Calvin’s Choice: Best of ‘15
~By Calvin Lampert~
Lists are hardly a conclusive thing. We all have our piles of albums that we want to check out here, but before we notice it the year has ended and our rankings have to be done. I find myself rushing through albums I’ve been meaning to check out, without lending them the ear they deserve. Indeed, some of the best albums of 2014 I only discovered this year (and goddammit 2014 was a great year in the heavy scene!).
Rankings, of course, have their merit. That said, while there are certain albums that I enjoyed more than others (which comes down to personal preference), my own Best of 2015 list should be understood as largely devoid of competition between themselves. The order is pretty arbitrary for the better part of the list. These are simply the albums I enjoyed most and want to recommend to you.
30. High on Fire - Luminiferous
Out of the stoner's holy trinity that is Sleep, OM, and High on Fire, High on Fire was always my least favorite. And though I still profess my love for Om and Sleep, High on Fire has finally caught my interest with 'Luminiferous' (E1 Music).
I suppose this is as fire and brimstone as music can get, with Matt launching one furious riff after another. “The Cave,” especially, is an oddly fascinating song, like a ballad trying to fight its own nature. If you got as much energy as these three gentlemen, low-key isn’t an option.
Get It.
29. Weedpecker – II
II by Weedpecker
There is something about the Polish heavy scene and the worship of the Devil's Lettuce. Dopelord, Belzebong, and Weedpecker, they all hail the Sweet Leaf (fittingly, Weedpecker cover Black Sabbath's stoner anthem this year). With songs named "Fat Karma" and "Flowering Dimensions," you know you’re in for a trippy ride. Weedpecker's sound is pretty unique, relying on serene soundscapes and fat, fuzzy guitars alike, and sometimes I get an almost grungy feeling from the vocals. Light a fat one and lay down at the top of a grass covered hill in summer and enjoy the sun on your face while listening to II. Day done.
Get It.
28. My Sleeping Karma – Moksha
If Sleep is the music for getting stoned, then My Sleeping Karma is the equivalent for a shroom trip. After all, the cover of 'Soma' (2012), Moksha's predecessor, was filled with all kinds of trippy champignons, and “Ephedra” has become a defining song for the German instrumental psych-rockers. If there is no second “Ephedra” on this album, “Prithvi” and the title track will certainly burn themselves into your memory, all the same.
Even in the interludes, My Sleeping Karma know how to surprise people, from Buddhist chants to almost David Gilmour-esque guitar passages. The artwork by Sebastian Jerke is an eye catcher, to say at least, and it seals the deal on 'Moksha' (Napalm Records).
Get It.
27. Kowloon Walled City – Grievances
Grievances by Kowloon Walled City
Another last minute addition for me, but how could I keep such an impressive album away from my list? 'Grievances' (Neurot Recordings/Gilead Media) isn’t an easy listen. Though it is sludge metal, the vocals aren’t very harsh; but the tired shouts of Scott Evans convey more agony than any other harsh vocalist could. 'Grievances' stems from the idea that pain is power, and Kowloon Walled City's first record in some three years is powerful. It is not a pleasant experience, but a soul's journey you should dare to take.
Get It.
26. Weedeater – Goliathan
Goliathan by Weedeater
'Goliathan' (Season of Mist) is a more than fitting name for the newest slab of filthy, cough-syrup fueled, southern fried sludge by Weedeater, but below that primitive surface lies a more playful record than you’d think. Of course, there are still the songs we’re used to from Weedeater, but Dixie Dave and the boys keep things interesting, whether in the 2-minute long cackling punk explosion "Bully" or the spacey “Benaddiction." The sound is as fuzzy as a Flokati shag, and you’ll feel right at home. Not a groundbreaking record, but definitely a fun one!
Get It.
25. Kadavar – Berlin
Kadavar is back with their new album, 'Berlin' (Nuclear Blast Records), and it will come to no one's surprise that it is great. The German three-piece find themselves at the top of the retro-rock movement and Berlin does nothing but further harden the foundation on which they built their reputation.
