Posted in Whathaveyou on June 10th, 2026 by JJ Koczan
Joining Brant Bjork Trio and Big Scenic Nowhere, Heavy Temple and Yawning Balch — the latter of which makes it double-duty for at least most of Big Scenic Nowhere — are the next adds to next year’s Mojave Experience 2027, and both killer. Yawning Balch‘s new one, Volume Four (review here), is likewise joyous and unsurprising for that, and Heavy Temple‘s 2024 LP, Garden of Heathens (review here) certainly has lost none of its lustre for the time since it came out, even if the band’s lineup has shifted in the interim.
I got invited to Mojave Experience 2027 and golly would I ever like to go. If I can make it happen — my only concerns are minor issues like time, money, and logistics — I will, and seeing these two bands for sure only adds to the urgency with which I’m saying that.
These announcements I grabbed off social media:
Mojave Experience – March 19–21, 2027
Heavy Temple
There are bands that sound heavy. Then there are bands that feel heavy.
Heavy Temple belongs in the second category.
Rising out of Philadelphia’s underground, Heavy Temple has carved out a sound built on massive riffs, deep grooves, and an undeniable sense of atmosphere. At the center is High Priestess Nighthawk, whose voice can shift from haunting to commanding in the span of a single song.
Their debut album, Lupi Amoris, earned praise throughout the heavy rock and doom world, but records only tell part of the story. Heavy Temple is a band best experienced in the moment, when the amps are loud, the air is moving, and the crowd is locked in.
There’s a certain feeling when the day is getting underway and the desert is beginning to come alive. The sun is high, the dust is moving, and the first wave of heavy music starts rolling across the grounds.
Heavy Temple will be bringing that energy to Mojave Experience.
Yawning Balch
Some projects remain elusive, known more through their recordings than their appearances on stage
Yawning Balch is one of them.
Formed when Bob Balch (Fu Manchu, Big Scenic Nowhere) joined forces with Gary Arce, Bill Stinson, and members of the legendary desert rock institution Yawning Man, the project began as an improvised jam session in Joshua Tree. What was supposed to be a single day of playing turned into hours of music and multiple full-length albums.
Since then, they’ve released Volume One (2023), Volume Two (2023), Volume Three (2025), and Volume Four (2026), building a catalog that feels less like a traditional band and more like a captured moment. No formulas. No road-tested setlists. Just musicians following the sound wherever it leads.
What makes Yawning Balch truly special is how rarely these musicians share a stage under this name. The records were born from spontaneous sessions in the desert, and live appearances remain exceptionally uncommon.
For many fans, this may be the only chance to experience Yawning Balch in person.
A rare gathering of musicians whose roots run deep through the desert scene, bringing music to the place that inspired it in the first place.
Yawning Balch will release their aptly-titled fourth album, Volume Four, on May 29 through Heavy Psych Sounds. Yes, the busiest release day of the year so far. The 8:45 edit of “Pyramid of Djoser” premiering below is less than half of the side-consuming song’s 22:59 entirety — it’s also the longer of the two inclusions on the LP (immediate points) — and its hypnotic sprawl is joined by “Water Ritual” (21:45) on side B. The two extended pieces follow the general ethic of 2025’s Volume Three (review here) in building on the first pair of outings, 2023’s Volume One (review here) and Volume Two (review here), both of which were recorded in 2022 by the four-piece of guitarists Bob Balch and Gary Arce, bassist Mario Lalli and drummer Bill Stinson.
Volume Three, on other hand, was tracked in 2024, and one suspects/assumes that Volume Four comes from the same session. The core of the project from the outset has been in the complementary character of Balch and Arce‘s guitars, the latter’s signature tonality evoking broad spaces and the former’s more traditional lead style coming together with the ultra-fluid grooves from Lalli and Stinson across dug-in jams that aren’t trying to capture anything other than the exploration of sound as it’s happening. Volume Four is the latest in the succession to accomplish this. “Pyramid of Djoser” (the full thing) is duly entrancing. Clearly carved out of a broader jam, its edits where there are any don’t disrupt the flow, and it’s the kind of listen where once your head is in it you’re in for the duration. It’s not necessarily a surprise at this point given that it’s their fourth full-length, but they make that going a pleasure.
You could sit all day and trace the connections between these players, Arce, Lalli and Stinson operating as Yawning Man, Arce and Balch (also Fu Manchu, Axe Dragger, PlayThisRiff.com, etc.) and sometimes Lalli and Stinson also working together as Big Scenic Nowhere with more directed progressive songwriting, and so on. Their familiarity with each other is for sure a factor in what makes “Pyramid of Djoser” flow like such a dream or “Water Ritual” come in from its slow fade with languid grace and tonal wash in kind, but the heart of the proceedings is in reaching into the unknown and finding where the song wants to take them and you as the listener. “Water Ritual” feels cognizant of this without being restrained, and the chemistry of the band becomes more ingrained and more welcoming to those outside for that.
That’s the crux of the impression Yawning Balch make four albums deep. In any linear narrative of the existence of a band — even one who mostly exist intermittently as everyone involved has higher-priority projects of longer standing, including with each other — by the time they get around to their fourth record, they should know who they are and what they’re about musically. I’m not sure the fact that “Pyramid of Djoser” and “Water Ritual” were cut down from longer jams negates that framing. Volume Four sounds like the work of a band who love being in the room, who are in it to find out where they’re headed that day, and who improvise with a sense of adventure while remaining on firm ground in heavy desert psychedelia. Certainly, for those who’ve followed along to this point, the result will be recognizable across Volume Four, but that familiarity comes with an according sense of warmth, and that is even more a key aspect of what Yawning Balch do and are as a group.
I could probably go on here, timestamp the changes, etc., but I honestly feel like part of the joy in listening to a Yawning Balch record is the escapism. It’s not the world you’re in, but the one you’re headed toward. I know this isn’t the full “Pyramid of Djoser,” and fair enough for the rigors of modern promotion — the ‘gotta have a single’ thing is harder when the record is two songs — but it’s plenty enough for the four-piece to hypnotize and draw you out of your own head, should you be willing to go. My sincere recommendation is you give it a shot.
Thanks for reading, preorder link follows the song on the player below, and please enjoy:
Yawning Balch, “Pyramid of Djoser” track premiere
PYRAMID OF DJOSER (single edit) is YAWNING BALCH second single taken from the band’s upcoming new album VOLUME 4.
The release will see the light on May 29th via Heavy Psych Sounds.
Posted in Whathaveyou on March 26th, 2026 by JJ Koczan
Kudos to Yawning Balch — I mean, generally, yeah, thanks for all that spacious heavy desertdelic breadth and such, but specifically, in this case — for managing to name their album Volume Four and not immediately invoke Black Sabbath. It’s not easy to take someone out of a cornerstone like Vol. 4, but Volume Four avoids the issue, and double-thankfully, doesn’t make a reference to that album’s cover art with its own, instead keeping in line with other Yawning Balch releases to-date, the most recent which was — wait for it — Volume Three (review here), in 2025.
As I read the below, the material from Volume Four would seem to have been culled from the same jams as the last outing, which is just fine. Note also there’s an Echoplex on the single “Water Ritual,” just because it’s an awesome thing to note anytime it happens. You can read more about it from the PR wire, and the song is of course at the bottom of the post:
Instrumental rock supergroup YAWNING BALCH (with Yawning Man & Fu Manchu members) to issue new album “Volume Four” on Heavy Psych Sounds; first track available!
Mojave Desert-based instrumental rock goldsmiths YAWNING BALCH (formed by Yawning Man members and Fu Manchu guitarist Bob Balch) return with their fourth record “Volume Four” on Heavy Psych Sounds on May 29th, and present a first excerpt today!
Yawning Balch is the collaborative and endlessly creative outfit uniting Californian guitarist Bob Balch (Fu Manchu, Big Scenic Nowhere) and desert rock progenitors Yawning Man, incarnated by guitarist Gary Arce, drummer Bill Stinson and legendary bassist Mario Lalli (also Fatso Jetson).
About this new track, Fu Manchu guitarist Bob Balch recalls: “Water Ritual” is the second jam we did during a five-hour session in Joshua Tree on April 20th, 2024, at Gatos Trail Studios. I had just picked up a new pedal called The Fable, and it’s all over this track. It’s a delay with all kinds of crazy repeat options. When we mixed it, I wanted portions of the song to have a ’70s dub reggae feel. So Dan at Gatos hooked up his Echoplex to the board and nailed that sound. Jamming with the dudes from Yawning Man is always a blast, and I’m stoked they invited me. Thanks, Gary, Bill, and Mario!”
Yawning Balch’s dreamy and jam-driven psychedelic rock journey started in 2023 with the release of “Volume One” and “Volume Two”, a two-volume set carved out of a five-hour jam between Balch and the trio in the Joshua Tree desert. Welcoming back desert rock legend Mario Lalli on bass with the 2025 follow-up, “Volume Three”, the foursome offered another mesmerizing psychedelic and post-rock instrumental voyage crafted with love.
They will carry on with the sky-opening, riff and groove galore this spring, with the release of their fourth record “Volume Four” on Heavy Psych Sounds.
YAWNING BALCH is: Gary Arce – guitar Bob Balch – guitar Mario Lalli – bass Bill Stinson – drums
The story goes that in 2022, the component members of Yawning Balch got together in Joshua Tree with no real plan or ideology, jammed for five hours, and in that time produced enough material on the spot so that in 2023, they would release Volume One (review here) and Volume Two (review here) with material culled and edited from that single session. Signed to Heavy Psych Sounds, the band is based around the root collaboration of its guitarists — Bob Balch (also Fu Manchu, Slower, Sun and Sail Club, ex-Minotaur, etc.) and Gary Arce (also Yawning Man, Yawning Sons, SoftSun, Ten East, etc.) — and in April 2024, another five-hour jam took place from whence the two songs and 34 minutes of Volume Three are taken.
