I’m pretty sure everyone thinks of what it would be like to one day meet a particularly talented artist. Not too long ago, I had the honor of doing exactly that when I interviewed Brant Bjork for Doomed & Stoned.

I knew the famous Kyuss co-founder would be playing Vienna and inquired about the possibility of interviewing him. As the event drew closer, I wondered whether it would really happen. It was just days before the concert at Arena Wien that I received confirmation that my request had been approved. Overjoyed with this opportunity, I started into my research. Knowing that Brant Bjork has given so many interviews over the years, it would not be so easy to pick the “right” questions.

Brant Bjork and his music are larger than life. He is a multi-talented, a great performer, and trailblazer for stoner-doom. Yet I found him to be down-to-earth, as likeable an artist as he is talented. This year I celebrated my 40th birthday, which means that I grew up with the music of Kyuss, as well as Fu Manchu. Listening to his music always “makes me wanna dance”, do sexy belly moves and lip-sync-Karaoke. I am sure you all know what I mean.

‘Mankind Woman’ (2018) is the 13th Brant Bjork Album and it is full of “Diamonds” and “Pearls.” Packed with eleven distinctive songs, he shows us with this masterpiece again what a terrific storyteller he is!

To me, Mankind Woman is a journey – a long and intensive jam session. Even more, because it diverges between two complementary components - the one that makes you dream of adventurous desert road trips. Songs like “Chocolatize,” “Mankind Woman,” and “Somebody” will get you into the right mood, while the other just lends you to sit back and enjoy, which works best with “Pisces,” “Mankind Woman,” and “Somebody.”

Furthermore, riffs from “Lazy Wizards,” “Charlie Gin,” “Swagger And Sway,” “Brand New Old Times,” which are a blend of blues and classic rock, will make you beam back to the legendary era of the '60s and '70s. Classic stoner rock, groovy vocals and funky melodies draw this album out.

Vinyl fans: Mankind Woman, published by Heavy Psych Sounds, is almost sold out. A few in a shiny golden version are still available but the long wait for new material has an end, because over the weekend the new album, 'Jacoozzi,’ (2019) also via Heavy Psych Sound Records, has been released.

At the end of 2018, when Brant Bjork was still touring Europe, the fans were informed about the new album. The album cover is colorful and promising and shows a young Brant Bjork.

What he has to tell us this time? I was able to audit the promo before the album debuted. For many it will be a surprise (I’m one of those), for some it will be a logical conclusion. You have to listen to it yourself and I really advise you to enjoy each song in the given order. Do not skip song titles and you will be rewarded with the last song of the album, called “Do You Love Your world.” Suffice it to say, hearing Brant Bjork play all the instruments on this record is a joy, indeed.

I spoke with Brant Bjork just as he was shifting gears from his 12th Solo album 'Mankind Woman’ (2018) to his 13th: 'Jacoozzi’ (2019). Brant was touring together with his band and ex-Throw Rag Frontman Sean Wheeler to spread those good desert vibes throughout Europe. I began the evening by welcoming him to Vienna…

It is a pleasure to meet you! Since I’m in a band myself, the topic of songwriting is top of mind right now. How do you approach it? Is there someone you collaborate with? How exactly do your songs come about?

Well, I’ve been writing songs and playing songs for a long time. I mean, for a really long time. To be more specific, since I was a child and anything you attempt to do for a long period of time, you start to just become more aware of how to do it. I don’t have a particular way.

Does is start with a story or poem?

I think my music is just feelings, which means being aware of how you feel and translating that into sound and words.

If I look closely at your solo career, I see that you were very active in 2010. Your next solo album was released in 2015. What did you do musically during these 5 years?

John Garcia, from Kyuss, had the idea to bring the band back together with his guitar player and I heard the guitar player and thought, “Yeah, that sounds good!” I didn’t plan on it becoming something that would be all-consuming, though it did take a lot of time, but once we got rolling it just had a snowball reaction, including bookings and tours. It was very much a success and we kept rolling 'till it was done.

You are a true legend to a lot of people. My first time seeing you live was in 2017 and I was surprised about the audience. I assumed that many people of my age would be attending the concert, but I was very surprised by the younger ones – in particular, young skateboarders. Do you still skateboard?

I do not skateboard anymore, but when I was growing up it was a big part of my life.

How different are Stoner Rockers from Low Desert Punks?

