Al's 10 best of 2013

As 2013 quickly fades away and drowns in a foggy haze of weed smoke and fine beer the memories of yesteryear are already difficult to muster, but with the veritable slew of outstanding releases throughout '13 I am left with one big glaring memory of another great year for heavy music in all its forms. Our beloved genre goes from strength to strength and with the consistently high quality of heavy music having been released over the past 12 months there is no sign that our scene is fading away with all the other memories that get locked up within the lost rooms full of a thick green haze and frothy hoppy goodness.

Despite my crumbling memory there have been some landmark releases that will forever stick in my mind so this is my 10 best of  '13, a list I have selected from my regular playlist and pulled together from the reviews I have written for Heavy Planet, bar one. This is not an exclusive list and is in no particular order but be sure to click the titles where you will be taken to the bandcamps or 'tubes of these band's amazing music.

Tentacle - Ingot Eye

Tentacle are one of Ice Dragon's many alter egos and they just so happen to be the slowest and most sludgy, dirge filled and filthy Leviathan of otherworldly doom you are ever likely to have plowed into your metal ravaged earholes. For me, this album has everything I want to hear from doom; from it's Lovecraftian hymns howled by a crazed Cthulian high priest, to the ultra black laments that seize control of body and mind and have you involuntarily curled up on the floor and weeping in hopeless terror; the 4 odes to the deep that comprise "Ingot Eye" will slay any hardcore sludge/doom/drone/sickness fan. When the Tentacle gets you, that's fucking it. You give up. *Protip: not to be listened to on your mp3 players whilst trudging the streets as the effect described above only leads to long stints in psychiatric hospitals and a lot of horrible medication.*

(((Tentacle Facebook)))

Maeth - Oceans Into Ashes

Maeth's debut release "Horse Funeral" blew me away when I first heard it. Then, a year later, I listed to their follow up release "Oceans Into Ashes" and I was stunned by what was I was hearing. Maeth are masters of their craft and it shows on this album in a blaze of searing and spine tingling post metal, massive doom riffs, gentle and/or mystical ambiance, powerfully crusty sludge outbursts and electronically sonic experimentalism. Maeth are different and follow no well worn and obvious codes as they forge their own path and it is highly enjoyable to hear. Maeth have a very strong character about them and it shines brightly in their music. With 2 albums under their belt at a level of quality that few can match so early on in their careers; soon enough everyone who loves heavy music, be it doom, sludge, post metal or drone; will know the name and music of Maeth.

(((Maeth Facebook)))

Desert Storm - Horizontal Life

I first discovered Desert Storm when their album "Horizontal Life" was sent to us for review. Soon after that I found out they were to play my home town during their tour supporting super-boogie, hard rock Texan trio Honky on their UK tour. I was immediately taken by "Horizontal Life" but when I heard them live I knew then that Desert Storm are a UK band not to be ignored or pushed aside in favour of more well known UK heavy bands. Desert Storm mean business and they are damn hard working to as they always seem to be on the road touring the UK. "Horizontal Life" is an album packed with big bluesy and groovy stoner metal riffs delivered with a confident swagger and gruff that gives a big nod to Clutch at times but Desert Storm add a big heap of dirty sludge metal and even gentle psychedelia to their sound to make it their very own. The song writing on "Horizontal Life" is brilliant and I don't think I will ever get bored listening to this album. I can't wait to hear what they release next and I can't wait for the opportunity to see them play live again.

(((Desert Storm Facebook)))

Toner Low - III

"III" has to be up there (or down) with one of the heaviest albums released in '13. Hailing from the Netherlands, Toner Low have been around a long time and have put out 3 amazing albums of ultra heavy and hypnotically groovy stoner doom. "III" saw Toner Low take their already low tone and push it even lower. It is dangerous to play this album too loudly and through a big bass cab as it will cause your house fall down and probably your neighbor's too. These are frequencies that trigger earthquakes and make you shit yourself but the 4 tracks that comprise "III" are hugely satisfying to hear. Toner Low manage to make their extremely heavy sound warming to the mind, body and soul as their riffs are trance inducing walls of low freq bliss. Hit many bowls, toke as much green as you can and be prepared for a body crushing experience that will leave you catatonic and dribbling in lowend vibrations, but maybe wear a diaper just in case.

(((Toner Low Facebook)))

AMENRA - Mass V

This album was actually released at the end of 2012 but since I didn't get to hear it until February '13 when I reviewed the album, it makes it onto my 10 best of last year list because for me this is one of the best post metal/power doom albums that I heard in '13. Released on Neurosis' Neurot Recordings, AMENRA come very much from the Neurosis cult of darkly spiritual, earthy and ancient doom and black ambient post metal. A crushing anguish slices through every track on "Mass V" but there is always an underlying essence of determination and hope buried deep within and for those with ears and minds to listen and to understand, "Mass V" is a work of almost religious reveling in introspective but ultimately liberating post metal and atmospheric doom. Whilst AMENRA are cold and harsh and bring images of frozen dead forests smeared with a mist of ghostly memories of lost and pointless battles there is a glint in the eyes of those long dead warriors and the dead trees show tiny green buds on the cusp of bursting. It's deep man.