A shift in lineup brings Mario Lalli (Fatso Jetson, Yawning Man, Big ScenicNowhere, Mario Lalli and the Rubber Snake Charmers, etc.) to the band on bass alongside drummer Bill Stinson (Yawning Man, Big Scenic Nowhere), and while one is immediately curious if there’s a Volume Four on the way behind it, Volume Three offers escapist resonance in its instrumentalist, mellow post-desert vibe.
Like the first session, the (of course) April 20, 2024, jaunt was recorded and mixed by Dan Joeright, who plays in SoftSun with Arce, and mastered by Wo Fat‘s Kent Stump at Crystal Clear Sound. The two component pieces of Volume Three — “The Taos Hum” (20:27) and “Winter Widow” (14:02) — have enough divergence between them to create a shift in mood from one to the next, but the greater crux of what Yawning Balch do and have done up to this point has been in the exploration. “The Taos Hum” fades in around effects-laced snare drum for almost immediate hypnotic cast, and before the first minute is through, they’re in it. Locked in and rolling. I know that’s the magic of editing, and that in a five-hour session, surely there were flubs, missed notes from whatever might’ve been intended, what usually qualifies as “warts and all,” and that the nature of recording an album is such that that stuff gets deleted and the listener gets a finished product.
So maybe it shouldn’t be such a shocker that Yawning Balch, a group of experienced players well familiar with each other whether that’s Arce and Lalli working together in Yawning Man going back nearly 40 years or Balch and Arce deepening the connection that began in Big Scenic Nowhere circa 2019 with this adjacent outfit, or Stinson serving as the grounding element for much of all of it, including Volume Three, on which he provides another casual-attire masterclass in drumming for fluidity.
From those first echoing snares and the hits cutting through the sprawl of guitar tone from Arce and Balch, the drums hold the languidity of the tempo for an especially molten feel, and if Volume Three is intended to run hot and cold — i.e., Taos, New Mexico, is hot, and winter, referenced in “Winter Widow,” is cold — then it makes sense that the guitar sounds so very sweaty. If you’d listen to it more literally, for the “hum,” there’s a bit of a drone that emerges later on, but “The Taos Hum” is never actually so still as its title might imply, instead coursing outward on long solo stretches and sections of effects wash like that before eight minutes in, where the listener might suddently snap to and realize three minutes have disappeared and there’s a whole lot going on. Is the “hum” in there? Probably, but so is a Mario Lalli bassline, so there’s plenty going on besides.
By the time it’s 15 minutes in, “The Taos Hum” has resolved a long set of twisting lines and begun its final movement, the band getting their feet under them for a moment and pressing forward. They bring the jam to a head with due swirl and some residual noise, and “Winter Widow” starts with standalone guitar shimmering out there on its own. Building in volume, welcoming the drums and bass in the second minute, unfolding with a quiet grace in the intermingling of high and low end, Lalli‘s bassline seeming first to answer back to what the guitar is playing and then fall in step alongside it, the song finding its shape organically across the first five minutes or so before settling into a pattern. That process itself offers some light suspense — is it going to hold together of course yes it is or it wouldn’t be on the record — but the point here is immersion, and that thread continues in the side B piece as well.
As for the temperature, if you want to read it as colder, go ahead. Certainly one can get an impression of a crystalline lattice in the slow downward float of Arce‘s guitar around seven minutes in, but I don’t know where intention on the band’s part ends and the power of suggestion begins, so take it as you will. That, in the end, emerges as one of the strengths of Yawning Balch‘s third outing. Not only does it confirm the band as not a one-off (or a two-off, as it were) with their first session, and give a look at the changing dynamic in the band as Lalli returns to the Yawning Man-et-all fold while splitting his time playing with Brant Bjork Trio and El Padre el Don (currently on tour with Colour Haze), but it serves as the latest chapter in the Arce/Balch narrative, which has seen the chemistry that was already there when Big Scenic Nowhere did their first EP flourish into something distinct enough that Yawning Balch need to be a band separate from all of these guys’ other bands with each other. There’s more to explore, in other words, and Yawning Balch sound ready to embrace that particular unknown.
Is Volume Four coming? Will they somewhat inevitably make a Black Sabbath reference in the title? I kind of hope not. More, I hope Yawning Balch push past the trilogy trap and keep going. Part of what Volume Three offers — on the most basic level, it’s 34 minutes of Bob Balch, Gary Arce, Mario Lalli and Bill Stinson playing music that you don’t yet own; are you going to stand for that? — is a vision of desert jams that look beyond janga-janga stoner rock riffing (nothing against it) and, with a spirit of improvisation, try to expand the palette of the genre, either actively or passively. Surely these are worthy adventures to undertake. As “Winter Widow” eases to its finish, having mined a progression from out of thin air, once more the band excellently frame a movement from out of what was clearly a broader take, and they leave off as they invariably would with some leftover melody on guitar to hand the listener back to reality. Seems a little cruel, considering the alternative they lay out.
The third full-length from Yawning Balch, titled Volume Three in keeping with their output to this point, will be released through Heavy Psych Sounds on Feb. 21, 2025. To coincide with the opening of preorders, the band and label are unveiling “The Taos Hum – Part 1,” which is a seven-minute selection taken from the first of the two side-long slabs of molten heavy desertdelic jamming comprising the album. And normally I might tell you something like, “Oh hey, if you’ve got time in your busy day” or something like that, but let me instead convey some urgency on this one. This is hurry-up-and-relax stuff. Put it on now for realignment to your brain’s proper configuration.
If you caught wind of either Volume Two (review here) or Volume One (review here) last year, Volume Three probably isn’t going to be a shocker, either on “The Taos Hum” (20:26) or “Winter Widow” (14:02), but it does reintroduce Mario Lalli to the rhythm section with drummer Bill Stinson and to the sphere of Yawning Man, Big Scenic Nowhere, and so on, and it features the collaboration of Yawning Man‘s Gary Arce and Fu Manchu‘s Bob Balch (also Sun and Sail Club, Slower, etc.) in a new session from which its pieces were carved out. It happened April 20 this year because obviously whatever you were doing just wasn’t stoned enough.
That said, I could watch five hours of this happening regardless of that given afternoon’s lucidity quotient. Volume Three lands in February but you can order now before “The Taos Hum – Part 1” hypnotizes you and you lose consciousness for the rest of your day. Enjoy that, by the way.
Links and PR wire info follow:
Yawning Balch, “The Taos Hum – Part 1” premiere
THE TAOS HUM – part 1 is the first YAWNING BALCH single taken from the upcoming brand new album VOLUME THREE.
The release will see the light February 21st via Heavy Psych Sounds.
“Volume III” was captured on April 20th 2024 during a five hour jam session in Joshua Tree, CA. No overdubs were needed.
Recorded at Gatos Trail Engineered by Dan Joeright Mixed by Dan Joeright Mastered by Kent Stump at Crystal Clear Sound Artwork by John McGill Logo by Pia Isaksen
Yawning Balch are: Gary Arce – Guitar Bob Balch – Guitar Mario Lalli – Bass Bill Stinson – Drums
Posted in Features on December 18th, 2023 by JJ Koczan
[PLEASE NOTE: These are not the results of the year-end poll, which ends in January. If you haven’t contributed your picks yet, please do so here.]
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It is encouraging in the extreme to see heavy music, as both concept and practical reality, growing more diverse. For all its rebellious airs, rock and roll has always been predominantly white and male, and its heavy underground form is no different. But for any artform to survive let alone evolve, it has to be open to new ideas and perspectives, and I firmly believe that the underground is becoming a more inclusive community. It has a distance to go that can only be measured in light years, but progress is progress.
2023 was a stunner from the start, with early highlights that stuck around and were joined by more as the months progressed. And while we’re speaking about it in past tense and it’s wrap-up time and so on, there are still new releases coming out every day and week. All over the planet, the heavy underground represents a vibrant subculture, rife with creativity and purpose, speaking inside genre and out, and all the time looking to grow artistically and in terms of listenership. As a result, the work being released holds itself to a high standard.
And yes, that’s true even if it’s about bongs.
Actually, that such willful primitivism is taking place at the same as doom forays into goth, psych forays into mania and tone-worshipping stoner rock seems intent to both double-down on simplicity while expanding into increasingly progressive territory is emblematic of that very standard and the diversity among practitioners of these styles in the current and up and coming generation.
One could go on here, speculate on future directions and so forth, but frankly there isn’t time just now. The list you see below is mine. I made it. It’s informed by my listening habits — what I had on most — by what I see as the greatest level of achievement by the band in question, and in some cases by critical import. It’s a weird mix, but let’s face it, you don’t care. The bottom line is all I’m claiming to represent here is myself and this site.
Accordingly, as with every year, I’ll ask you to please be mindful of the feelings and opinions and others if and as you proffer your own. I love comments here, I love discussions on this post most of any throughout any year, every year, but that can’t happen if somebody’s being a jerk, so don’t. If you disagree with me or someone else, I don’t care if you have a 40-page treatise on your opinion or if you just don’t dig a thing, but if you’re seeing these words, it is our responsibility to each other to be respectful and kind.
Beyond that, in advance of what’s about to unfurl below, please know that I thank you for reading.
**NOTE**: If you’re looking for something specific, try a text search.
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The Top 60 Albums of 2023
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For the last two years (2022 and 2021, linked for reference), I’ve done my own list as a countdown from 60, and since it feels both like way too much, over-the-top, totally unnecessary, and like a completely inadequate sampling of what was worth hearing this year, I guess it’s the way to go once again. Right now is the first of three times I’ll encourage you not to skip this list.