Now, if only they had kept that really “retro” sounding bass. I used to call Kadavar the last true retro band, because they still had that pre-1980 bass sound that wasn’t as full, but way more pronounced than their competitors. But, as it seems, everybody has to move on at some point.
Get It.
24. Tombstones – Vargariis
VARGARIIS by Tombstones
I’ll admit it, I didn’t pay much attention to these guys when I saw them on tour with Egypt, but 'Vargariis' (Soulseller Records) turned out to be a real gem of misanthropic blackened doom/sludge. Tombstones completely overhauled their sound on this album and now they can reap the fruits of their efforts. Vargariis was a real surprise for me, especially the Conan-on-codeine opener "Barren Fields." If you’re looking for something heavy and cannot wait for the new Conan album, then you’re at the right address with Tombstones.
Get It.
23. Kamchatka – Long Road Made of Gold
Kamchatka was among the first bands that I discovered for myself, and I always held them in high regards. Thomas has got to be one of the most likeable guys in the entire scene. You’ll always find him with a big grin on his face while he is playing. You can tell how much he loves it. And this joy also translates into the music.
Kamchatka play a blues-heavy type of stoner rock, but I wouldn’t go as far as calling Kamchatka’s music gloomy. And as much as I like Kamchatka, I felt like the previous two releases somehow fell short of their brilliant 'Vol. 3' (2009). However, with 'Long Road Made of Gold' (Despotz Records) they are back on the track, and even brought in some new sounds. There are dashes of country to be heard, and it works very well. I am glad to have you guys back.
Get It.
22. Cleopatra Records – Sweet Leaf: A Stoner Rock Tribute to Black Sabbath
There is ton of Sabbath cover albums around, all of varying degrees of quality, luckily 'Sweet Leaf' is one of the good ones. The range of bands, known and unknown is quite impressive. Cancer Bats and Pentagram alike give their stand-in, Ulver delivers a very interesting take on "Solitude" and Weedpecker gets ultra-hazy with their great cover of "Sweet Leaf." Hell, even William Shatner (yes, Captain Kirk) gets involved with a cover of "Iron Man" with the help of Zakk Wylde (of course). Yes, it’s a bit goofy, but in the end this 'Stoner Rock Tribute to Black Sabbath' is a very fun record that helped me discover some exciting new bands.
Get It.
21. Belzebong – Greenferno
The purveyors of rare herbs and prescribed chemicals are back again for their second album, 'Greenferno' (Emetic Records). Same recipe and I am still not immune to the unholy grooves of the Polish quartet. Four new heavy-psych doom songs that make you feel like you’re drowning in a purple haze.
There isn’t really much that has changed. Belzebong's riffs are still instant ear-worms, they still use a plethora of cheesy B-movie samples, and the band still relies on a lot of puns. I certainly won’t complain about more music when it is as fun as 'Greenferno.'
Get It.
20. Uncle Acid and The Deadbeats – The Night Creeper
Uncle Acid don’t just meddle in retro rock, they have their very own style of it. Though I was never a big fan of The Beatles, the band’s mixture of Black Sabbath and Beatles works better than you’d imagine. Well, the riffs certainly help at that, as does the lo-fi approach to the sound, to get that retro feeling (although, I can’t shake the image of the vocals being recorded with an empty soup can).
Still, 'The Night Creeper' (Rise Above Records) is a great album with a unique vibe that deserves to be heard.
Get It.
19. Ahab – The Boats of the Glenn Carrig
Ahab's newest album was one of the most anticipated releases for me this year. I wasn’t sure where they would go from 'The Giant' (2012) as they progressed with each of their previous releases and found 'The Boats Of The Glen Carrig' (Napalm Records) to be highly inaccessible in the beginning. The riffs didn’t feel as powerful as they used to, the gutturals not as deep as they once did. However, 'The Boats...' grew very strongly on me. Even if the experience doesn’t reach the oppressive atmosphere of Ahab's brilliant debut, 'The Call of the wretched Sea' (2006), the new record has a lot of it going for it.