Throughout 2013 and since signing to Neurot Recordings, AMENRA have toured extensively with many sold out shows and much discussed appearances at several big festivals, and with a UK appearance supporting the mighty Neurosis at Temples Festival in May, AMENRA and their "Church of Ra" will draw their disciples from far off lands for a night of solemn prayers to the doomed.

(((AMENRA Facebook))) 

Trippy Wicked and the Cosmic Children of the Knight - Underground EP

Trippy Wicked returned last year with the highly anticipated "Underground EP" that showed TW take a darker more sludgier direction than their previous album, "Coming Home". Although TW have never been averse to thick and fuzzy sludge-outs, TW have never sounded so dark, so foreboding and so ultra crushing as they do on this EP. That last bit is not strictly true, I admit, as TW have always been ultra crushing but the fact that the "Underground EP" contains 5 odes to a dying world makes it all the more devastatingly crushing. Surprisingly, 2 of the tracks on the EP are instrumentals, if this can even be called an EP as it feels more like a mini-album, in that it feels so very complete, so solid, as if TW achieved what they set out to do with this EP. Not "as if", they DID achieve what they set out to do, and they achieved it brilliantly. The tone is set for the apocalypse; there is desperation and there is fear but most of all there is hope.
TW had a busy '13, hitting the road to play numerous very successful shows across the UK and with many more lined-up for '14, I do hope TW find time to write a new record this year as with every release they just get better and better.

(((Trippy Wicked Facebook))) 

Gonga - Concrescence 

After something of a long quietus/hiatus for Gonga, they finally returned in '13 with "Concrescence" and my oh my was it worth the wait. Being something of a departure from their previous releases, Gonga released an entirely instrumental album that had them explore a myriad of riff currents but without ever dropping the unmistakable Gonga sound. The seamless transitions from colorfully airy psychedelia to fuzzy warm desert grooves to big and earthy pulverizing doom to experimental and jagged jazz metal are all fine examples of Gonga's long mastered riffcraft abilities. The weaving together of these elements in Gonga's own unique way makes "Concrescence" a highly enjoyable listening experience and shows that Gonga have explored and matured their sound over the years but they still rock as hard as they ever did. Despite no longer having a vocalist, Gonga held onto their vision and went back down into the riff crypt for a few years and only resurfaced when planet earth was ready to hear "Concrescence". Gonga's return is most welcome indeed.

(((Gonga Facebook))) 

Monachus - Below

Sweden's dark psyche, doom, sludge kings Monachus released their second album under the name Monachus, after having previously been named Icos. I love all their work whatever they're called but "Below" took their already huge sound and managed to make it huger. The riffs throughout "Below" are of a  truly memorable kind, to the point that any given riff from any song on "Below" sometimes suddenly pops into my head whilst I'm brushing my teeth for instance or holding a door open for an old lady; I hear Monachus' riffs in my mind and then I have to listen to them all day and the next day and the day after that. I get a craving and I need a Monachus fix and my mind won't rest until I get it. Their riffs and their delivery of those riffs and the vocals that are sung and growled so proudly, so encouragingly; they are very pleasing to my doom and sludge addicted ears and that is why "Below" makes it onto my best 10 of '13 list. Monachus take a big leaf out of the books of Isis and Neurosis but there is no mimicry to be heard from these 4 Swedes who have carved their own lasting mark into the great monolith of post metal blended with sludge. There are much howls of triumph throughout "Below" that one cannot help but raise up the arms in celebration. To what, I don't know, but it feels fucking good to do it anyway.

(((Monachus Facebook))) 

 Obelyskkh - Hymn to Pan

When I first heard Germany's Obelyskkh and their album "Hymn to Pan", I was at first stunned then a little confused. I had never come across Obelyskkh before and I spent a large chunk of time trying to work out why a band and album were so good and how it was possible that I had never heard of them. After a bit of research I discovered that Obelyskkh prefer to stay fairly low-key and they originally intended to never put any of their work to record, but they have and the universe is a better place for it. "Hymn to Pan" is a stunning example of masterfully woven doom and sludge metal that oozes with earthy vibrations and organic melodies. The riffs on display throughout "Hymn to Pan" are towering slabs of solid granite that reach to space and which have their roots deep down in the earth and Obelyskkh play their riffs like they are the legendary pagan warrior kings of yore sounding out a battle cry to defend their lands from the invading Roman hoards. The songs on "Hymn to Pan" are breath taking and full of a raw and heavy power that is up there with the very best of doom and sludge bands that we already know and love. Obelyskkh have shown with "Hymn to Pan" that they can at least equal those big dog bands and then some. I believe "Hymn to Pan" to be a classic in its genre and will be seen as such one day. Obelysskh play their take on the genre with an intention to make it last, to set it in stone and when we are all long gone, "Hymn to Pan" will go down as a true legend in its own right.