This is the second. Here we go:
60. Codex Serafini, The Imprecation of Anima (review here)
59. Strider, Midnight Zen (review here)
58. Black Helium, Um (review here)
57. Humulus, Flowers of Death (review here)
56. Fuzz Evil, New Blood (review here)
55. Blood Lightning, Blood Lightning (review here)
54. Rotor, Sieben (review here)
53. Cleõphüzz, Mystic Vulture (review here)
52. Black Sky Giant, Primigenian (review here)
51. Khan, Creatures (discussed here)
50. Slumbering Sun, The Ever-Living Fire (review here)
49. Massive Hassle, Number One (review here)
48. Búho Ermitaño, Implosiones (review here)
47. Black Moon Circle, Leave the Ghost Behind (review here)
46. Oldest Sea, A Birdsong, a Ghost (review here)
45. Edena Gardens, Dens (discussed here)
44. Merlock, Onward Strides Colossus (review here)
43. Obelyskkh, The Ultimate Grace of God (review here)
42. Lord Mountain, The Oath (review here)
41. Dorthia Cottrell, Death Folk Country (review here)
40. Yawning Balch, Volume One / Volume Two (reviews here and here)
39. The Golden Grass, Life is Much Stranger (review here)
38. Somnuri, Desiderium (review here)
37. Haurun, Wilting Within (review here)
36. Bees Made Honey in the Vein Tree, Aion (review here)
35. Stinking Lizaveta, Anthems and Phantoms (review here)
34. Black Rainbows, Superskull (review here)
33. Polymoon, Chrysalis (review here)
32. Fuzz Sagrado, Luz e Sombra (review here)
31. Yawning Man, Long Walk of the Navajo (review here)
Notes:
This is the third time I’m telling you not to skip this list. Linking to more on these is new. I haven’t done that before for this part of the list, but I hope it helps if you want to dig in.
That Khan stands out to me as needing to be higher given the quality of the work itself, but I got there late. But if you sent this into the year-end poll as your top 30, I feel like you wouldn’t be ‘wrong’ with some of the showings here, whether that’s the blinding shimmerprog of Polymoon, Merlock’s axe-swing sludge or Dorthia Cottrell of Windhand’s acoustic-based solo work.
Strong debut full-lengths from Haurun, Oldest Sea, Boston supergroup Blood Lightning, Cleõphüzz who already broke up, the aforementioned Merlock, mega-weirdos Codex Serafini, Slumbering Sun (kin to Monte Luna and Destroyer of Light), Church of the Cosmic Skull offshoot Massive Hassle, Turkish heavy rockers Strider and Californian metal traditionalists Lord Mountain. Established outfits like Yawning Man, Stinking Lizaveta, Cottrell, Black Rainbows, The Golden Grass, and Rotor continue to explore new avenues of their sound.
In the meantime, the respective progressions displayed by the likes of Black Helium, Fuzz Sagrado, Somnuri and Bees Made Honey in the Vein Tree, the e’er-listenable Fuzz Evil and Argentinian instrumentalists Black Sky Giant offered thrills anticipated and not. Humulus bringing in Stefan Koglek from Colour Haze was a nice touch, and though I haven’t even reviewed it yet, the third and maybe-last Edena Gardens LP completes that collaborative trilogy with members of Causa Sui and Papir as fluidly as one could ask, which is only saying something because of the personnel involved.
There are a ton of others I wanted to put on this list, but numbers are cruel and if I get into decimals or fractions or something like that I’m going to end up huddled in a ball crying. But please know that because something’s not here doesn’t mean it sucked even just in my own opinion or whatever. At the end of the list come the honorable mentions and rarely have they been so honorable.
Buenos Aires trio Moodoom nailed a classic, ’70s-style Sabbathian blues rock with a non-cornball vintage feel better than anyone else I heard who tried in 2023. Their Desde el Bosque didn’t top half an hour, but you can almost feel the heat from the tubes of the amplifiers behind it, and it’s such an organic flow that it’s undeniable as an LP. Dig that creeper riff in “El Ente,” man. Proh. Toh. Doom.
The eighth full-length in a career that goes back 33 years, Zero Minus Infinity is the second Negative Reaction album since guitarist/vocalist Kenny Bones moved himself and the band from Long Island to West Virginia and revamped the lineup, and it’s a beast. It’d be here for “I’ll Have Another” alone with that crush of distortion and Bones raw-throating “It’s you I need,” on repeat, perhaps to alcohol, but that’s just one example of the disaffected delights on offer from the kings of anxiety sludge.
Downpour is one of two 2023 outings from upstart progressive Norwegian instrumentalists Kanaan, as they answered its Spring release with the jammy Diversions Vol. 2: Enter the Astral Plane. Any way you go, composed or improvised, this is a band with a special chemistry. In addition to the nodder highlight “Amazon,” which brought a collaboration with Hedwig Mollestad and the dense boogie riff-push of “Black Time Fuzz” at the start, they proceeded on an evolutionary path that looks now like it will go as long as they do. For now, in its urgency and space both, Downpour is a pinnacle achievement. How long that lasts depends on what comes next.
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27. Mathew’s Hidden Museum, Mathew’s Hidden Museum
Some records make a world. Mathew Bethancourt of Josiah, Cherry Choke, etc., put at least a solar system into the self-titled debut from his solo-project Mathew’s Hidden Museum. Melding lysergic experimentalism and off-kilter vibing with classic boogie, acoustic grunge, the piano quirk of “Golden” and more, it drew lines connecting disparate ideas and ended up making its own kind of sense, with depth enough in its layers that when I close out a week with it half a decade from now (inshallah), I’ll probably still be talking about it. Go get swallowed.
Recorded in Winter 2021/2022, Borracho‘s Blurring the Lines of Reality carried its where-did-we-go-wrong head-scratching sensibility into 2023, where to be sure it remained relevant. The Washington D.C. riffer trio know who they are and what they’re about, and their songwriting, groove and total lack of pretense continue to satisfy five records later even as the band pushes themselves further in structure and craft. And if you’d hold the social comment of their lyrics against them, first, grow up, second, your loss. Give me that smooth jam at the end of “Burning the Goddess” every time.
It was a total shock when superlatively-filth-encrusted sludgers Khanate not only returned with the surprise release of their first LP in 14 years, but that they pulled off such a remarkable change of style, abandoning their former miseries in favor of a more upbeat, uptempo outlook and poppier structures. What’s that you say? That didn’t happen? The record was just so completely, engrossingly wretched that my unconscious mind actually replaced it with something more palatable because Khanate stretch the limits of what punishment human beings can absorb in sound? Well fucking right on. That sounds like Khanate.
Oslo-based doom rockers Saint Karloff harnessed an energy that 25 years ago or so propelled the very beginnings of modern Scandinavian heavy rock and roll, and they did it as a duo paying tribute to bassist Ole Sletner as well. Rife with familiar genre elements, stoner riffing, and band-in-room vibes, and even a little cosmic prog in closer “Supralux Voyager,” Paleolithic War Crimes had its emotional crux in its celebration of song and style, and so became the successful rebound after a terrible loss. If you call yourself a fan of heavy rock, chances are there’s something for you in it.
Though they released the single-song I EP (review here) in 2018, the severely-titled Soul Murder is their first full-length since late-2016’s Blueside (review here). It puts the heavy blues frontmanship of guitarist/vocalist Mathias Northway at the fore as he, bassist Danny Smith and drummer Michael Lowe offer the most live-sounding studio effort I heard this year. Even if you go beyond the songwriting, the soul in the performances, the emotionalism and the believability of their blues, the classic warmth in their tones, the epic oil painting from Nick Keller that adorns its cover, you still have vitality (yes, even in slow parts) and the instrumental conversation happening between the members of the band. The degree of that alone warrants inclusion here.
It can be a challenge to keep up with the ongoing progression of Bergen, Norway, progressive black metal innovators Enslaved, but these 32 years on from their founding it remains worth the effort. Heimdal followed tumultuous but busy years for the band, who mostly supported 2020’s Utgard (review here) digitally for obvious reasons, and was perhaps that much freer in its experimentation as a result of the period of less live activity. However they got to the keyboard part sticking out of “Congelia,” it is only fortunate that they did, since certainly in another couple decades the rest of us might actually be on Enslaved‘s wavelength, and we’ll be glad for it. Until then, they outclass just about everyone’s everything across the board. One of the world’s best bands, outdoing themselves as ever.
Mondo Drag‘s fourth album was also their first in eight years, and with it the Oakland outfit put the lie to the stereotype that prog music is staid. Indeed, the crux of Through the Hourglass came with the passing of founding keyboardist/vocalist John Gamiño mother, in whose honor the Days of Our Lives reference in the title was made. That personal exploration of loss became a classic melancholy progressive psychedelic rocK, bolstered by a partially revamped lineup that includes bassist Conor Riley (Birth, ex-Astra) and drummer Jimmy Perez alongside the established character in the guitars of Nolan Girard and Jake Sheley (both also founding members). Likewise beautiful and sad, songs like “Passages” and “Death in Spring” resonated with the universal experience of mourning as filtered through a rich breadth of influences, memorable movements and entrancing melody. One hopes it was a comfort to Gamiño as surely it has been to others.
With shorter, tightly composed songs, Northern Ireland trio Slomatics managed to make the most atmospheric record of their career to-date. Their seventh LP, it used its time in songs like “Time Capture” and “Zodiac Arts Lab” to underscore the melody that’s been in their sound all the while but has never as much been the focus when set next to the abiding crush of David Majury and Chris Couzens‘ guitars, and though he’s behind the kit, drummer/vocalist Marty Harvey seemed all the more a frontman as his voice soared when called upon to do so. Of course, there was still plenty of time in the 36-minute run for Slomatics‘ crushall in “Wooden Satellites,” “I, Neanderthal,” later in “Voidians,” and so on, but it’s clear their range and reach have grown and their gradual evolution has brought a new level of complexity to their approach. If they keep this up, they risk feeling compelled to stop calling themselves Neanderthals, and while that would be a bummer, one very much hopes they keep it up anyway.