The impressive maelstrom-riffage of “The Thing That Made Search,” for example, must be one of the most evil sounding pieces of music of the entire year, or the very short but powerful “Like Red Foam.” Daniel Droste’s clean vocals get better with every album and Sebastian Jerke's cover art has got to be one of the most beautiful (and unusually colorful for a funeral doom release) of the year.
Get It.
18. Lucifer – Lucifer I
The breakup of The Oath saddened a lot of people. Luckily, the ever charming Johanna Sadonis couldn’t keep silent for too long. Assisted by Cathedral riffmeister Gaz Jennings, the entire project seems to be something of a family affair. After all, it all takes place on Lee Dorrian’s excellent Rise Above Records label and, fittingly, Lucifer’s music is a like meeting an old friend. Occult rock of the best kind.
While it may not be the most "original" release of the year, one cannot deny that it is highly enjoyable. Johanna’s mysterious vocals fit perfectly. Neither does Lucifer have the NWOBHM quirks of The Oath, but the band's highly polished debut is a prime example of well-executed (and recorded!) occult rock, leaving me wanting for more.
Get It.
17. Ghost – Meliora
At this point I won’t even bother to discuss Ghost, and no matter what you think of their gimmick (nobody complains about GWAR) they have proven again and again that they’re most proficient musicians and songwriters. The odd mix of Satanism-infused Blue Öyster Cult and ABBA kitsch (no more apparent is the nod to Sweden’s pop giants than on the center track, "He Is") will not appeal to everybody, but there should be no doubt that this album is highly polished and very effective.
The songs are catchy, as usual, and you can tell that Ghost had a lot of fun in the studio and don’t take themselves too serious (goofy, cheesy Theremin? Check). Even in a riff-oriented genre like occult rock, Ghost manage to convince us of the virtues of pop songwriting in 'Meloria' (Loma Vista Recordings).
Get It.
16. Magnetic Eye Records – Electric Ladyland Redux & Best of James Marshall Hendrix
Electric Ladyland [Redux] by Various Artists
I was hesitant to induct cover albums into this list, but this year has seen a lot of great cover albums, and these two, dedicated to one of the guitar gods is definitely worthy of a spot on the list. One has to give credit to the label's founder, Mike Vitali (Magnetic Eye being a one-man operation out of Albany, New York), because as far as I can tell it must be a hellish endeavor to coordinate 20 bands across two albums with 23 songs, all the while trying to keep up a relatively consistent standard of production and sound.
Best of James Marshall Hendrix by Various Artists
Legendary underground names like All Them Witches, Elder, Wo Fat, next to lesser known bands such as Origami Horse, Child, or Tunga Moln, give us a unique take on these classic songs. David Paul Seymour's album art is stunning, as usual. Grab this up if you haven’t already!
Get It.
15. Goya – Obelisk
Obelisk by Goya
2015 really seems to be the year of psychedelic doom. Goya has a strong competition with Windhand, Belzebong, and Monolord, but like all the other bands, they have a unique style and the fans of this genre can count themselves happy that doom-psych comes in many shapes and colors this year, Goya’s being an especially peculiar one. There is something genuinely unsettling about Jeff Owens' voice. It isn’t soothing like Dorthia Cottrell’s croon, nor is it spine-chillingly evil like Thomas V. Jägers half-wail, but it definitely leaves its mark on you. Goya take no hostages on this album, and especially their triple-barrage of “Obelisk,” the furious “The Sun," and “300 Eyes” (that voice again, with those lyrics - contender for the best ballad of the year). It's like one big, bad shroom trip, but one you just can't resist joining. Look for it on vinyl soon via STB Records!
Get It.