(((Obelyskkh Facebook))) 

 The Lion's Daughter & Indian Blanket - A Black Sea

"A Black Sea" is the result of a collaboration between dark and sombre folk group Indian Blanket, and black doom metal band The Lion's Daughter, both hailing from St. Louis, MO. What these 2 bands have achieved together is an absolutely perfect fusion of doom and folk into a cohesive single element that is breathtaking in it's brilliance. This is the only release on my list that I did not review as it fell upon my ears right at the tail end of '13 but since then I cannot stop listening to it. I am a fan of folk music in its many forms, and I especially enjoy dark and earthy and psychedelic folk, which there is unfortunately very little to be heard, although there are some rare gems in amongst the inevitable tweeness of most 'dark' folk bands. I have not come across either band before but upon first hearing "A Black Sea", I became an immediate fan of both. On "A Black Sea" The Lion's Daughter & Indian Blanket weave an intricate tapestry of solemn violins, acoustic guitars and tragic words against a huge wall of heart crushing doom riffs, explosive percussion and harsh black metal vocals. It is beautiful to hear and could well be considered a masterpiece of folk doom metal. "A Black Sea" will be a major fixture on my playlist for a long time to come as I doubt I will ever get tired of hearing it. I hope these 2 great bands follow this amazing album with another collaboration sometime in the future.

(((The Lion's Daughter Facebook  - Indian Blanket Facebook)))

~*~

2014 is already looking to be another storming year for heavy music with Sleep announcing that they are recording a new album and Electric Wizard vaguely hinting at the release of their next album, this is one doom/stoner/sludge fan who is quite ravenous at the prospect at wrapping my ears around new music from some of my most beloved bands. Lets raise our jugs of ale and bongs and give thanks to the lords of lowend for the heavy gifts which we receive.

Onwards, forwards my friends!

EP Review "Underground" by Trippy Wicked and Cosmic Children of the Knight

Trippy Wicked and the Cosmic Children of the Knight return after carving a deep groove in the UK heavy music scene with their previous releases, several of which have gained great reviews on Heavy Planet with these 3 lads from St Albans being firm favorites of most of us here, qualifying them to be featured in Nuclear Dog's and Toby's top 20 albums of 2012.

I first discovered Trippy Wicked back in 2010 whilst living near a beach and their song "Sandbag" from their first album was the soundtrack to my time there as it seemed somehow appropriate. "Moving On" was on heavy rotation back then and whenever I listen to that album now I am transported back to those times of beers, toking and beach fires, salty hair, sandy eyes, extreme wind and sea water filling the streets of the small seaside village in which I lived. I have loved Trippy Wicked ever since those gusty, salty days and have followed their career with much interest and have made sure to make a long trip to hear them play live a couple of times, one of which was on their stop at my home town on their recent UK tour to promote this latest offering from one of the most interesting and entertaining heavy bands in the UK. Trippy Wicked just ooze character and their riffmanship is some of the very best I have heard in all my years of being a lover of low end heavy grooves; their riffs, their lyrics, their cheerfully bluesy swagger and cheesy stage smiles are very appealing to those of us who appreciate those crushing moments in classic riffcraft which Trippy Wicked possess by the rum barrel load.

So it was with much joy in my heart when I discovered that the Trippy Wicked dudes had been busy in the studio crafting an EP of 5 songs which I think are some of the best they have released yet. Trippy Wicked just keep getting better with every release and although this EP sees a much sludgier twist to their sound, this is still very much Trippy Wicked through and through.

The opening title track "Underground" has TW blast forth into a churning and thick fuzzed riff momentum which has all the hallmarks of a classic TW track. It holds a melancholy that is not often heard in a TW song but nonetheless has great uplifting moments that show, altough TW have turned their hands to the darker side with this EP compared to their last album, underneath the desperate, almost hopeless tone, an ode to a dying world, there still lies a cause for celebration, even if the ticking clock that ends this song tells us our time is fast running out.

The tick tocks lead to the chunky bass plucks of "Echoes Return" which in my opinion is one of TW's best songs so far. With an almost emotional sludge tinge this song is quite far removed from the typical TW sound, but it still has TW written all over it. This is TW taking their solid low end groove to new dimensions and it is a welcome departure from some of the booze drenched hoedowns of their last album "Going Home." This is a song that plucks the heavy heart strings leaving heavy riffs, drums and vocals that are mezmerizing in their mouth watering execution.

"Enlightenment" has TW exploring the psychedelic realms with an intro that brings to mind the transcendental repetitivity of OM. Then TW turns the super heavy fuzzy sludge riffs to maximum creating a spirit raising groove that runs waves of sonically eargasmic energy into the lug holes and then up and down the spine causing white hot flashes of intense bright light to flash before your inner eye.

"Discoveries" launches straight into a plodding fat fuzzed riff and driving drums that could almost be a continuation of the previous song. This track is I think TW's first instrumental put to record and with such brilliant riff work on display this is a track that speaks for itself. The song ends beautifully and could be a song in itself but I wont give any spoilers as to what TW do here.

"New Beginnings" ends this EP and tells the story of a defeated human race finding solace underground due to a dead sun and a scorched earth but despite the tragic tone there is hope that lies therein with a statement that we can live as one. Out of chaos comes opportunity and through the crushing sludgy riffs that TW put their hands to on this song there is a distinct glint of determined hope that shines through with the unforgettable and passionately sung vocals of Pete that gives this track the unmistakable stamp of Trippy Wicked and the Cosmic Children of the Knight.