I grew up on punk rock, grew up in the desert of southern California, and in the mid-80s, when the punk rock trend somehow died – the original hardcore wave. I was young and part of the punk scene in the desert and all the punk rockers just started growing their hair long, smoked pot, and took acid. Getting into classic rock, getting into different kinds of music, that’s how Kyuss was the way it was. We were just punk rockers.

As teenager, I grew up with bands such as Kyuss and Fu Manchu.

Yes, we are all punk rockers – even Monster Magnet.

You just finished your current tour. Are you looking forward to your home and the warm weather? Are you happy about flying home with a lot of new memories?

It is always nice to fly back home, but I love playing music. Two days ago we played at the Heavy Psych Sounds Festival, which was really cool.

As soon as I hear your music, I have to think about films like From Dusk till Dawn by Quentin Tarantino. Could you imagine composing a soundtrack?

Well, yes [smiling thoughtfully] I would love to. If someone would approach me, I would be delighted.

I saw that early today you were in the Klangfarbe Custom Shop. Were you looking for new instruments there? We all heard that your instruments were stolen in Gothenburg.

Yes, we were there today. I really enjoyed it and tried several instruments.

Even as a hobby musician, it is not easy to find the right guitar. Do you have a favorite one?

No, not really. I’ve enjoyed different guitars and all of them sound different. My '75 Flying V is great and I have got a couple of SGs, but you know what? I started out on Fenders and so even right now, I had to pick out a cheap guitar, as our gear was stolen at the top of our tour. I picked up a cheap Squier to get through the tour. I started on Fenders and I always come back to the Fender, Strats, you know.

I have a Squier, too, but right now I am thinking about a Gibson Les Paul, but the original ones are quite expensive. On Facebook, I read that you started a crowdfunding campaign to replace those stolen instruments.

There has been tremendous support from all the fans and we are beyond grateful. Every little bit helps, because we took a pretty big hit.

You recently become a signed artist of the label Heavy Psych Sounds. Was the vision behind that partnership always to re-issue all of your previous albums?

Yes, because when we decided to work together Heavy Psych Sounds had the idea of re-releasing my catalogue, which I was very much excited about.

Sounds great! Are you planning to press colored and even limited vinyls?

There will be definitely different colored ones, which is great.

Last question. Could you imagine yourself singing a duet with Lady Gaga or maybe another female artist from a completely different genre?

I think that would be an interesting experience [smiling] and I would be open to it. I am sure it would be pretty cool to do something with a female artist, especially with one who is talented on that level. I am not planning on it, but if somebody wants, I’m there.

I can imagine you singing with Sade

I love Sade – she is one of the best artist of all time!

Thank you very much for your time. I am really honored to finally meet you in person. Have a great night and hope to see you soon.

If we learned anything from the creative flurry of 2016, it is that the heavy underground scene is teeming with inspiration, creativity, joy, and madness. 2016 was an incredible year in terms of doom metal and stoner rock. It was also an exceptionally busy year, preventing me from reviewing many of the albums that made a big personal impact. However, this end-of-year list is the perfect opportunity to salvage all those loose drafts and ideas that have been stuck in my head for the last 12 months. And it was a task I was both looking forward to and dreading at the same time, considering the sheer mass of quality releases we were presented and my inability to call it quits after 20 or 25 records. I’ve spent the last few days in panicked last-minute listens, and you will always miss or forget an album or two. And just like last year, the ranking is mostly arbitrary. If you’re asking whether album number x is really better than album number y, the only answer you’ll get from me is: It made it into the list. It is worthy of your time and attention.

30. Youngblood Supercult – High Plains
(DHU Records)

Take a listen to “Monolith,” the second track on High Plains. The way David Merrill’s smooth, reverb-heavy singing just floats right into the song – it’s just one of many moments that make this record. High Plains is a major step up from Youngblood Supercult’s 2014 debut, and much of it owed to David’s sublime vocal work.

That doesn’t mean the rest of the band cannot stand strong on its own. “Stone Mountain Blues” sports a mean riff and the rhythm section keeps it heavy and steady over the length of 49 minutes. I could definitely see Youngblood Supercult being a bigger player in retro-occult rock, if they keep up the great work.

29. Ortega – Sacred States
(Consouling Sounds, Narshardaa Records, Tartarus Records)

If there are two things I love, it chugging guitars and tribal drums. Serve me up a combination of that pair and you’re guaranteed to grab my attention. Such is the case with Dutch band Ortega and their gargantuan new record, Sacred States. Over the length of 57 minutes these guys present a mixture of doom, post-sludge, and hints of noise compressed into one hefty punch. Even though songs such as “Strong Eye” never exceed mid-tempo, they have a remarkable amount of momentum and thrust, just steamrolling you for 10 minutes and then some. Sacred States could use some trimming, but all in all it’s one intimidating (and sadly very much overlooked) beast of an album.