A new solo incarnation of Hamilton, New Zealand’s Craig Williamson — who is best known for his other one-man operation, Lamp of the Universe — the full-band-style heavy roller riffs throughout Dead Shrine‘s The Eightfold Path scratched what must have been a pretty fervent itch for heavy groove, classic swing, and fuzz, fuzz, fuzz, which cuts like “The Formless Soul,” “As Pharaohs Rise,” and side-ending self-jammers “Enshrined” and “Incantation’s Call” fortunately also have a mix spacious enough to hold. Williamson has rocked plenty since the turn of the century when he was in the heavy rock trio Datura, and around 2010 when he had the trio Arc of Ascent going. That band and this one have a lot in common, but Williamson has proven his most sustainable and seemingly preferred way of working is solo, and as one, Dead Shrine stands alongside Lamp of the Universe (wait for it…) in a way that feels like it could be longer term, even as Williamson seemed to blur the lines between the two sides on Lamp of the Universe‘s own 2023 outing…
Although they’re certainly distinct enough to be separate from each other at this point, Dead Shrine and Lamp of the Universe obviously share a lot in common and it felt right to pair them like this. Every year I give myself one ‘#a’ pick, so this is it for 2023 and I’ll just use it to say how incredibly vast Lamp of the Universe has become. While remaining loyal to its beginnings in acid folk and meditative psychedelia, Williamson‘s multi-instrumentalism, the scope of his production, and the absolute care he puts into the project have brought it beyond what reasonable expectations might’ve been. And in part, by that I mean Kaleidoscope Mind rocks. That wah solo in “Golden Dawn?” The blowout drums behind nine-minute opener “Ritual of Innerlight?” Goodness gracious, yes. Even “Immortal Rites,” which is about as close as Williamson gets to Lamp‘s beginnings here, has evolved. But it’s also still the same thing in the root. I don’t know. If you don’t stretch reality to get there, try again later. The most honest thing I can say about it is I feel lucky to be a fan.
It was the feeling that at any given point they might just go anywhere that made Sherpa‘s Land of Corals a surprise as the Italian practitioners of the psychedelic arts have thrown open the doors of both perception and microgenre and come across as thoroughly willful in their krautrock-minded ethereality, and just because the listener doesn’t know what might be next doesn’t mean the band aren’t working with a plan regardless. The follow-up to 2018’s Tigris and Euphrates (review here), the six-song/39-minute collection seemed to be fearless in what it took on, and though much of it was less serene than either of their first two outings, the divergences and the complexities in mood, ambience and arrangement render Land of Corals unto itself. Are we post-heavy here? Maybe. Still heavy as the drums behind “High Walls” show, however, though Sherpa‘s take on what that means and how that manifests is no less individualized than anything else in these tracks. Not something everyone is going to get — I’m not convinced I get it myself at this point — but an act whose creativity has yet to get its due.
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17. Gozu, Remedy
Released by Blacklight Media / Metal Blade Records. Reviewed May 18.
The Boston riff factory known as Gozu have only gotten more vicious, more pointed with time, and yet, tucked at the end of their 2023 outing, Remedy, which has them as veterans at 14 years’ tenure, are “Ash” and “The Handler” and it just goes from sweet to sweeter. Yeah, it’s a ripper into its blood with “CLDZ,” “Tom Cruise Control,” and Gozu — Marc Gaffney (vocals/guitar), Doug Sherman (guitar), Joe Grotto (bass) and Seth Botos (drums), working with producer Dean Baltulonis for a threepeat — have a brand of melody in Gaffney‘s vocals that’s all their own, and fast or slow, loud or quiet, ’80s movie reference or ’70s movie reference, Gozu have been around long enough to know what they’re about. But, after 2018’s Equilibrium (review here) and 2016’s Revival (review here), Remedy feels one step heavier. Revivalwas a great sharpening of sound. Equilibrium brought refinement to that. Remedy comes across with a little of a sense of letting go, of the band digging in where it’s more about what they can do together than the response it’ll get afterward. It suits them.
Oh, The Machine. Seven records deep and still in your 30s. That’s the advantage of starting early, which the Netherlands-based trio most definitely did. Wave Cannon, accordingly, is both masterful in its conjurations of warm heavy psychedelic fuzz, and energetic in its delivery, with founding guitarist/vocalist David Eering bid welcome to bassist Chris Both and farewell to original drummer Davy Boogaard. And where 2018’s Faceshift (review here) tipped a balance in their style toward more of a punker push, Wave Cannon led off with “Reversion” and seemed all the more purposeful in its mature heavy psychedelic delve for that. It could be Wave Cannon will be the blueprint for a settled-in aesthetic the trio now more than ever driven by Eering, or it could be the beginning of a whole new evolution of sound from the revamped three-piece recommitted to trippy sounds and warm nod. Either way, it’s not that often you talk about a band’s forward potential after seven full-lengths, so The Machine are in a pretty special place circa 2023 and Wave Cannon, whatever it leads to, is a special moment of transition captured.
Similar to how trees live in an experience of time separate from ours and the way an earth year is laughably tiny set against the scale of the universe, Chicago heavy psych rockers REZN seem to operate on their own temporal wavelength throughout their fourth album, Solace. Able to crush at will, as at the end of “Possession,” or the early going of “Stasis,” in the trades of “Reversal,” et al, Solace found REZN more confident in their dives through melody and atmosphere than even they were on 2020’s Chaotic Divine (review here), they created a space and dimensionality of sound that belongs solely to them in the style. Quieter stretches in “Webbed Roots” enthralled with their depth, and the ethereal vocals brought human presence while furthering the smoke-swirls and incense mystique. On their own terms, and yes, very much at their own pace, REZN have made themselves one of America’s most essential heavy psych bands, and Solace — joined in 2023 by REZN‘s collaboration with Mexico’s Vinnum Sabbathi, Silent Future (discussed here) — crowns their to-date discography.
I’m not saying I think it’s cool to write songs about serial killers, but if you’re going to listen to a Church of Misery release almost 30 years after bassist Tatsu Mikami started the band, chances are you know their stated theme is nothing if not consistent. Born Under a Mad Sign delivered on its promise of memorable doom riffs, and as the songwriter and figurehead for arguably Japan’s most influential doom export, Mikami acted as ringmaster while returning vocalist Kazuhiro Asaeda brought mapcap intensity (and fun) to the grooves fostered through Yukito Okazaki‘s guitar, Tatsu‘s bass and Toshiaki Umemura‘s swinging drums. As ever, loyalty and reverence to Black Sabbath are at the core of Church of Misery‘s everything, and in that sphere, there are very, very few humans walking the planet who can do the thing as well as Tatsu. Like, maybe four going on five. As such, regardless of the subject matter (something I can say because I don’t know anyone who’s been murdered) and some eight years after their preceding long-player, Church of Misery are essential as the vehicle for that.
I’m not sure if in 2015 when Boston’s Kind released their first album, Rocket Science (review here), anyone would have guessed there would even be a third full-length from them, let alone one that so much typifies the personality the band has built for itself. Comprised of the otherwise-plenty-busy lineup of vocalist Craig Riggs (also Sasquatch‘s drummer and so constantly touring), guitarist Darryl Shepherd (ex-Milligram, Blackwolfgoat, Test Meat, scores of others), bassist Tom Corino (Rozamov) and drummer Matt Couto (Aural Hallucinations, ex-Elder), Kind have found a sound that is separate from what its component members have done on their own, and become a genuinely more-than-sum-of-parts grouping. Whether it’s the rush of “Power Grab” or the way the rhythm of “What it is to Be Free” seemed to gain so much extra punch, or “Massive” at the record’s center earning its name in tone and swing alike. The “whoa baby come on” at 1:56 into that song is of course the reason Close Encounters made this list, but rest assured that across the span Kind are at what is a thus-far peak of their powers.
Stay with me here, because as you scroll further down this post, you’re going to see that Iron Jinn‘s hour-long 2LP first offering, declaratively-titled Iron Jinn, is my pick for debut album of 2023. Born out of an initial onstage collaboration at Roadburn 2018 (review here), the Arnheim, Netherlands-based four-piece brings together guitarist/vocalists Oeds Beydals (Molassess, ex-Death Alley, ex-The Devil’s Blood) and Wout Kemkens (Shaking Godspeed) with the labyrinth-constructing rhythm section of bassist Gerben Bielderman (Pronk, etc.) and drummer Bob Hogenelst, and from the late pointed lead lines of “Truth is Your Dagger” acting in duly jabbing fashion to the heady ambient drama of “Bread and Games” and the dark-prog atmospheres fleshed out as a backdrop to the melodies of “Soft Healers” and “Blood Moon Horizon,” the all-corners turns of “Lick it or Kick It,” on and on and on, the album resounds with both scope and ambition. What the long-term story of this project will be, I have no idea, but Iron Jinn is a record that brings new ideas to a sphere that very much needs them, and if there’s any luck, it will prove influential in the coming years.
Let the record show that when tasked with the biggest moment of their career to this point, Green Lung absolutely stepped up to meet it. This Heathen Land, as their first full-length with Nuclear Blast‘s backing (and third overall), will be the point of introduction for what will gradually become the bulk of their audience, and in its occult lyrics, sweeping, unironic, all-in grandiosity, weight of tone and craft of hooks, it tells you everything you need to know about why and how Green Lung got to where they are (save perhaps touring). Their task from here will be to find and refine the balance between metal and rock in their sound, but for a band whose clear intention from the outset was to take on the world to bring themselves to a point where they’re arguably doing so at least as regards the heavy underground is an accomplishment in itself. Then you get to songs like “Maxine (Witch Queen)” and the over-the-top finale “Oceans of Time,” and if you can let yourself have a little fun every now and again with your doom and witches and whatnot, this one was just about irresistible.