As I have already mentioned above, I recently saw Trippy Wicked play my home town when they stopped there on their latest tour. Supported by Bright Curse and Wight, (who totally blew me away), TW took to the stage with a hyped up crowd craving for more bone shaking heavy riffs and none in attendance were disappointed. Joined by Tony Reed of Moss Generator on drums and TW's usual skin basher Chris West on bass duties for the tour, TW tore through a blistering set of old and new songs, big grins and gurning faces aplenty and a very appreciative crowd lapping up every crushing riff and explosive drum smack. TW played a solid set with lead man Pete's impeccable singing sending shivers up the spines of all who were lucky enough to witness such a blinding set from the fast rising stars of the UK heavy music scene. To any of our Brit readers; I highly recommened you catch Trippy Wicked live if they swing by your town or city as TW sound as great live as they do on record. To our American friends; I'm sure it is only a matter of time before TW travel across the Atlantic to grace your shores with their unique and highly enjoyable blend of good time blues rocking drinking songs, super heavy and memorable riffs, solid song construction and cheesy twisted grins, beards and beer and a guaranteed great time that will not be easily forgotten.

"Underground" will be released on Trippy Wicked's own imprint, Superhot Records on September 13th but can be preordered now at their Bandcamp where 2 songs from this truly great EP can be previewed for your heavy listening pleasure.
  

                            BANDCAMP // FACEBOOK // OFFICIAL

Toby's Top Ten of 2012

Well here we are again at the precipice of a new year, which of course means that it’s time to reflect on the past 12 months and ponder those albums that evoked the most emotion within each of us. As you read through these “best of 2012” lists, you’ll undoubtedly notice a variety of artists and albums from each member of the Heavy Planet staff. And that my friends, is a good thing. In fact, it’s what I love so much about music and why I find it to be such a beautiful thing…the sheer variety to be found in it…its openness to interpretation…and most of all, the art of it. Keep in mind that even though these are all amazing collections of music that I thoroughly recommend checking out, this list should be taken with a grain of salt as it would likely look completely different if I put it together tomorrow. With that, I give you my greatest hits from 2012.

10) Trippy Wicked & the Cosmic Children of the Knight – Going Home

On Going Home, this UK three-piece delivered a massive slab of fuzz n roll that featured captivating melodies, powerful vocals, crunchy guitars and…trumpets? Yep, just when you thought the album’s eight minute title track couldn’t get any more epic, Trippy Wicked broke out the horns (mellotron?) and elevated their sound from standard, everyday riff-rock to the type of soaring, metal anthems that have been known to induce goose-bumps in many a listener. Whether it was the intense vibe of songs like “Up the Stakes” and “Go Outside” or the more carefree odes to self medication that made up the album’s mid-section, the band displayed a unique knack for mixing bluesy grit with low end groove and the result was an album that drilled its way into my cranium and stayed there throughout 2012.

9) Band of Skulls - Sweet Sour

I figure I'll probably get all sorts of shit for this one, but I can't lie to you, I was mesmerized by the mixture of heavy blues and sticky sweet harmonies that this UK trio laid down on Sweet Sour. In fact, I'm kind of shocked that the "indie rock" community has seemingly embraced this band while the "stoner rock" faithful have largely ignored them. Maybe I'm missing something, but fuck it…I dig this shit. You can hear what I mean on the title track, which opens the album with a guitar lick reminiscent of Hendrix and builds in intensity into a full-on blooze-fest. "Bruises" opens with an admittedly poppy male/female sing along, but transitions into a straight-up head nodding, foot stomping rock song. "Wanderluster" is similar in it's build up and when it hits its stride, you'd be lying if you said you weren't moving to it. But it's the riffs that ultimately landed Band of Skulls in my top 10 of 2012. Just check out "The Devil Takes Care of His Own", "Lies" or the final couple of minutes of "Lay My Head Down" and you'll see…yeah you'll see.

8) Orange Goblin – A Eulogy for the Damned

Another UK band, the mighty Orange Goblin finally resurfaced this year and unleashed album number seven after what seemed like an eternity since we’d last heard from them. Beginning with the buzz saw guitars and thunderous rhythm section of “Red Tide Rising”, Ben Ward and company wasted no time reintroducing us to the psychedelic biker metal that’s helped to build the Goblin a legion of fans over the last fifteen plus years. From the galloping riffs of “The Fog” to the soulful, southern rock of “Save Me from Myself”, Eulogy was like listening to Skynyrd riff on Sabbath after a night of binge drinking. Throw in a dose of experimentation, like on “Return to Mars” where the band grooves out enough to almost be considered funky and vocals that sound like a boozed up Lemmy after gargling with broken glass, and you’ve got yourself one hell of a record.