14. Freedom Hawk – Into your Mind
Into Your Mind by Freedom Hawk
Small Stone Recordings has a knack for really good retro rock (casual reminder: the most excellent 'Spirit Knife' by Jeremy Irons and the Ratgang Malibus last year) and the competition with all the big players releasing new albums in the genre this year is stronger than ever. And though they may enter the ring as underdogs, Freedom Hawk have proven they are champions. The songwriting on 'Into your Mind' is a clear standout; in fact, the entire album has a great continuity, each song flowing like oil. Throw in some proto-metal, space rock, and a very Ozzy-esque singer in T.R. Morton and you have a record ready to take on Graveyard and Kadavar!
Get It.
13. Pentagram – Curious Volume
Can’t stump the veterans. I'm more than happy that the American traditional doom scene is finally getting the credit it deserves. Thus, we are graced with a new Pentagram record...that has hardly any doom on it. Weird move, you’d think, but nonetheless 'Curious Volume' (Peaceville Records) is a highly entertaining album, and it rocks hard enough to teach younger bands a lesson or two.
You can tell that Bobby is missing a tooth or two and you’d expect him to crumble to dust at every given moment, but he is as much of a showman as ever and, together with Victor Griffin's amazing guitar work (these solos!), they show us that age is of no concern when it comes to producing high energy, heavy hitting rock 'n' roll!
Get It.
12. Windhand – Grief's Infernal Flower
Grief's Infernal Flower by Windhand
I had my fair share of conflicted feelings about Windhand. I was one of those who didn’t “get it.” I suppose everybody has those experiences with bands, but 'Grief's Infernal Flower' (Relapse Records) marked the turning point for me. How could you not love the massive fog of guitars that engulfs you and the distant crooning of Dorthia Cottrell? And the solos in songs like "Two Urns" enrich the ultra-heavy psychedelic vibe of the record. The hype around it has been big (with Seattle legend Jack Endino sound engineering this one), with Windhand finally getting the recognition they deserve, even outside of the scene. For me, this made the experience all more satisfying. I am on the fan train now, and cannot wait for the next offering.
Get It.
11. Elder – Lore
Lore by Elder
'Lore' shapes up to take the top spot on many Album Of The Year lists, and deservingly so. Progressive stoner-doom is a pretty rare ware in a genre that focuses on the constant repetition of a song structure. Elder takes the best of both worlds and combines it into a sprawling musical journey with countless twists and turns; akin to climbing a mountain-sized full stack. If there is one minor criticism I hold towards Elder, it is that I feel like the voice of frontman Nick DiSalvo is not melodic enough for the overall sound of the album (and he’s sounded better in the past, take a fresh listen to 'Gemini'). However, this comes down to personal taste and the fact is the album stands very well on the strength of the musical ideas and songwriting. Lore is a masterpiece, by any measure.
Get It.
10. Dopethrone – Hochelaga
HOCHELAGA by DOPETHRONE
When one of your music videos inspires fans to do a drunken Russian home video version, you have done something right. 'Hochelaga' (named after Montreal’s trashiest ghetto, where the band resides) is a baked ode to their home turf: nasty, ugly, and inebriated. The band doesn’t deviate from their established recipe of dank riffs, hazy solos, and Vince’s awesome blackened snarl. Luckily so, since we all can't get enough of this unholy brew! 'Hochelaga' (Totem Cat Records) revels in its own filth and we wouldn’t have it any other way. "Smoke, drink, die." Now those are words to live by.
Get It
9. All them Witches – Dying Surfer Meets His Maker
No year is complete with some psychedelia to relax to. Not that Belzebong and the like aren’t enjoyable, but sometimes you really need those relaxed jams, and seeing as Brant Bjork won’t ride from the desert this year to save you, you have to look elsewhere. Nashville, Tennessee, perhaps? Yup, All them Witches are back! It’s hard to describe the sound of 'Dying Surfer Meets his Maker' (New West Records), but I suppose this is the audio equivalent to being loaded on peyote and dying of dehydration in the desert, whilst the heat slowly takes your sanity. It is painless, beautiful, and deeply introspective. You accept your fate and welcome death with open arms, embracing it like an old friend.