28. Mammoth Weed Wizard Bastard – Y Proffwyd Dwyll
(New Heavy Sounds)

Doom metal is first and foremost the art of the riff. To write a good doom metal song is to write a great (which usually means a threatening) riff. Luckily this is something Welsh foursome MWWB, for the sake of brevity, is more than adept at. The band also knows how to make effective use of contrasts, with a ten-ton heavy production in the hands of doom’s greatest audio wizard, Chris Fielding, and Jessica Ball’s ethereal high-pitched croon that comfortably floats over the whole concoction.

And whilst I have grown tired of clichéd names like MWWB (which must be by all accounts of logic a play on said cliché), this band actually brings everything it claims, without drowning in a sea of samey sounding bands whose names must’ve been made up by the infamous stoner rock band name generator.

27. Church of Misery - …And Then There Were None
(Rise Above Records)

Whether you consider Church of Misery to still be Church of Misery after the departure of all the members except for Tatsu Mikami or not, …And Then There Were None is still a pretty damned fun record. The band (now more an American than Japanese act) employs Scott Carlson of Repulsion for the vocals, and he must’ve had a hell of a time recording this, seeming to take as much joy in sounding cruel as the serial killers he sings of – because above all, …And Then There Were None is a sadistic record. It sits atop a pile of rotten meat like a sardonic fly, with a big, mocking grin. It’s a nasty and fetid work, exactly what I expect from Church of Misery. And that “Yeah!” Scott rips out at the beginning of “Doctor Death” is just pitch perfect. It’s the small things that bring the spice.

26. Vokonis – Olde One Ascending
(Ozium Records)

Man, Olde One Ascending feels like a lost Sleep record. The inspiration is more than obvious – this is stoner metal par excellence. And yet, Vokonis don’t just contend with blunt riff worship; instead, they take Sleep’s formula and modernize it. Olde One Ascending is as much a look into the past as it is into the future, and a great one at that. If there is one minor complaint from my side, it is that the album is missing its own hit, its own “Dragonaut,” if you will; but only because all of the songs are of equal high quality. And who says that they will not drop the bomb with ‘The Sunken Djinn’ (2016) on their new label Ripple Music next year?

25. Fistula – Longing for Infection/The Shape of Doom to Cumm)))
(PATAC Records, Totem Cat Records)

No list would be complete without some nasty, nasty old-school sludge. Might as well reach for the good shit then, and luckily Fistula supplies us with not one, but two new releases this year. Both records kick off with killer songs, “Too Many Devils and Drugs,” with its hilarious spoken riff intro, and the merciless “Serial Vapist” (song title of the year), which takes down the riff worship culture respectively and keep it grimy and hateful over the length of both releases. Fistula doesn’t reinvent themselves on these albums, and why should they? They’ve been at it for 18 years now and are still going strong. And who doesn’t love a band with lyrics like “We are the dog shit on your shoe”?

24. Khemmis – Hunted
(20 Buck Spin)

'Absolution’ (2015) was one of my favorite records of last year, so my expectations for 'Hunted’ (2016) by Denver’s Khemmis were sky-high. And whilst many saw Hunted as an improvement, I cannot quite share those feelings. Like some other albums this year, Hunted seems to be somewhat lacking in terms of immediacy (which was one of the major strengths of Absolution). But I am complaining on a high comfort level; Absolution was an amazing record and Hunted is still pretty darn fantastic. After all, there are preciously few bands aside from Pallbearer who can bridge the gap between traditional and modern doom metal, let alone weave NWOBHM seamlessly into doom. In fact, Khemmis seems to be branching out on this record, and it certainly has its moments. The later parts of “Candlelight,” for example, are pure ecstasy. At the end of the day, I’ll take anything that comes from Khemmis.