7) Deftones - Koi No Yokan

Some will likely argue that Deftones have no business being on a top ten list of the best stoner, doom, sludge and psychedelic rock albums of the year. I would counter that their noisy experimentations with everything from nu-metal to post-metal and from drone to shoegaze makes them a perfect candidate for what we do here at Heavy Planet. Furthermore, after surviving possibly the worst casualty a band can undergo (their original bassist Chi Cheng has yet to fully recover from a 2008 car accident that left him comatose), Deftones retooled with Sergio Vega of Quicksand fame, released the phenomenal 2010 album Diamond Eyes and toured with the likes of Baroness, Alice in Chains and Mastodon. If none of that whets your appetite for Koi No Yokan, then go ahead and skip ahead to number six. Songs like "Romantic Dreams" and "Poltergeist" feature overwhelmingly heavy riffs and crisp drumming combined with vocalist Chino Moreno's signature blend of aggressive screeching and blissful crooning. And songs like "Swerve City" and "Tempest" keep the riffs monolithic while introducing an ethereal, Cure-like feel to the album. Going on twenty-five years as a band, Deftones continue to push the envelope and reinvent themselves and with Koi No Yokan, they stay well within the heavy music spotlight and are well deserving of a spot on this list.

6) Greenleaf – Nest of Vipers

It’s hard to believe that Greenleaf started as a side-project of sorts for various members of the Swedish bands Dozer and Truckfighters. The lineup has changed since their inception, but this incarnation still maintains former members of both bands and after hearing Nest of Vipers, we can only hope that this "project" has become their priority. Paying homage to the likes of Thin Lizzy, Deep Purple and even Zeppelin (tell me that guitar solo on "Dream Catcher" doesn't remind you of Jimmy Page) while staying true to the desert rock sound that originally put each of these guys on the map, Greenleaf have created a true gem with Nest of Vipers. It doesn't get much better than album opener "Jack Staff" where the guitars are the musical equivalent of cotton candy, the percussion a symphony of rolling toms and crash cymbals and the vocals a display of range and register all the while staying appropriately buried in the overall mix. From moody and atmospheric ("Tree of Life") to radio ready alt-rock ("Sunken Ships"), Greenleaf leaves no stone unturned, no matter how small.

5) King Giant - Dismal Hollow

It's a tribute to how good Dismal Hollow is that it was released way back in January 2012 and now, a year later, it still finds a well deserved place on this list. Essentially laying the foundation for King Giant's music is the land they call home, which happens to be the Appalachian foothills of Virginia. The album melds a slew of harrowing tales, including Civil War battles, vengeful victims of spousal abuse and old Southern bootleggers with bluesy dual guitar work, a gut busting rhythm section and vocals raspier than your granddad after a pack of smokes. Dismal Hollow puts Virginia on the southern metal map kind of like Crowbar, Down and their ilk did for NOLA. After the release of this album, the band was hit with a streak of bad luck as both guitarists suffered violent injuries in unrelated incidents that essentially rendered the band out of commission for most of the year. Here's to a healthier 2013 for King Giant and to finally getting the slow southern steel that is Dismal Hollow out on the road.

4) Summoner - Phoenix

Boston's Summoner (formerly Riff Cannon) play a wonderfully loud blend of doom, stoner and psychedelic on their latest album Phoenix and it is not to be missed. Dual guitars that simultaneously interweave heavy-as-fuck riffing with dreamy noodling (check out "Winged Hessians") combine with thunderous drums, pummeling bass and throat wrenching vocals. The band stops and starts on a dime (see "Conjuring") and they aren't afraid to experiment with tempo shifts and a variety of dynamics within any one particular song. Furthermore, Summoner can kick your ass quickly, such as "The Interloper" which fires out of the gates…well…like a cannon. Or they can take their time in doing so, like they do on the epic "Let the Light In" which patiently builds, then batters you unmercifully and then evolves into a beautiful coda that carries the song through its nine minute run time. Look, when I found out Heavy Planet would be hosting a CMJ Showcase in New York City in 2012, it only took one listen of this masterpiece before I extended an invitation for Summoner to play it. That's probably all you need to know about Phoenix.

3) Witchcraft - Legend

It's been five years since we last heard from Sweden's Witchcraft and in that time they've shaken up their lineup (only two of the five band members return from 2007's The Alchemist) and more importantly they've re-tooled their sound. Seemingly tired of the "new wave of analog-rock" that they practically invented with their self-titled debut back in 2004, Witchcraft went in a new direction with Legend and the result was a crisp, clean and refreshing album that threw a noticeable twist in the band's impressive legacy. Unlike previous albums, this one features overtly catchy riffs (see "Deconstruction"), lyrical content dealing with "real world" issues (see "Democracy") and a mind blowing dual guitar attack (see "An Alternative to Freedom"). I understand that some people are disappointed with the new direction…aren't they always…but if you'd prefer the pseudo-vintage sound of the band's past, there are plenty of other artists dabbling in that genre for you to fall back on. Witchcraft on the other hand have decided to eschew convention and to strike out in a new direction. I find that incredibly admirable and I found Legend in my constant rotation in 2012.

