou on August 18th, 2016 by JJ Koczan
HARK will head out for a round of dates alongside Black Tusk in the UK starting Nov. 3. The Welsh progressive heavy rock four-piece issued their debut album, Crystalline (review here) in 2014 via Season of Mist, and they’ve been steadily supporting it ever since. They’ve got a slew of shows this month as well, including tomorrow night in Leeds, and they just recently took part in both the Red Sun and Bloodstock festivals, continuing to build their reputation in the UK.
At Bloodstock, they apparently loaned their guitars to no less than Corrosion of Conformity, whose gear was lost in transit, so pretty cool to be able to say, “Yeah, Pepper Keenan and/or Woody Weatherman handled this instrument.” I’ve certainly heard way lamer claims to fame.
The PR wire had this:
HARK announce live dates in the UK
Welsh power HARK have announced a UK tour with BLACK TUSK in November. The trek begins on November 3rd, and follows the band’s ongoing Summer tour. These new dates in London, Norwich, Glasgow, and Bristol. A full list of confirmed tour dates can be found below.
HARK are touring in support of their debut album, ‘Crystalline’. Since the release of their debut, the Welsh heavy rock power-trio have toured the UK and Europe extensively, while the record has received global critical acclaim. Appearing on countless end of year lists, the album has been regarded as a game changer in the heavy/stoner/progressive genre.
HARK Tour dates: Aug. 19 Leeds, UK @ Assembly House Studios Aug. 20 Edinburgh, UK @ Bannermans Aug. 21 Glasgow, UK @ King Tut’s Aug. 26 Bristol,UK @ The Exchange Aug. 27 London, UK @ Boston Music Rooms Nov. 3 London, UK Boston Music Room w/ BLACK TUSK Nov. 4 Norwich, UK The Owl Sanctuary w/ BLACK TUSK Nov. 6 Glasgow, UK Audio w/ BLACK TUSK Nov. 7 Bristol, UK Exchange w/ BLACK TUSK
Jimbob Isaac – Vocals/Guitar Simon Bonwick – Drums Joe Harvatt – Guitar Tom Shortt – Bass
Posted in Whathaveyou on February 23rd, 2016 by JJ Koczan
With a special edition to be sold at Desertfest Berlin 2016, UK outfits Desert Storm and Suns of Thunder have announced a new split single due in April via H42 Records. It may be something of a companion for the Monster Magnet and Raging Speedhorn split (info here), but even more than that it shares in common with the concurrent platter a pairing of two decidedly different acts.
Suns of Thunder bask in a crisply produced heavy rock bounce, while Desert Storm offer burl overdose in sludgy form. Both are plenty, plenty dudely, but they definitely have missions of their own. So in other words, if you’re passing by the merch table at Desertfest or if you have a hankering to place a preorder, it’s worth keeping an eye out.
The PR wire had info to add:
DESERT STORM/SUNS OF THUNDER ANNOUNCING PRESALE START + A FIRST LOOK AT THE ART OF THE UPCOMING SPLIT 7″
March 29th H42 Records will start the PRESALE for the new Split 7″ of Oxfords finest Heavyrockers DESERT STORM and their pals SUNS OF THUNDER from Wales. It is also time to preview some art for the upcoming 7″.
And don’t forget – for the DESERTFEST BERLIN they will have a strictly limited special Edition of the single!
Oxford based riff hounds Desert Storm have been making a name for themselves since they formed in 2007. From the beginning the band have worked hard…with 3 albums and a demo and relentless touring of the UK & Europe with the likes of Karma To Burn, Nashville Pussy, Peter Pan Speedrock, Honky (ft members of Down/Melvins/Butthole Surfers) as well as support slots to the likes of Orange Goblin, Red Fang, American Head Charge and festival appearances at The Bulldog Bash, The Desertfest, Brisfest & Roadkill.
Suns Of Thunder was formed in 1999 – They have spent many years sharing the stage with some of the most amazing musicians all over the U.K and Ireland….and spent our fair share of hours in the back of shitty white vans…plodding along, doing our thing all in the name of Stoner & Rock and roll.
essential to Hymns to the Stone as Acrimony conveyed a jammier sensibility ahead of the acoustic start to “Herb” — also duly Iommic in its riff — and “Magical Mystery Man,” which follows and brings back some of the earlier catchiness of “Leaves of Mellow Grace,” “The Inn” and “Second Wind” at the outset. The vibe of the album is set largely by the tonal largesse of the opener and the looseness of its swing, taking a heavy crunch and making it roll with two guitars working in tandem to shove it along the path laid out with bass and drums. When Walters‘ vocals arrive, they’re lower in the mix than on some of the later tracks, and the riff-comes-first ethic is as plain to hear as the weed-worship of the lyrics. “The Inn” makes the most of some swirling wah as it marches forth, as well as some late-arriving shuffle, and “Second Wind” plays with tempo shifts effectively to convey a doom rocking feel with a nod in its midsection leading to more butt-boogie chicanery as they round out.