The album that boldly asked if it needed to be a wizard to earn your love, the fifth long-player from volume/tone/devil-worshiping (and perhaps in that order) Polish doomcrafters Dopelord was not at all the first heavy record to use Satan as a political statement — specifically in this case about social oppression in their home country and the political power of the catholic church there — but they wielded their rebel-angel argument with already-in-your-head songs like “Night of the Witch,” “The Chosen One,” “One Billion Skulls,” “Evil Spell” and the upped nastiness of “Worms,” in other words each and every of the non-intro/outro tracks, with emergent mastery and a plod that was as clear and infectious a call to praise as I heard in 2023, no less for its melodicism than its heft or the crispness of its delivery, the guttural rasps of “Worms” aside, which swapped in vitriol at just the right time. Songs for Satan was a new level for Dopelord‘s approach and as much an epistemological fuckoff to fundamentalism as it was consuming nod, and there was none more righteous in their cause. At the risk of saying the quiet part loud, dudes are going to be copping riffs from it for years.
Returning with their fourth long-player, Swedish trio Domkraft have found the style they’ve been working toward all along. As with some of the others on this list, it’s not that Sonic Moons was such a radical departure. It wasn’t. They worked with the same production team that helmed their 2022 Ascend/Descend (review here) split with Slomatics as well as 2021’s Seeds (discussed here). Björn Atldax‘s cover art was on point and in keeping with their visual aesthetic. But there’s a spaciousness on Sonic Moons in “Downpour” and amid the intensity of crash in “Stellar Winds,” and their sound has grown to become dynamic enough that as nine-minute leadoff “Whispers” pushed through its crescendo it seemed to get more and more physically forceful as part of the process. Couple that with assured writing and performances from bassist/vocalist Martin Wegeland, guitarist Martin Widholm and drummer Anders Dahlgren, and Domkraft honed in on an evolved cosmic noise rock and were unafraid to incorporate elements of psychedelia, space and classic stoner riffing into a definitive statement of their purpose.
Ukrainian progressive heavy rockers Stoned Jesus released a career album this year. Did you catch it? Restricted from touring as their home country continues to struggle against a Russian invasion that’s been ongoing for, well, a decade, but more intensely for the better part of the last two years, Stoned Jesus offered something different across each of Father Light‘s six tracks. From the catchy strums of “CON” to the only-timely-but-written-earlier “Thoughts and Prayers” and the you-want-riff-here’s-your-riff 11-minute neckroll of “Season of the Witch,” they proved once again to be a more diverse and thoughtful act than they’re almost ever given credit for being. Expanded stylistically from 2018’s Pilgrims (review here), Stoned Jesus — guitarist/vocalist Igor Sydorenko, bassist/backing vocalist Sergii Sliusar and drummer Dmytro Zinchenko — toyed with retroism on “Thoughts and Prayers” while the late solo in “Get What You Deserve” underscores the sentiment in that climate-change-themed finisher, all the while standing astride their own material, solid, confident, still looking forward. It’s the world that’s the problem, not the band.
First of all, I stand by the review. To expand on that (and the review itself was expanded on here), it was the songwriting that kept me coming back to the second album from Washington trio Kadabra, who progressed on all fronts from their already-impressive 2021 debut, Ultra (review here). They made hooks like “The Serpent” and “The Devil” feel like landmarks in a record-long horror feature that’s told as much in riffs as lyrics, but at the same time there’s nothing fancy happening in terms of sound. Some organ in “Mountain Tamer,” plenty of fuzz throughout, and the songs. It’s the songs. The songs. The fucking songs. That uplift in “Midnight Hour.” The feeling of oh-shit-we’ve-arrived in “The Serpent.” Playing toward some of Uncle Acid‘s lyrical creep with tight-knit grooves and sharp turns, Umbra not only showed the preceding LP wasn’t a fluke, it conveyed mood and atmosphere without giving up momentum or structure, and every move it made, from the shimmer opening “White Willows” to the last strains underscoring the chorus of “The Serpent” in the concluding acoustic reprise “The Serpent II,” Kadabra‘s sophomore outing communed with genre with a perspective becoming increasingly its own. And again, the songs.
There was a while there where I honestly didn’t think Dozer were ever going to do another record, so Drifting in the Endless Void is a life event as far as I’m concerned. The trailblazing Swedish heavy rockers have been playing live periodically for the last decade, and word has been kicking around of studio work, new songs following what was until this year their most recent album in 2008’s Beyond Colossal (featured here), but to actually have such a thing manifest and take the form it did made it a reinvigoration of Dozer‘s sound and what seemed to be a chance to try both new and old methods of working. In the raging “Ex-Human, Now Beast” and the breadth of “Missing 13,” Dozer reminded older heads. and showed a generation that’s come up since, why they’ve had the influence they have over the last quarter-century, including in their absence. Realize you’re lucky to be on the planet with it.
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5. Mars Red Sky, Dawn of the Dusk
Released by Vicious Circle Records and Mrs Red Sound. Reviewed Dec. 7.
A fifth full-length brought fresh ideas and new perspectives to the established progressive, melodic heavy psychedelic rock methodology of Bordeaux’s Mars Red Sky, who’ve greeted their maturity as a band with creative openness rather than stagnation. To be sure, guitarist/vocalist Julien Pras, bassist Jimmy Kinast and drummer Mathieu “Matgaz” Gazeau — each crucial to the group as they are — have plenty of recognizable aspects for longtime fans. Indeed, their signature blend of warm but remarkably heavy tonality and floating melodic vocals remains unflinching, but what they do with it has changed. And that’s not just set up for mentioning the Queen of the Meadow collaboration either (more below), glorious as Helen Ferguson‘s contributions to “Maps of Inferno” are (she’s also on the closing reprise “Heavenly Bodies”), or that Jimmmy takes a lead vocal on “The Final Round.” You can hear the progression in “Break Even,” in the expanses of “Carnival Man,” that groove in “Slow Attack,” and even the spaciousness around the lurch of “A Choir of Ghosts.” Fast or slow, loud or quiet, even the interludes here shine with a sense of purpose, and if e’er forward is to be the course of Mars Red Sky for hopefully a long time to come, so much the better.
I will not mince words. This has been a difficult, taxing year for me personally and emotionally, and anytime I felt like I wanted to beat my head into the wall — which has been A LOT — Seattle bringers of chicanery-laced heavy punk-metal Sandrider were ready to go along for the ride. Working as ever with producer Matt Bayles (Mastodon, Isis, a small city’s worth of others), guitarist/vocalist Jon Weisnewski (who also released a killer record this year with his experimental grind/weirdo project Nuclear Dudes; don’t skip), bassist/vocalist Jesse Roberts and drummer Nat Damm wound at mostly high speed through energy summoned from a place I’ve clearly never been with songs that, while they were smashing all your favorite everything to tiny bits, left a memorable impression behind as bruises in the shape of themselves and ended up with enough bounce so that cuts like “Alia,” “Weasel” (the delivery of, “Here comes the mouth/Look at all its teeth”) the their-version-of-epic-and-that’s-pretty-epic “Ixion,” “Circles,” “Grouper,” the title-track, were fun in doing so. It’s their fourth record and I don’t know if there are a ton of surprises, but I sure was happy when it came along and kicked so much ass in such a specific and, for me, helpful way. A catharsis record, but don’t take that to mean it’s just angry. There’s a lot of humor here as well and the songs are a blast. Hard to imagine this isn’t what Sandrider had in mind when they set out over a decade ago.
A breakthrough in craft and style, and immaculate in its turns, tight-but-not-choked arrangements, and willingness to go and be in unexpected spaces, Elektrik Ram was for South African heavy rockers Ruff Majik — comprised of guitarist/vocalist Johni Holiday, bassist Jimmy Glass, guitarist/backing vocalist Cowboy Bez and drummer Steven Bosman — a rare realization of potential. I said as much in the review. Not every band gets to make a record like this. From the charge of its title-track and “Hillbilly Fight Song” and the unspeakable catchiness that begins there and threads throughout the stylistic shifts of “She’s Still a Goth,” “Cement Brain,” “Delirium Tremors” — on the 15th anniversary reissue, maybe bring the triangle down in the mix? (kidding; it’s painful and should be) — and into the broader grooves of its ending section with “A Song About Drugs (With a Clever Title),” “Shangrilah Inc.” and the raw-emotive “Chemically Humanized,” which when set against the oh-look-I-just-beat-your-ass thematic of “Hillbilly Fight Song” feels duly brought low. This is a great — yes, great — album, and I don’t think I listened to anything as much this year as I listened to it. They’ve already started work on their next LP, reportedly, and I worry it’s soon, but with the kind of control over their approach that they demonstrate here, there’s really no choice but to trust they know what they’re doing, since that is so much the underlying message in the material, even if its lyrical themes were by and large much darker.
It wasn’t exactly a secret that Howling Giant had momentum and progression on their side. They’ve toured hard the last couple years, offered the instrumental Alteration EP (review here) in 2021 following their oh-shit-these-guys-are-for-real split with Sergeant Thunderhoof, Masamune/Muramasa (review here), and back to their debut LP, 2019’s The Space Between Worlds (review here), and have worked so diligently to engage their audience that a sense of reachout has become part of their sound. You knew that when they next set themselves to making a long-player, there was a real chance for them to sculpt something special, but Glass Future was still a surprise. Unflinching in its construction, mixed for brightness as well as weight, and cutting through that with clearly-schooled harmonies between guitarist Tom Polzine, drummer Zach Wheeler and bassist Sebastian “Seabass” Baltes to give a pop-ish sensibility to progressive sounds that in other hands would serve far more self-indulgent ends. Received as a whole work with its timely endtimes lyrical foundation, it exuded welcome in the hooks of “Siren Song,” “Hawk in a Hurricane,” “Glass Future,” “Sunken City,” “Juggernaut” and the periodic slowdowns through “Aluminum Crown,” “Tempest, and the Liar’s Gateway” and the closer “There’s Time Now,” which called back to the Twilight Zone reference (Simpsons did it) in intro “Hourglass” while fleshing out a brilliantly melodic comedown for the human species. As with the finest of any year’s releases, it will hold its relevance far past the coming January, and for Howling Giant, it sets them on a path of fresh ideas and expansive sound, filtered through a cohesive process to be the engaging good-time apocalypse they’ve become. Glass Future makes Howling Giant one of America’s most essential heavy rock bands and figureheads for a generation still on the rise.