2) Baroness - Yellow & Green

Speaking of catchy…and speaking of defying convention…Baroness completely blew the doors off of expectations with their latest effort, Yellow & Green. In this instant gratification, pay what you want/steal if you can't society, who the fuck puts out a near flawless double album? I don't want to go overboard here, but this thing is quite frankly like stoner rock's version of The Wall. Divided into two equally impressive halves, Yellow & Green is extensive, it's gratifying…it's phenomenal. Baroness have completely evolved from the little, old Savannah, Georgia sludge metal quartet that we once knew into a progressive and wholly interesting rock band. If Witchcraft evolved "their" sound on Legend, then Baroness evolved the sound of rock music as a whole with Yellow & Green. Songs like "Take My Bones Away" and "Board Up the House" will literally have you singing along while pondering their meaning. With that said, there's a sense of melancholy permeating this entire body of work (listen to "Twinkler" or "Eula") a sort of ethereal sadness. But emotions are the truest inspiration for art and what emotion is more powerful than pain? With Yellow & Green, Baroness have created music that makes you think, it makes you long for something and most importantly, it makes you feel. That's what good music (and all good art) is supposed to do and that makes Yellow & Green infinitely successful.

1) Torche - Harmonicraft

And that brings me to my number one record of 2012. Similar to Baroness, Miami, Florida's Torche have written an album chock-full of hooks, sing-along choruses and other contagious musical moments that will have you returning to have your head bashed time and again. The difference here is that Harmonicraft strips away the instrumental mood pieces (the lone exception being the riff infested title track) in favor of a lean, mean approach that clocks in at under 40 minutes. Not a second is wasted here and the band's signature sound, which is often described as "sludge pop"…cute…is apparent after the first five minutes wherein you'll have already experienced the album's first two tracks. Songs like "Snakes Are Charmed" and "Kiss Me Dudely" sound like Helmet jamming with the Melvins on some Beach Boys tunes…heavy, slow and so damn catchy it'll have you puking rainbows (speaking of which…did you see the excellent cover artwork?). Want atmosphere? Look no further than "Solitary Traveler" which bares down on you like the weight of the world. I can't quite describe to you how I feel or what I take from the latest Torche LP, I just know that I can't stop listening to it and that's why it deserves this spot on my list. Perhaps the band themselves best described their sound with the made up word that they chose for the album's title. Harmonicraft indeed.

Nuclear Dog's Atomic Split: Enos - "Chapter 1" / Red Desert - "Damned by Fate"

I went through an extremely long spell of time where discovering new music, or more accurately, new good music, was a rarity. Of course I was using mainstream sources to provide this for me for the most part, which two decades ago meant the local 'hard rock' radio station. Word of mouth was probably a better source for discovering new music that was worth listening to back then, but no matter the source, rare was the new album that had me stitching my face back on after the first go 'round on the turntable. Two decades or so ago that began to change a little with my introduction to the interwebs and online radio stations that would play some stuff out of the mainstream. Those stations typically catered to the college crowd and were heavy on 'indie' music, which wasn't heavy, but at least some of it was fresh and good, a modicum of it anyway . . . you know, just like the radio. So, I figured that's just the way it was because that's the way my rock n' roll world had rotated for decades. And then one day, taking advantage of Amazon's feature "Customers Who Bought This Item Also Bought" I discovered Kyuss and Sasquatch, and the floodgates opened, revealing not just a whole new world, but THE world I had always dreamed of, one I always wished could exist, where the guitar was king and the riffs were always . . . primal . . . and here it was! Not long after I discovered Heavy Planet. Holy Shit! Every day a new band, a new album of near perfect rock! I can't use enough exclamation marks to express my excitement. And it got better because, as you may have noticed, I now write for Heavy Planet, so the dream has soared. All of this to say that there is an inordinate amount of truly great rock n' roll out there, music designed and played the way rock was meant to be. Today, I introduce to you two of THE very best albums I've heard recently, starting with Red Desert's "Damned by Fate" and moving to Enos' "Chapter 1".

 

Red Desert - "Damned by Fate"

Red Desert as an entity have been around since 2004, with the typical stoner/doom rock band history of losing and gaining bandmates along the way, but always focused on playing their undeniable vision of heavy, low rock, never losing enthusiasm throughout the 8 year journey that has taken them to the point of release of their first full length album just this past month. "Damned by Fate" is a follow up to 2008's EP "18 Wheels", although the so called EP carried 6 full length songs. The former album was comprised of some mighty tasty rock n roll tunes, but in the 4 years between its release and the August, 2012 release of "Damned by Fate" Red Desert fine tuned their music by down tuning to an incredible, almost primordial degree. The music on this album is the epitome of the stoner sound, with an earthy salvo that rivals the mightiest Richter rumble combined with a champion summertime thunderstorm. The sound Red Desert have produced on this new release is satisfying and thrilling, providing deadly and dangerous reverberations that could shatter the quake proof glass of home and car, or force you to put that stereo warranty into effect once those high powered speakers get blown away by the massive riffs offered up on each song of this superb album.  "Damned by Fate" immediately gets thrown into the 'album of the year' cauldron for consideration in 2012. 

Red Desert have managed to establish a style that is fresh and genuine, easily recognizable as their own, with songs that reflect their tremendous ability and energy, each one worthy of being someone's favorite. For this humble reviewer, the opening track "Older No Wiser" (what a great title) almost immediately unleashes double digit g force riffage intensity before transitioning into a first rate rock song that epitomizes tremendous stoner qualities with the big fat guitars and bass, plus a clean, crisp trap attack. "2012" has a higher tempo, with scorching solos and blitzkrieg drums blasting away on top of the heavy and low guitar chords and bass riffs. There is no wannabe songs on this album, nothing that doesn't belong, no shortage of ability and talent with this group of in your face, in your soul rockers. 