Classifying All Them Witches' style is a futile task, but they masterfully mix folk, psych, Americana, desert rock and blues (after all, they’re from Nashville). It is unlike anything I have ever heard before and probably nothing like it will ever be created again, after all ATW is the kind of band that constantly evolves their sound. This album should be mandatory for any desert-trip list in the years to come.
Get It.
8. Space Bong – Deadwood to Worms
Deadwood To Worms by Space Bong
Australian six-piece Space Bong are an odd affair: blackened psychedelic doom-sludge with classic rock guitar work, an attitude crustier than a two-week old scab, and vocals (two singers) that match the attitude. This either turns out to be a full-on hit or a complete failure. Luckily, Space Bong bestowed the latter upon us with 'Deadwood to Worms' (Art As Catharsis), including a bombastic production and a Betty Davis cover. Original and heavy as a brick, this album deserves your attention.
Get It.
7. Goatsnake – Black Age Blues
Black Age Blues by Goatsnake
“Coffee, Whiskey. Baby, don’t you miss me?” Oh, how we missed you guys. Eleven years after their last release, Goatsnake return with 'Black Age Blues' (Southern Lord Recordings). Doom n’ Roll is back on the menu! Though not all songs pack the same punch, it seems like the band isn’t suffering from any major stiffening after such a long hibernation. The riffs are still those beloved southern grease slabs and Pete Stahl's unique vocal approach still searches its equal. Let’s hope that we will not have to wait as long for the next album!
Get It.
6. Stoned Jesus – The Harvest
The Harvest by Stoned Jesus
Stoned Jesus seem to be the kind of band that cannot stay in one place for too long before feeling the urge to move along. After the Sabbathian 'First Communion' (2010) and the psychedelic 'Seven Thunders Roar' (2012), 'The Harvest' (Інша Музика) proves to be a whole different breed of stoner rock and doom metal. They could’ve easily recycled the formula of 'Seven Thunders Roar' for even more success, but instead they decided to blaze into uncharted territory. Incorporating even more prog than ever and showing no fear in embracing poppy songwriting is a risky undertaking, but the result is a thoroughly fun record, full of surprises and joyful experimentation. It's plausible that Stoned Jesus may have lost some fans with this release, but it is a price you have to pay from time to time as you live in harmony with your artistic vision.
Get It.
5. Baroness – Purple
I could never get into Baroness, but whenever a band that is not on my radar releases a new album I do try to give it at least one listen. Sometimes it pays off. 'Purple' (Abraxan Hymns) is a last-minute addition to this list, but the band earned their spot and make for a nice change in sound between all the beloved doom and gloom.
Though positivity and sludge seem to be oxymoron, 'Purple' is indeed a “light” album. I hear hints of Pink Floyd and even a bit of Queen, and sometimes that underlying pathos akin to Godspeed You! Black Emperor on standout-tracks like "Shock Me" and "Chlorine & Wine." Purple may came late to the party, but it won me over in a heartbeat. My lesson learned: always give a band a second chance.
Get It.
4. Khemmis - Absolution
Absolution by Khemmis
Khemmis is one of those bands that you hear people talking about but you never get the chance to check out. Luckily, I decided to work on my pile of shame and was greeted by one of the best doom metal records of the year. There are precious few bands that truly manage to bridge the gap between traditional and modern doom, and you cannot avoid to draw comparisons to bands like Pallbearer and Warning.
The riffs are fantastic (can I hear some NWOBHM twin leads in there?), but the real star is the crystal clear echoing wail Phil's vocals, a baffling performance from the opener "Torn Asunder" to the closer (and highlight) "The Bereaved." To call this album a pleasant surprise would be an understatement, and Absolution (20 Buck Spin) is a very strong debut. Make sure to keep an eye on Denver's Khemmis from this year forward!