23. Greenleaf – Rise above the Meadow
(Napalm Records)

Greenleaf’s fate up until 2014’s Trails and Passes (Small Stone Records), was more or less that of a side-project. The addition of Arvid Jonsson and his gravely howl resulted in one of the finest seventies rock records of the last few years. Now an established act after relentless, sly touring Europe for two years, it was time to write a new album. Meadow may lack somewhat in consistency (the first half of the record is nothing but greatness), but the songs that are good are pretty freaking amazing, and even the latter half has some decent material. Opener “A Million Fireflies” is driving and urgent, but it is above all heavy. One wouldn’t be able to call this retro rock, this is retro metal. Arvind’s soulful organ is the star, of course, but the riffage here is exquisite, as well – Tommi Holappa being one of the more underappreciated axe-wielders in stoner rock. Songs like the painfully short chug-and-hook-fest “Golden Throne” really sell this record. If only the standout tracks were spread out a bit better. Nonetheless, Meadow stands as one of the best retro records of the year.

22. 1000mods – Repeated exposure to…
(Ouga Booga and the Mighty Oug Recordings)

Not sure what’s in the water in Greece, but the country has proven to be one of the major driving forces in stoner rock for a good chunk of the decade. At the forefront of this new wave of stoner rock stand the Kyuss revivalists 1000mods. And their latest album, Repeated exposure to… is their most consistent and, frankly, best record to date. It’s heavy as hell, has a massive drive, and is basically just one steady stream of killer riffs. One could easily fault them for simply adhering to the standard stoner-desert rock formula, but the sheer quality of this album makes it more of a positive archetype and puts it beyond any criticism. It’s stoner rock done right. Simple as that.

21. Sunnata – Zorya
(Independent)

Seems like nothing but quality comes out of Poland these days. Sunnata is yet another band in the proud lineage of BelzebonG, Dopelord, and Weedpecker, delivering quality heaviness and putting their own twist on post-sludge metal. I cannot think of any band I could fully compare them to. Zorya is vaguely Neurosis-esque and the production reminds me of YOB’s Atma (one of my favorite records). All I can say is that Zorya is a beast of an album and entirely Sunnata’s own, down to the whole thing being self-produced and independently released. If you have appetite for some mind-bending heaviness with great vocals (these transitions from clean to harsh really do it for me), then look no further than Zorya. This is DIY done right. Plus, it’s got one of the best album covers of the year by Jeffrey Smith.

20. Holy Grove – Holy Grove
(Heavy Psych Sounds)

Holy Grove really knows how to make a lasting first impression. The Portland band took its merry time to release its debut, but it has been more than worth the wait. This is classic '70s hard rock of the highest order. The star is, of course, Andrea Vidal – she’s got a real set of pipes on her. There is nothing fragile about her singing; she embraces a mature, blues-rooted approach.

It’s a real joy listening to her belting and roaring, backed by a plethora of hooks and memorable riffs (plus some great basslines). Opener “Death of Magic” digs right into your brain, and the chorus of “Hanged Man” is an honest-to-heart earworm. No gimmicks here. As they proved at Hoverfest, Psycho Las Vegas, and their recent European tour with Gozu, these guys are real pros.

19. Red Fang – Only Ghosts
(Relapse Records)

I must admit, 'Whales and Leeches’ (2014), with the exception of a few songs (“Dawn Rising” with Mike Scheidt was amazing), felt like a step back after Red Fang’s classic first two releases. Only Ghosts is not quite yet a Murder the Mountains, but it definitely feels like Red Fang are back on track again. Opening up with “Flies,” Portland’s finest don’t take prisoners. Bryan Giles’ raucous barking brings the mission statement: they won’t leave until the house is brought down. Only Ghosts is generous on the riffs, and Aaron Beam immediately shows of his growth as vocalist on “Cut It Short,” spreading tasty basslines all over the album. If Only Ghosts is the start of an upward trend, then we may not be too far away from the best album Red Fang has ever done.

18. Grajo – Grajo
(DHU Records)

2016 was a tough year. Among the many musician casualties was Horn of the Rhino, one of my very favorite doom metal acts. Yet there is a new force to be reckoned with from Spain. Introducing Grajo, whose self-titled debut seems to be one of the most overlooked releases of the year. Building on a very dry and thick production, Grajo provides over a half-hour of enchanting psychedelic doom. The band doesn’t reinvent the wheel, but the album is chock-full of infectious choruses and melodies, topped off with Liz’s hypnotic, reverb-laden vocals. And at the end of the day it is all a good doom record needs. Grajo is off to a promising start and I am left wanting more. I hope I don’t have to wait for too long.