Band members:

Paul Teeter - Bass, Vocals

Dave Dancho - Drums

Jeff Kleugel - Guitars

Shawn Stende - Vocals, Guitars

((( facebook || myspace || reverbnation || bandcamp )))

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ENOS - "Chapter 1"

"Chapter 1" has been out for a while now, so it's not new in terms of chronology, but we've not reviewed it up to this point on Heavy Planet and it is a damn fine album from a damn fine rock group that deserves attention. It will soon enough be eclipsed by a newer release from Enos, hopefully before the end of the year, so to prime the pump you might take this opportunity to see what these guys are all about. What you'll find is a band that manages to bring both heart and polish to their music. The album is superbly produced, without skimping an iota on heart and effort. The guitars are huge, and down tuned enough to be quite enjoyable upon first and all subsequent playings. Drums are crisp and clean, adept at providing a rhythm while providing something special that will likely crack a smile while cracking your neck. The bass rivals the guitar in both presence and signature sound.

"Chapter 1" tells the story of Enos, the last chimp to go into space for the U.S.A. prior to John Glen's epic mission. Enos, the band, have done a great job of creating a collection of first rate fuzz that also tells the story of this brave and unusual animal. Along with the EP, Enos have published a comic book relating one version of the chimp's adventure into and return from the ether, available from the links below that accompany this review.

Another interesting aspect of Enos, they have been signed by Stargun Music out of Great Britain, the same label that brings us the highly rated stoner / psych bands Trippy Wicked and the Cosmic Children of the Knight, Stubb, and Steak, among other great rock bands from the UK. Stargun Music may very well rival Small Stone Records in the U.S. as the best rock label, while Enos certainly sits in the pantheon of great rock artists, proven by the superb album "Chapter 1". I am eagerly awaiting Chapter 2, regardless of its true title.

Band members are Chris Rizzanski, Sean Cox, George Cobbold, Sparky Rogers



((( facebook || myspace || bandcamp || reverbnation || twitter || theebigblack || stargun )))

Album Review: Trippy Wicked and the Cosmic Children of the Knight: "Going Home"

Trippy Wicked and the Cosmic Children of the Knight . . . an unusual, but cool name for a band. With such a moniker you would think there would be some sort of obscure reference to a favored, but unknown band, or album. Perhaps a movie reference or something to do with a Role Playing Game. The truth is a bit more mundane, though. At a time before the band was ever formed, founding member Pete and a former supervisor from a pre-band job were killing time one day by trying to outdo one another with obscure band names for their shared pipe dream of one day actually forming a band. Pipe dreams sometime come true, it seems, as Pete was afforded the opportunity to start a band along with fellow founding members Chris and Paul in ’06 after playing together in the band Brainfreeze (another great band name). From here the story is familiar, one that seems to be a rite of passage for awesome stoner / doom / psych bands. An EP was released (“Make Like a Rock and Roll”), gigs were played, lots of songs written, and founding member Paul leaves the band in ‘07. From here Pete and Chris stray from the story slightly, releasing EP “Imaginarianism” (is there no end to their ability to come up with clever, tasteful names?) as a 2 piece band before Dicky joined them in ’08, solidifying the line-up, and leading to EP number three, “Lowering the Tone”, a collection of live gig favorites. Their first full length LP, “Movin’ On”, was released in ’09, garnering lots of attention and accolades as an exceptional collection of stoner/doom music.

The road to their latest release, “Going Home” wasn’t an easy one, starting out as a couple of different EPs, then a full length LP, the first recording of which was scrapped before the band got the sound they wanted for their April, 2012 release. Not easy, but never abandoned and the result is something I can confidently say is unique and wonderful. The roots of the low, slow vibe of stoner music is the starting point on “Going Home” with heavy, fuzzy guitars and vibrant, violent bass providing a style foundation for these wickedly clever songs. From those vibrant underpinnings several nuanced and intense layers of melody and intention are cabled together with the driving and agile roundhouse percussions of Chris’ drumming. The finishing touch is the crunchy, delicious shell of Pete’s rich, textured vocals, making these songs, this album, a rarity in the world of music where the melodies are original, the musicians gifted, focused, and driven, the writer of both melody and lyrics a fortunate soul who is compelled to share his vision with those in the world willing to listen, or who are looking for those too brief opportunities in life in which desire for artistic sense is delivered, allowing for enjoyment and brief, but thorough appeasement.

“Going Home” is that rare collection of music that upon first listen you recognize as interesting, intriguing, something you want to listen to with intent, but upon further listening you realize there is a lot going on, all of it more intriguing and interesting than you could have initially realized so you want to keep listening to it over and over, to learn the lyrics, to hear all the little pieces of drum flourish, of guitar riffage, of bass drive that are placed ‘just so’ throughout any given song, to experience that exquisite near rapture when great taste meets great effort backed by great talent, so that by the time you’ve listened a hundred times it’s like that old pair of jeans that you love, lived in, comfortable, brilliant in what it does because it fits just right. This album is genius in scope and delivery. It does more than simply play some heavy, low music, which, granted, is always a treat, but sometimes more is . . . if not needed, then at least greatly appreciated.