Get It.
3. Egypt – Endless Flight
ENDLESS FLIGHT by EGYPT
Though I am more of a modern doom guy, it is hard to say anything about Egypt’s music that does not come in the form of praise. These guys have upped the ante again in their newest release, and they have truly become a paragon of what modern traditional doom (I hate using that term, incidentally) should be about. Everything on this album swings with a tantalizing groove, and if you cannot mosh to "Tres Madres" you should go see your doctor. A must own, that may come late, but it comes in all the harder.
Get It.
2. Monolord – Vaenir
Vænir by Monolord
I wouldn’t dare to call 'Empress Rising' (2014) a one-trick pony, but the title song on Monolord's debut was just so damn good that it overshadowed the other tracks (but props for using Angela Merkel with creepy crawlies as cover). Luckily, 'Vaenir' (RidingEasy Records) turned out to be a much more consistent and balanced album. And it sounds evil. Thomas V. Jäger's voice, as cold as the water of the lake the album is named after, floats above the ridiculously distorted, toxic bog o’ riffs and one wonders if they are able to recreate this sound live. Yes, they do, and their pedal boards are a sight to behold. This is not only one of the heaviest and trippiest albums of the year, it is also one of the best. You’d have to think that this kind of fuzz should scorch you alive, but instead it will freeze you to death.
Get It.
1. Clutch - Psychic Warfare
If you know me, you know this was going to be my album of the year. After all, I pretty much owe my love for music to discovering Clutch. Coming from a band that has been making music for almost 25 years without any line-up change (apart from the addition of Mick Schauer for two albums) and sporting a pretty much flawless discography, you should expect nothing less than excellence from Clutch.
They fully deliver. Still thriving off the drive of 'Earth Rocker' (2013), 'Psychic Warfare' (Weathermaker Music) is an expertly crafted piece of hard rock, with welcome doses of funk and a whole lotta blues. Neil’s lyrics and performance are a joy, as always, and though Clutch truly unfolds its potential on stage, you can already grasp Neil’s crowd control skills as a seasoned rock preacher in the studio. Round it off with a super crisp production, courtesy of Machine, and you have your Album of the Year Stew ready. Second servings highly recommended. Chances are, that already own it anyways.
Get It.
HONORABLE MENTIONS
Wino & Conny Ochs – Freedom Conspiracy
Heaviness comes in many shapes and forms. Usually it is conveyed via monolithic riffs and massive distortion, but sometimes all it takes is two musicians and two acoustic guitars. 'Freedom Conspiracy' (Exile on Mainstream) is an intimate, haunting mix of Americana, blues, and folk and is the second collaboration between Wino and German singer/songwriter Conny Ochs. The strong contrast between their voices works like magic on this album. Truly, you must be dead inside if "Forever Gone" doesn’t send a shiver down your spine.
Get It.
Dorthia Cottrell – S/T
's/t' by Dorthia Cottrell
Seeing as the two genres go hand in hand, Wino is not the only one to meddle in dark folk this year. Windhand's own Dorthia Cottrell demonstrates how her croon is fit for both massive walls of sound and the twang and somber minimalism of a single acoustic guitar. The album, out on Forcefield Records, is already worth checking out for her wonderful cover of Townes van Zandt's "Rake." And if you're wondering about the strength of Dorthia's own compositions (simple, yet powerful songs like "Perennial") the balance of the record should fully seal the deal.
Get It.
Vhöl – Deeper than Sky
Deeper Than Sky by VHOL
It is hard to ignore how much the music press is enamored with Vhöl's second album, 'Deeper than Sky' (Profound Lore Records) - and rightfully so. The super group (consisting of members of Agalloch and Hammers of Misfortune, with Yob's Mike Scheidt leading the charge) have moved somewhat away from the black metal elements on their debut, though they retain their curious mix of psychedelic, old school trash and still have some aces up their sleeves (like "Paino," a D-beat instrumental piano piece!).