17. Truckfighters – V
(Fuzzorama Records/Century Media)

Truckfighters like dancing on a razors edge. Their stoner-gone-prog-pop tendencies seem to have alienated a good part of their earlier fan base, but if the results are albums like V then it is a risk worth taking. V is the perfect marriage of the progressive leanings of Mania and Phi’s massive fuzz. Tool trips to the desert, if you will. Special praise goes out to the rhythm section. Considering the core team of Truckfighters in the resident fuzz-aficionados, Mr. Dango on guitar and Mr. Ozo on bass and vocals being such a tightly knit unit after more than 10 years of bandship, it must’ve been a hard for drummer El Danno to emerge out of the constant rotation of drummers the band goes through à la Spinal Tap and hit such a stride on this album. The chemistry between him and Mr. Ozo makes this album so great. This rhythm-section hits hard and so much harder thanks to the fantastic production. Songs like “The Fiend” and “Storyline” have such a massive bounce to them that I cannot help but love. Bravo, Truckfighters!

16. Boss Keloid – Herb Your Enthusiasm
(Black Bow Records)

Boss Keloid (already getting plus points for naming themselves after an Iron Monkey song) mellowed out in the weirdest way possible. Gone are the spastic, angular Crowbar-and-Mastodon-meet Dillinger-Escape-Plan riffs of their ingenious debut. Instead, Boss Keloid opts for a much different sound that is not any less intriguing. Opener “Lung Mountain” is big in every aspect, the composition, the soaring voice of Alex Hurst; the oriental scales and distortion do the rest. The whole album radiates a mystical vibe, yet it never betrays its own proggy roots, and never ceases to indulge in massive rolling grooves. It’s a brilliantly weird release with surprises at every turn, and it seems to fight against any and all means of being described. Its sound cannot be put into words so it is best if you listen to it by yourself. I, for one, cannot wait to see what Boss Keloid does next. It will be nigh impossible to say what it will be, but I am hyped for it.

15. Dunsmuir – Dunsmuir
(Hall of Records)

Neil Fallon is the King Midas of stoner rock. Whatever he touches turns into gold. So, what could his new super-group (one actually worth of the title) with Brad Davis (Fu Manchu), Dave Bone (The Company Band) and Vinny Appice (Ex-Black Sabbath, Heaven and Hell) be but expertly crafted classic heavy metal and stoner rock? Admittedly, Dunsmuir still sounds a lot like Clutch, Neil Fallon’s bark being the kind of unmistakable spice you could spot in every dish it is put in, but Dunsmuir certainly sports a well-tempered metallic edge, backed by fantastic musicianship from all involved parties. My ultimate imaginary super group has always been Fallon and Iommi doing classic doom, and Dunsmuir is as close as it will get to it, for now at least. Besides, who doesn’t love a song like “Crawling Chaos”? It’s got Fallon singing about Lovecraftian gods and volcanos. That’s all I need for a mighty-rocking good time.

14. SUMAC – What One Becomes
(Thrill Jockey)

SUMAC’s sophomore album is easily one of the most fascinating albums of the year. I feel reluctant to refer to its individual parts as songs; pieces are a much more fitting description. Riffs have traded the place for textures, and the structures of each piece are ever shape-shifting. At one moment SUMAC will entice you with dreamy post-metal strumming, at the next moment they will blunder you with hellish chugs, aided by Aaron Turner’s death rattle. The production (with lots of natural reverb as it was recorded in an empty church) is nothing short of stunning with each instrument being thoroughly memorable in its unique tone. I dare say that What One Becomes is the best sounding record of the year, and I highly recommend you to get an LP copy of it. Believe me, it is worth it.

13. Neurosis – Fires Within Fires
(Neurot Recordings)

I must admit that Neurosis eluded me taste wise until recently. Ever since I “got it” my appreciation for the band has grown exponentially. Listening to albums like 'Souls at Zero’ (1992) and 'Through Silver in Blood’ (1996) has been an eye-opener for me, and I do now realize that most of the bands I adore wouldn’t be if it wasn’t for Neurosis. So, naturally, I was anxious to hear Fires Within Fires, which commemorates the 30th anniversary of the band. And the first thought that went through my head was, “That’s it already?” Fires is just 41 minutes long, which just feels a bit short for a band with a sound as grand as them. But Neurosis filled it to the brim with memorable moments, especially the majestic layered main riff of “Fire Is The End Lesson” that wouldn’t feel out of place on a Pallbearer album. Neurosis might have been around for three decades, but it does not stop them from providing strength and vision, and I am sure they will continue to do so for many years.