The title track kicks off the LP with a perfect glimpse into the artistic cunning of Pete, Chris, and Dicky. The sound is immediately low and heavy, measured and insistent, with a layered and nuanced intro tightly spun from contributions from all three instruments, providing a rich and immediately satisfying experience that is a prelude for what follows, both in the opening track, and throughout the entire album. “Going Down” is a slow, haunting tale of deliverance, structured in unique fashion with a hook near the end that grabs you right by the gut and squeezes just enough to allow you to savor the exquisite pain.

“Up the Stakes” is a bit more up-tempo with lots of hard guitar and a unique, but fun lyric delivery to match the structure of the song itself. A tale of vampires, either imagined or real, it is impossible to tell.

Next up is “Go Outside”, a singular tune that has a lot going on from beginning to end. It never settles on anything simple and repetitive in the music, throwing in all sorts of awesome riffs and forays, from the typical piercing solo to bass so low it shakes the roof. Equally intriguing are lyrics uniquely structured through the song. The chorus, unlike the instrumentation, is quite repetitive, something that is always in danger of derailing a good song, but here it works, and the more you get comfortable with the song the more you are able to realize it has a purpose, that it works for a reason. The refrains aren’t repetitive, but are quite varied and adept, so it becomes a terrific balance of lyrics, delivered by a gifted rock voice that glides on top of the teeming but nuanced instrumentation.

“Ain’t Gonna End Well” is an old fashioned romp of fun and plain ol’ ass kickin’ rock and roll. All parts are great, with an outstanding percussion set that delivers the song in perfect order.
Melancholy describes the tone for number five. “I want another drink, To help me feel the low.” Well said. You can absolutely feel the despair in those lyrics, underscored by the magnificent music on which it sits. But just when you have felt the low, the final delivery makes the most appropriate statement of all, “I’m in Hell, come and get me”, representing the turmoil felt by many for conditions perhaps beyond their control or with no end in sight. It’s melancholia, but it’s delicious in delivery.

One of my favorite songs on this album, one that’s very uptempo and just flat out fun is “Hillbilly Moonshine”, with a rock n’ roll yodel of sorts that’s flat out fun to sing when trippin’ to Trippy Wicked in your car. Pete’s vocals take on a whole new level of vocal dexterity on this tune, showing again his innate ability to deliver quality rock.

The guitars and bass on number seven are heavy, raw, and crunchy, played in a hard driving consistent and unrelentless tempo that feels like a boxer steadily moving forward a step at a time and delivering an unending flurry of bone crunching blows.

The penultimate tune is “Change Your Mind”, perhaps the best song on the album. It is chock full of fuzz and distortion, melody, change ups, high caliber percussion from Chris’ nimble and agile hands, plus bunker busting low notes from Dicky’s bass, not to mention another terrific vocal delivery from Pete that fits in perfectly with his monstrous guitar riffs.

The closer, “Home”, is a short, sweet, melancholy ditty that most bands might’ve placed at the front of the album as an intro, but works perfectly here as a ‘farewell, see you soon, had a lot of fun’ outro instead.

This album is one of a kind. It’s an instant classic even if it takes a dozen listens to get to a point of true appreciation. It’s on my list for album of the year and is most definitely in the running for #1, along with a very select few. The British continue to deliver quality stoner music to the world, music that doesn’t settle for using only the mold, but builds beyond it, reshaping in places that enhance and improve. Trippy Wicked and the Cosmic Children of the Knight are the very best at doing just that.

||| bandcamp || facebook || website|||

Trippy Wicked & the Cosmic Children of the Knight Release "Lowering the Tone" EP

Trippy Wicked & the Cosmic Children of the Knight return heavier than ever with Lowering the Tone; a 7 song EP of big weighty music recorded live and loud in November 2008.

Lowering the Tone is the band's second self released album and the first with the new line up that now includes Dicky on bass, previously from UK doom lords Olde Crone. It's full of riffs, grooves, cosmic vocals and good old fashion songs. Feast those skinny little ears on this sumptuous Smorgasbord of sounds.



You can hear the whole thing on last.fm here - Lowering the Tone

There's a couple of tracks on thier MySpace: Trippy on MySpace

All the tracks will be available on thier Facebook page in a couple of days: Trippy on Facebook

New Band To Burn One To-Trippy Wicked And The Cosmic Children of the Knight

Here is a new band for you guys to check out.

"Trippy Wicked & the Cosmic Children of the Knight formed in St Albans, UK in early 2006. They are a two-piece rock band playing a mix of rock n roll, stoner, blues, sludge, sleaze and doom; mixing huge riffs and grooves, head nodding beats and good-time grins."

The band has just released a mini-album titled "Imaginarianism". It features 8 songs which some fans will know, some are new, and some that no one has ever heard yet.

Influences include Black Sabbath, Corrosion Of Conformity, Crowbar, Electric Wizard amongst others.



MySpace
Official Website

"Hard Time Killin' Floor Blues"



Light one up and get doomed!