Get It.
The Sword – High Country
Even now, I am not sure what to think of The Sword's 'High Country' (Razor & Tie), as it certainly has been a polarizing affair. Despite stylistic differences between this and previous records, one has to appreciate their vision in going for something completely different (stoner rock, rhythm & blues, with heavy use of synths - all in the same album?).
Even if it wasn’t a complete commercial success, I am fascinated to see what comes next in the band's evolution.
Get It.
Tome of the Unreplenished – Innerstanding
Innerstanding by TOME OF THE UNREPLENISHED
I still cannot remember how I came across this little gem, but you could see it as a twist of fate considering how obscure this one-man atmospheric black metal and ambient project from Cyprus is. I am not exactly and avid black metal listener (the genre is largely inaccessible to me), but this album is more on the mellow side, with practically no harsh sound to be found on the length of it. The record is largely instrumental, with majestic leads and the most intimidating tom I’ve ever heard. Ambient moments work very well, too. "Take me to the Stars" is the best track on 'Innerstanding' (I, Voidhanger Records) and is a perfect example of these mysterious, larger than life soundscapes. If you’re looking for something that will certainly broaden your horizons, give Tome of the Unreplenished a listen.
Get It.
Plainride – Return of the Jackalope
Return Of The Jackalope by Plainride
Subtlety doesn’t seem to be one of Plainride's virtues. In fact, they have the understatement of a cinder block to the face. It begins with the cover art and ends with the music. 'Return of the Jackalope' is their debut, released through their own BeerFuzz Records imprint. Evil tongues would call this album the embodiment of stoner rock clichés, but I see it more as an archetype of stoner rock. Booze, women, muscle cars, it’s all in there. Max’s vocal performance is over the top smoky, the riffs are fat and so is the production. You can’t quite shake the feeling of it being a bit cheesy, and towards the end of the 67 minutes runtime the album begins to drag on, however Plainride do their thing with an unabashed confidence that is very sympathetic. 'Return of the Jackalope' is a promising start, they just need to trim off some of the fat to make full use of their potential.
Get It.
Graveyard – Innocence and Decadence
Graveyard seem to suffer a bit from the high expectations that an album like 'Hisingen Blues' (2011) breeds. Lights Out was a fun album, but no match to the unbridled retro blast of HB. So, now, three years after Light Out we’re graced with 'Innocence and Decadence' (Nuclear Blast). And Graveyard is not shy to try new things.
You can hear some Dire Straits in their sound, and they aren’t scared to make use of female background singers and blast beats. Though not as gripping as ‘Hisingen Blues,’'Innocence and Decadence certainly has its own virtues, as it finds Graveyard at their most soulful.
Get It.
Gurt – DIYMCA
DIYMCA by GURT
I was once told that the London scene is oversaturated, so I can only imagine how hard it must be to make a lasting impression with so much concurrence. For Gurt however this seems to be an effortless task, which is even more remarkable if you consider that there is nothing incredibly special about Gurt on first sight. But there is something special about Gurt. They got everything on the sludge list checked, from the savage vocals of Gareth Kelly, that are about as pretty as the famed British smile, to heaps of groove and a bombastic production. Its catchy stuff, but Gurt use this already solid foundation to make their winning leap with a healthy dose of humor. Despite their very serious sound they don’t take themselves too serious, and I think that’s where their effortlessness stems from. In an attempt to keep the master list to 30, I decided to file this one under my honorable mentions, but make no mistake: this is as worthy as many of the others mentioned above.
Get It.
EPILOGUE
So, that’s it for the year! I’m excited to see what comes next. I, for one, am excited as hell, with albums from Conan, Wo Fat, Valley of the Sun and Gozu ahead. Let’s see what the New Year will bring.