There was never another choice, and not much choice to start with. The manner in which founding guitarist/vocalist Lori S. revamped her band, bringing in bassist/synthesist Bryce Shelton (Nik Turner’s Hawkwind) and drummer Jason Willer (Jello Biafra’s Guantanamo School of Medicine) as the rhythm section supporting the band’s trademark rolling fuzz, and collaborating with Black Cobra‘s Jason Landrian, who added guitar and synth to the tracks, was an expansion and redirection of sound that simply wasn’t anticipated from a band closing in on three decades of activity. But after 2015’s still-undervalued Middle of Nowhere, Center of Everywhere (discussed here, review here), saw Lori and her then-lineup explore more heavy psychedelic sounds, Beyond Vision expanded on that with atmospheres never before conjured by any incarnation of Acid King, and Billy Anderson‘s production, as ever, allowed for scope and claustrophobia to exist in the same aural space. Hypnotic in the riffs of year-highlight “Mind’s Eye” and its penultimate title-track, Beyond Vision freely incorporated an influence from Author and Punisher into the slow plods of “Electro Magnetic” and the huge-in-a-new-way-for-them “90 Seconds,” tripped out easy on the roundly immersive opener “One Light Second Away” and galloped to a (again, surprisingly) rousing finish in “Color Trails.” A band you thought was a known quantity, whose sound you thought was set, showing that creativity doesn’t have to stop just because you have an established sound or are known for doing one thing. Acid King are still Acid King on Beyond Vision, but the boldness with which the album is realized and the sheer bravery of taking the risks it takes in pushing beyond (oh!) what were the parameters of Acid King‘s trailblazing, mellow-psych-informed stoner riffing — always possible it would fall flat in ways it obviously very much doesn’t — came together on a level that was simply unmatched in 2023. Acid King have perhaps never been more royal, more regal as they unfurl these seven cosmic triumphs, but somehow underneath they’re still punk rock. One way or the other, that the on-paper concept of Beyond Vision — all the changes, growth, shifts — winds up secondary to the strength and listening experience of the songs themselves makes it undeniable as the album of the year. It was a no-doubter.
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The Top 60 Albums of 2023: Honorable Mention
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I could very easily do another top 60 with these, and then some. Alphabetically:
1782, Abanamat, Acid Magus, Ahab, Albinö Rhino, Ananda Mida, Astral Sleep, Bell Witch, Benthic Realm, Bismut, Black Helium, Black Rainbows, Blood Ceremony, Blood Lightning, Bong Corleone, Bongzilla, Bridge Farmers, Cavern Deep, Cleõphüzz, Cloud Catcher, Clouds Taste Satanic, Danava, Darsombra, Dead Feathers, Deadpeach, Delco Detention, Desert Storm, Dommengang, Doom Lab, Dr. Space, Earthbong, Ecstatic Vision, David Eugene Edwards, End of Hope, Avi C. Engel, Fin del Mundo, Fire Down Below, The Fizz Fuzz, Formula 400, Fuzz Evil, Gévaudan, Ghorot, Giöbia, Godflesh, Godsleep, Graveyard, The Gray Goo, Green Yeti, Hail the Void, Haurun, Healthyliving, Hexvessel, Hope Hole, Humulus, IAH, Iron Void, JAAW, Jack Harlon & the Dead Crows, Katatonia, La Chinga, Lamassu, Larman Clamor, L’Ira del Baccano, Love Gang, Lucid Void, Maggot Heart, The Magpie, Mammatus, Mammoth Caravan, Mansion, Margarita Witch Cult, Masheena, Melody Fields, Melt Motif, Merlock, Minnesota Pete Campbell, Mizmor, Moon Coven, Moonstone, Morag Tong, Morass of Molasses, Morne, The Moth, Mountain of Misery, Mouth, Mudness, Mud Spencer, Los Mundos, Mutoid Man, Natskygge, Nebula Drag, Nuclear Dudes, Obelyskkh, Conny Ochs, Øresund Space Collective, Orsak:Oslo, Patriarchs in Black, Plainride, Primordial, Restless Spirit, Ritual King, The River, Robots of the Ancient World, Rocky’s Pride & Joy, Royal Thunder, Runway, Sadus The Smoking Community, SÂVER, Seum, Siena Root, Slowenya, Smokey Mirror, Evert Snyman, Sonic Moon, Sorcia, Spidergawd, Spotlights, Surya Kris Peters, Swan Valley Heights, These Beasts, Thousand Vision Mist, Thunder Horse, Tidal Wave, Tortuga, Travo, Treedeon, Trevor’s Head, Unsafe Space Garden, Vlimmer, Warp, Westing, Wet Cactus, Witch Ripper, WyndRider, Yakuza, Zone Six, and apparently frickin’ everything that Dr. Space touches.
Notes:
Certainly a landmark year for Blues Funeral and Magnetic Eye, while Ripple Music, Heavy Psych Sounds, Small Stone, Kozmik Artifactz, Napalm, Sound Effect, Spinda, Mongrel Records and Exile on Mainstream fostered a deeply admirable swath of sounds. If you’re not following these however you do your following — email lists, social media, Bandcamp, etc. — I suggest in a spirit of friendship that you consider doing so.
A couple thoughts before we wrap the big list. First, I harbor no delusions that it’s complete. There always are and always will be records that slip by me. I’m one person running this site. I’ll never be able to hear everything, appreciate everything I do hear to the utmost as everyone else might, or even want to. This is my list, my listening habits for the year and what I thought were 2023’s best full-length releases. If you’d put more in it than that, go look at the headline again. It’s a list. I take it seriously, of course, but if you had Swan Valley Heights or Godflesh or La Chinga at number three on your list — all of which are totally valid picks, just like the rest — and I didn’t, that’s okay.
In fact, it’s beautiful, but it doesn’t always come out that way in the discussion. I’m asking as I do every year to please keep opinions and conversations civil in their presentation. I know arguing on the internet is fun but I’d rather not have the drama and rest assured, I take it all personally.
So, about the honorable mentions: where do you even start? While the balance of the main list, the top 60, is toward established and even veteran acts, it’s encouraging to see so many up and coming groups forcing their way into consideration. From the ambient evocations of Orsak:Oslo to Sorcia’s thick sludge and Melt Motif’s sultry industrializations, Mountain of Misery branching off from Spaceslug, outfits like IAH and Swan Valley Heights finding new maturity, Mammoth Caravan bring aggro edge to huge tones, Healthyliving, Merlock, Morag Tong, Godsleep, These Beasts, Margarita Witch Cult, Warp, Earthbong, Abanamat, Runway, WyndRider, Trevor’s Head, Fire Down Below, High Priest, Nebula Drag, The Magpie, Love Gang, Jack Harlon and others, a slew of impressive debuts and second albums, the generational evolution of sound is ongoing, vibrant, bands establishing themselves and claiming their aesthetic place and respective audiences as we speak. I would urgently encourage you to engage with these artists now, both for immediate satisfaction and as investment in the shape of heavy music to come, which they will make.
The bottom line is this: I believe deeply in the power of art to affect your life, to make it richer, fuller, better. There are mornings when The Obelisk is the reason I’m getting out of bed, and I thank you for reading, for being a part of this. I’ll say more later. We still have a ways to go.
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Debut Album of the Year 2023
Iron Jinn, Iron Jinn
Other notable debuts (alphabetical):
Altered States, Survival
Astral Hand, Lords of Data
Benthic Realm, Vessel
Blood Lightning, Blood Lightning
Bog Monkey, Hollow
Bong Corleoone, Bong Corleone
Cleõphüzz, Dune Altar
Codex Serafini, The Imprecation of Anima
Daevar, Delirious Rights
Dead Shrine, The Eightfold Path
Deer Lord, Dark Matter Pt. 1
Dread Witch, Tower of the Severed Serpent
Ego Planet, Ego Planet
Embargo, High Seas
From the Ages, II
Fuzzy Grapes, Volume 1
Haurun, Wilting Within
Hibernaut, Ingress
HIGH LEAF, Vision Quest
High Priest, Invocation
Inherus, Beholden
JAAW, Supercluster
The Keening, Little Bird
King Potenaz, Goat Rider
Lord Mountain, The Oath
Margarita Witch Cult, Margarita Witch Cult
Massive Hassle, Massive Hassle
Mammoth Caravan, Ice Cold Oblivion
Medicine Horse, Medicine Horse
Merlock, Onward Strides Colossus
Milana, Milvus
Mountain of Misery, In Roundness
Ockra, Gratitude
Oldest Sea, A Birdsong, a Ghost
Pyre Fyre, Pyre Fyre
Runway, Runway
Slow Wake, Falling Fathoms
Strider, Midnight Zen
WyndRider, WyndRider
Slumbering Sun, The Ever-Living Fire
Sonic Moon, Return Without Any Memory
Tō Yō, Stray Birds From the Far East
Tribunal, The Weight of Remembrance
Weite, Assemblage
Notes:
Tell your friends. I think what I like most about that glut of names just above is that there’s a full spectrum of sounds there. Yeah, it’s all under an umbrella of expanded-definition heavy, but that’s the point too. A creative boom is happening that’s seeing the post-Gen X and the earlier end of the Millennials making room for newer acts with new ideas and perspectives.
Why did I pick Iron Jinn as debut of the year, when there was obviously so much otherwise to choose from? Easy. It was the most its own thing out of any of these releases. I love Dead Shrine, Blood Lightning’s intensity speaks to my brain in a way not everything can, Margarita Witch Cult have been building buzz all year. Oldest Sea’s debut is a melancholic declaration of arrival. I was not short on choices, and I’ll probably keep adding to this list as the next week or so goes on.
Dark, heavy, progressive in its approach and complex enough that I still feel like I’m getting to know it, Iron Jinn‘s self-titled so much brimmed with purpose that it seemed to go beyond a first record. My hope, honestly, is that Oeds Beydals and Wout Kemkens spend the next 30 years or so refining that collaboration and exploring where it can go, because if this is the starting point, it’s got enough to it to be the beginning of a lifetime’s exploring. One never knows how things will work out when songwriters work together, but clearly Iron Jinn drew from the strengths of all its members. Records like this, on the unlikely occasion they happen at all, don’t happen by accident.
And yes, Iron Jinn are a new band not necessarily comprised of inexperienced players, but most bands start from members of other bands. Blood Lightning, Slumbering Sun, Weite, Mountain of Misery, JAAW, Ego Planet, Massive Hassle, all the way back up to Benthic Realm and Altered States. New bands, new sounds, new ideas all coming to the fore. Couple that with acts like WyndRider, Daevar, Lord Mountain, Hibernaut, Oldest Sea, Mammoth Caravan, Sonic Moon, Tō Yō, Medicine Horse, High Priest and others here whose members haven’t necessarily appeared in an Obelisk year-end post before, and you get a more complete picture of the churning magma that is the potential for the heavy underground over the rest of the 2020s and hopefully beyond.
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Short Release of the Year 2023
Mars Red Sky & Queen of the Meadow, Mars Red Sky & Queen of the Meadow
Other notable EPs, Splits, Demos, Singles, etc.
Aawks, Luna EP
Aawks & Aiwass, The Eastern Scrolls Split LP
Apollo80 & Dimartis, Reverberations Vol. 1: Tales of Dust and Winds Split LP
Beastwars, Tyranny of Distance EP
Black Glow, Black Glow EP
Bloodsports, Bloodsports EP
Book of Wyrms, Storm Warning Single
Borracho, Kozmic Safari Single
The Bridesmaid, Come on People Now Smile on Your Brother
Burning Sister, Get Your Head Right EP
Cervus, Shifting Sands
Familiars, Keep the Good Times Rolling EP
The Freqs, Poacher
Grin, Black Nothingness EP
Guided Meditation Doomjazz, Expect EP
High Desert Queen & Blue Heron, Turned to Stone Ch. 8: The Wake Split LP
The Holy Nothing, Volume I: A Profound and Nameless Fear EP
Iress, Solace EP
Josiah, rehctaW EP
Kal-El, Moon People EP
Kombynat Robotron & DUNDDW, Split LP
Lammping, Better Know Better EP
Monolord, It’s All the Same EP
Mordor Truckers, Nowhere
Nerver & Chat Pile, Brothers in Christ Split
Night Fishing, Live Bait EP
Oxblood Forge, Cult of Oblivion
Zack Oakley, Demon Run / Funkier Than a Mosquito’s Tweeter EP
Severed Satellites, Aphelion EP
Space Queen, Nebula EP
Speck & Interkosmos, Split LP
Stöner, Boogie to Baja EP
Suspiriorium, Suspiriorum EP
Trillion Ton Beryllium Ships, Destination Ceres Station: Reefersleep EP
Ufomammut, Crookhead EP
Vokonis, Exist Within Light EP
Weedevil & Electric Cult, Cult of Devil Sounds Split LP
The Whims of the Great Magnet, Same New Single
Notes:
In keeping with their history of releasing EPs ahead of their LPs, Mars Red Sky this Spring offered the Mars Red Sky & Queen of the Meadow short outing as a preface to Dawn of the Dusk (number five on the big list), but with just three songs it became one of the releases I listened to most this year. I had “Maps of Inferno” on repeat to a degree that was kind of embarrassing to me even in front of family, and since the EP was basically that, the companion “Out at Large,” which isn’t on the full-length, and an edit that cuts out most of the trippy midsection of “Maps of Inferno” so that it all the more hammers groove into your head in what drummer Matgaz very kindly explained to me was 4/4 timing with three extra beats. Good luck following along to his kick on what seems like such a straightforward nod. What a band. I’m not doing a separate section for it, but “Maps of Inferno” was also hands-down my song of the year.
You can see above, it’s a pretty broad mix, both of release types, of new and older acts, and of styles. I’ve been hailing Vokonis’ better-future queer prog-doom on the regular, and Josiah, Monolord and Ufomammut’s EPs were nothing if not listenable. I dug the first outing from Suspiriorum (mems. Destroyer of Light and more) and hope they continue to flesh out their cult-horror ambience, and Severed Satellites’ (mems. Sixty Watt Shaman, etc.) jams set just right in their Marylander groove. Lammping will likely be on some list of mine until they break up — I’m hooked — and Zack Oakley’s funk also resonated. From the warm heavy psych of Cervus to The Bridesmaid’s all-in-on-far-out experimentalism, a victory lap from Stöner after two quality LPs and the High Desert Queen and Blue Heron split that’s another landmark in Ripple’s ongoing ‘Turned to Stone’ series, it’s been a good year if you’re willing to be distracted bouncing from one thing immediately to the next, which apparently I am.
It’s no coincidence Aawks are on the list twice, and I haven’t reviewed that Black Glow EP yet (it’s in the next Quarterly Review), but it’s a gem as well. Also very interested to see where The Freqs go as a new voice in heavy rock from Boston, and Night Fishing (mems. Abrams) feel like they’re just starting to find what they’re looking for, but this year was also their first and second releases, so they’re on their way. Grin’s assault was furious, and Beastwars always tick that box as well. I continue to dig the vibe of Trillion Ton Beryllium Ships and look forward to more from them, and same goes for both DUNDDW and Bloodsports here, as well as both Apollo80 and Dimartis on that split. Burning Sister took advantage of an opportunity to expand on their sound, and their take on Mudhoney’s “When Tomorrow Comes” was overflowing with love for the source material. If you can’t get behind a band being fans, I’m not sure what we’re doing here.
Because a ‘short release’ can be so much, I won’t call this list complete. If you have a single you loved, or an EP or split or anything else of the sort, and you don’t see it above, please just leave a comment. Maybe I left off something crucial. Maybe you can put me onto something awesome I didn’t hear. I’ll take it either way, and only ask again please be kind.
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Live Album of the Year
Ecstatic Vision, Live at Duna Jam
Other notable live albums:
The Atomic Bitchwax, Live at Freak Valley
Causa Sui, Loppen 2021
Dool, Visions of Summerland
Duel, Live at Hellfest
Edena Gardens, Live Momentum
King Buffalo, Live at Burning Man
Messa, Live at Roadburn
Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Live in NY
Rainbows Are Free, Heavy Petal Music
Sacri Monti, Live at Sonic Whip
Temple Fang, Live at Freak Valley
Uncle Acid and the Deadbeats, Slaughter on First Avenue
Villagers of Ioannina City, Through Space and Time
Notes:
This isn’t a huge list, but it’s burners front to back, and in that regard there’s little in the heavy underground, certainly toward the maddened-space-psych end of it, that can touch Ecstatic Vision’s intense performance ethic. If they’re not yet, I firmly believe the Philadelphia outfit led by guitarist/vocalist Doug Sabolick (also guitar for Author & Punisher) are on their way to having their reputation as a live band precede them, and Live at Duna Jam is further evidence that it should. Issued through Heavy Psych Sounds, it both captured the four-piece’s ultra-dead-on cosmic blast, but it paired that with the theatre-of-the-mind romance of Duna Jam itself; the best-kept-secret-in-heavy week-long unofficial festival held each year in Sardinia is the ultimate escapist daydream. That combination was just too powerful to ignore.
King Buffalo’s surprise Live at Burning Man release will do well to hold over till their next full-length, and I’ll just tell you flat out that no home should be without Causa Sui’s Loppen 2021. Uncle Acid’s first live outing was somewhat obligatory but welcome, and Messa’s Live at Roadburn celebrated the emergence of that genre-blending Italian unit as one of the most essential up and coming bands in Europe. They also made their first appearance on North American shores this year. One suspects it won’t be their last.
I’ll be very much anticipating what’s next from Sacri Monti, Duel, Causa Sui (of course), Temple Fang and actually the rest on this list, which leads us to…
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Looking Ahead to 2024
You’re almost there. Just keep going. Special thanks to the folks in The Obelisk Collective on Facebook for the help on rounding up this hopefully-alphabetized list of names:
10,000 Years, Acid Mammoth, Apostle of Solitude, Big Scenic Nowhere, Bismarck, Blue Heron, Castle Rat, Coogans Bluff, Crystal Spiders, Curse the Son, Deer Creek, DVNE, Foot, Full Earth, Fu Manchu, Greenleaf, Hashtronaut, Heavy Temple, High on Fire, Horseburner, Iota, Ironrat, King Buffalo, Kungens Män, Lamassu, Mammoth Caravan, Mammoth Volume, Maragda, Mario Lalli & The Rubber Snake Charmers, Monarch, Monkey3, Moura, My Diligence, The Obsessed, Orange Goblin, Psychlona, Red Mesa, Rhino, Ruff Majik, Sacri Monti, Sasquatch, Sleepytime Gorilla Museum, Slift, Slomosa, Spirit Mother, Stonebride, Troy the Band, Ufomammut, Unida, Vitskär Süden, Vokonis, Weedpecker, and just because they should probably be on this list every year until a new record comes out if one ever actually does: Om.
If you’ve got names here too, the more the merrier, comment button is below.
—
THANK YOU
This has not been a minor undertaking, whether or not you count the fact that I started keeping notes for 2023 in 2022, just like right now I’ve already got notes going for 2024. It never stops. But every year, I feel like this is among the most important things this site puts out and I use these lists all the time for reference, looking back on what was happening where and when, what came out when, etc. I hope you also find something useful here. I don’t have an exact count, but just by estimate there are at least somewhere between 200-300 bands talked above above. It’s a lot. It’s overwhelming. But I hope you can find something that sounds like it’s speaking directly to you, because I know that I have several times over. Any one of my top five picks I consider an ‘album of the year,’ if that’s a decent place to start.
Thank you to The Patient Mrs. for her support, love and inexplicable willingness to put up with my crap. Right this second, she is keeping our daughter hooked into a going-late morning loaf in bed I think specifically until I get up from the couch, go in the other room, and declare I’m about to start The Pecan’s breakfast, which I probably should’ve done like an hour ago. I am luckier than I am able most days to realize, and I’m working on that, and it is the beauty and flat-out amazing nature of the two people with whom I share our home that is the reason why it’s worth that effort.
I’m sure I said as much above, but I believe in art. I believe in creativity. I believe these things are a path to fulfillment that lives without them do not experience. There are ups and downs to everything, and any glorious creative individual is just as likely to be their own worst critic, but isn’t that still worth it too? Don’t we move forward anyway, because what’s the other choice?
I thank you for reading a lot. I’ll do it again now: Thanks for reading. Your support is the reason this site is still here. It’s why it’s worth it to me to take hours from days stretched across the better part of a week (I actually finished early, thanks again to The Patient Mrs.) to do this in the first place, let alone entertain the notion of doing so again next December and on into some unknown measure of perpetuity.
Thank you. Thank you. Thank you. If you’re seeing these words, I wish you and yours the best of everything for fucking ever, and cannot begin to tell you how much I value your time and willingness to spend it here.
Taking tomorrow off, but after that, we go as ever: onward.
[Click play above to stream Yawning Balch’s Volume Two in its entirety. Album is out tomorrow, Nov. 3, on Heavy Psych Sounds with preorders here for North America and here for Europe.]
Volume Two picks up more or less where earlier 2023’s Volume One (review here) left off, fading in around Bill Stinson‘s drums with an immediately spacious wash of tone, guitarists Gary Arce and Bob Balch setting out intertwining lines of the reverberating, resonant drift that will in no small part define the three-songer’s 42-minute course while bassist Billy Cordell adds melancholia to the melody and fleshes out the punctuation of the toms in the early going of “A Moment Expanded (A Form Constant).” Like its predecessor, Volume Two presents its component material without fanfare.
That fade in is what you get and before you know it, you, the four-piece — which is Bob Balch of Fu Manchu, Sun and Sail Club, Slower, Big Scenic Nowhere (who also have a new one coming), etc., and I think the second-to-latest incarnation of Yawning Man, of course founded by Arce — are fully engrossed in the jam. The spirit of the jam, its fluidity and the trajectory it takes, maybe consciously, maybe not, as it unfurls its extended 18:37 run as both opener and longest track (immediate points), backed in soul and chemistry by “Flesh of the Gods” (9:59) and “Psychic Aloha” (13:36) on side B, which are no less dynamic in their execution.
The narrative of Yawning Balch reminds of old jazz collabs. You get Charlie Parker and Dizzy Gillespie in a room together and see what happens; two players of a different style putting themselves in a position to complement and inspire each other. To be sure, Balch and Arce are each their own guitarist, but even more than the work they do together as part of Big Scenic Nowhere, the melding of their methods is highlighted in Yawning Balch in part because of the shape of the pieces themselves. Big Scenic Nowhere is also an expansive heavy psych foursome, and yes, there’s more than a bit in common between the two, but these are jams and those are songs and the intention is distinct.
As one might expect, Yawning Balch also has a fair bit shared aesthetically with Yawning Man at their longformiest, but is apart enough from that too to be its own thing and given its direction in part by Balch‘s post-recording editing and mixing. There won’t be many surprises in Volume Two for anyone those who heard Volume One — the two were tracked at the same time — but if you told me that the ending of “A Moment Expanded (A Form Constant)” was the impetus for releasing these explorations in the first place, I wouldn’t argue with the choice.
I’m pretty sure if Yawning Balch took Volume One and Volume Two and posted them on YouTube as ‘Chill Music to Study (2024)’ or somesuch algorithm-manipulating nonsense, they’d have enough views to make Stoned Jesus blush, but either way, the three inclusions flow within themselves and between each other with a grace made all the more palpable through a relaxed pace. “Flesh of the Gods” is a meditation, fading up around a movement already in progress but with which it’s no struggle to get on board. Cordell being the secret weapon here as bass always is in Yawning Man, the warmth beneath the alternately soaring and noodling guitars isn’t to be understated in the overarching impression Yawning Balch make, never quite mellowed to a point of shoegaze. Maybe looking up instead. Sungazer psychedelia. Don’t look too long or you’ll burn your eyes.
Whether or not they’re communing with immortals, “Flesh of the Gods” unfolds patiently in its atmospheric course, riding its central groove for the duration and marking out its breadth around that. As with the cuts preceding and following, it is gorgeous, and even more than the leadoff, it feels representative of the band’s time in the studio together. One imagines that, as Balch sat down with the recordings, there were a few stretches like “Flesh of the Gods,” which even as the shortest song on Volume Two seems to dig deep into its procession, the wash of effects and lead guitar floating but not completely amorphous with the cycling measures pointed out by the bass and drums.
It might be a test of who gets it and who doesn’t — if you can go with it, “Flesh of the Gods” is easy listening; if you’re the type to lose patience with a group exploring around the same progression for 10 minutes, it’s another story — but the ambience is only inviting, and the last crash and transitional drift into the quiet guitar that starts “Psychic Aloha” is another showcase of the underlying consideration put into how this material, which is about as barebones as you get in terms of traditional songwriting development, but that is nonetheless purposeful and thoughtful in its delivery.
As the final track from the sessions that produced both of the project’s LPs to date — and there may be more to come or not, I don’t know — “Psychic Aloha” is duly serene, with a languid but not lazy beat snapping on the twos and fours while wisps of synth or effects (the latter, likely) push into a kind of cosmic desert wash with a more definitive fuzzy strum arriving after the five-minute mark to anchor and guide the not-quite-a-march-but-neither-just-a-casual-stroll into the ensuing crescendo, which maintains the methodical pace while spreading out across a vaster shimmering wash from the guitar.
True to both the first album and the general expectation going into that and coming out of this — that is, it’s something completely reasonable and I’m not complaining about it; I’m big on tonal clarity in multiple contexts — Yawning Balch and Big Scenic Nowhere share much from having the Arce/Balch collaboration at their root. That’s probably inevitable, especially as both are relatively new (within the last five or six years; less than that here) projects and haven’t yet had the chance to fully manifest the distinctions between them, but already and bolstered further by Volume Two it’s clear that each resides in its own space with its respective goals. How Yawning Balch might develop, if they keep going at all — I’ll argue there’s more to be said (instrumentally) — is a less predictable and more exciting prospect for that, as from the six pieces they’ve thus far unveiled there’s really nowhere that seems off limits.
Posted in Whathaveyou on August 15th, 2023 by JJ Koczan
In the longer term, it probably wouldn’t matter at all, but I’m glad that Yawning Balch — the four-piece union of desert rock forebears Yawning Man and Bob Balch of Fu Manchu among, at this point, a slew of others — are getting their second full-length, Volume Two, out before the end of 2023. Something about the symmetry there, not the least since Volume Two comes from the same jam sessions as Volume One (review here), which arrived just last month. Had they wanted, the band probably could have put the two records together as a 2LP and rolled that out, but this way it’s kind of like the offerings are adjacent, close by each other, but also giving enough space to appreciate where the music goes without being numbed by the hypnotic nature of the work itself.
There’s no audio yet from Volume Two that I’ve been able to find, but if you want to hear what the band is all about, well, the debut is probably a great place to start since (1:) the next album was tracked at the same time and (2:) it’s their only other work to-date. You’ll find that stream at the bottom of the post. Here’s the gorgeous cover art and album info, hoisted from the PR wire. Album’s out Nov. 3:
Heavy Psych Sounds to announce YAWNING BALCH sophomore album VOLUME TWO – presale starts TODAY !!!
– sophomore album of the new desert rock music project feat. Yawning Man and Bob Balch from Fu Manchu –
RELEASE DATE: NOVEMBER 3rd
Today we are stoked to start the presale of the YAWNING BALCH sophomore album VOLUME TWO !!!
Bob Balch here. In November of 2022 I went out to Joshua Tree for a day of jamming with the guys in Yawning Man with the intention of calling it “Yawning Balch.” No riffs were planned. We just plugged in and played. The only discussion beforehand was that Gary Arce and I wanted to mess with tons of guitar pedals. I knew that while we were jamming it sounded great, but it wasn’t until I got home and listened to it all that I realized we had something special. It’s hard to believe that we jammed for five hours and got two full length LPs and then some out of it. Every player killed it on these recordings and I’m beyond grateful to have my name involved with this legendary band. Fingers crossed they invite me back out annually for more jam sessions. I hope you enjoy these jams and please use responsibly.
A Moment Expanded (A Form Constant) This is sort of a parallel piece to “Dreaming with Eyes Open” from Volume One. This is another totally improvised jam like the other songs. Although, I took this one back home and changed my guitar tones a little using different delays and reverbs. The overall piece of music remained the same though.
Flesh Of The Gods This was actually the first song we tracked during the session. Just getting a feel for how we all played together as a band. I think it turned out awesome considering that. The main melody came quick and like the other tunes this one surfaced easily.
Psychic Aloha This tune is the only song on the album that features any synth. For that reason there is a lot of different synth sounds as the song progresses. I overdubbed the synth parts after the fact but the other instrumentation remained untouched from the original jam.
RELEASED IN 15 ULTRA LTD TEST PRESS VINYL 100 ULTRA LTD SIDE A – SIDE B GREEN-BLUE-YELLOW VINYL 400 LTD CREAM VINYL BLACK VINYL DIGIPAK DIGITAL
TRACKLIST 1. A Moment Expanded (A Form Constant) 2. Flesh Of The Gods 3. Psychic Aloha
CREDITS Recorded at Gatos Trail and engineered by Dan Joeright. Mixed and Mastered by Kent Stump at Crystal Clear Sound. Artwork and layout by John McGill Logo by Pia Isaksen
YAWNING BALCH is: Gary Arce: Guitar Bob Balch: Guitar, Synth Billy Cordell: Bass Bill Stinson: Drums