12. Brant Bjork - Tao of the Devil
(Napalm Records)

It seems like Brother Brant got his hands on a time machine, because Tao of the Devil sounds like a lost relic of the '70s, down to the way the drums were recorded. It is certainly not his first venture down that road, one has only to remember 'Saved by Magic’ (2005 - Duna Records), but Tao feels like a much more accomplished and concise effort. The grooves on this album are to die for, from the scintillating boogie of “Humble Pie” to the rolling “Stackt.” At this point in Brant’s lengthy solo career you either praise his consistency or accuse him of rehashing, but it most definitely doesn’t matter to the man himself, he just seems to be hell-bent on creating music he enjoys. And I am sure this joy and “apathy” (for the lack of a better term) is where he takes his coolness from, because just like all his previous releases, Tao of the Devil is very chill. It was made to kick back in a hammock on a sunny day with a cold one in hand.

11. Valley of the Sun – Volume Rock
(Fuzzorama Records)

An album title like that is a bold statement, but if there is a band out there that can live up to it, it is Valley of the Sun. Volume Rock is no nonsense, super-charged stoner rock in constant overdrive. No dull moments. No unmemorable riff. Songcraft is at an all-time high, as are Ryan Ferrier’s soaring vocals, and Aaron Boyer’s expressive, powerful drumming. The band just does everything right from the get-go, employing once again producer John Naclerio for a crystal clear sound. Whilst the majority of the album is played at almost nauseating speed (at least for stoner rock), the band certainly knows how to make use of slower tempos. The mid-tempo start-and-stop stomp of “Speaketh the Shaman” is, for the lack of a better term, epic. I know preciously few stoner rock bands that manage to capture such a grand sound.

10. Whores. – Gold
(eOne Music)

Holy shit, this is one pissed off album! I can certainly see where the reputation for the Whores. live shows comes from, and I don’t expect them to be any less wild on stage (Roadburn, here I come)! In fact, it sounds like the band wants to claw its way out of your speakers to eat your fucking face. If there is one minor complaint from my side, then it is that the production on Gold feels like a step back from their previous releases. As stupid as it sounds to complain about the production of a noise rock album, I cannot shake the feeling of the whole thing being unnecessarily muddied up. But at the end, this band is still the bastard child of Red Fang, Melvins, and a whole lotta noise on all the Adderall. Whores. don’t. fuck. around. Gold is angry. Gold is loud. Gold is noisy. Gold is all I could ask for from a rock record. Get it or miss out on this monster at your own danger (I am not sure which one is more detrimental to your health).

9. Mars Red Sky – Apex III (Praise for the burning Soul)
(Listenable Records)

Mars Red Sky are FAR OUT! It seems like they’re out to explore increasingly alien soundscapes with each new album, and Apex III is definitely their most experimental, diverse, heaviest, and paradoxically lightest work to date. In a step that probably few saw coming, Mars Red Sky started to venture into doom metal and, goddamn, can they be heavy and horrifying if they want to (see: “The Mindreader”). Yet, at the same time, they keep their catchy pop sensibilities and let loose chansons like only a band from sun-kissed Bordeaux can.

Julien Pras has grown considerably as vocalist, and remains a tap-dancing wizard on his pedalboard. Similar growth can be seen in Jimmy Kinast (bass) and Mathieu Gazeau (drums). Find me somebody else who can blend in blast beats as seamlessly into psych-rock like he can and I’ll be seriously impressed. Wherever Mars Red Sky’s ship flies to next, count me on board.

8. Slomatics – Future Echo Returns
(Black Bow Records)

Future Echo Returns has the density of a dying star in so many ways. The atmosphere. The heaviness. Hell, Slomatics are a major influence on Conan, whose Jon Paul Davis just so happens to be the head of Black Bow Records and contributed guest vocals on this album. It’s seriously spaced out, epic stuff. Just listen to a song like “Rat Chariot” or the majestic closer “Into the Eternal.” You can tell that all involved parties are experts at their craft, from the top-notch production (yet another winner from Chris Fielding) to the precision execution by the Belfast veterans themselves. This album is carefully thought out. It feels like each note and each word is exactly at the place where it should be. And on top of all, the record just flows smoothly from one track into another, as if it was meant to be taken in as a whole composition in one incredibly immersive experience. Just put on your headphones, close your eyes, and drop out of life (with choice paraphernalia in hand).

7. Mos Generator – Abyssinia
(Listenable Records)

Mos Generator has always been on the forefront of excellent seventies-style rock. Having frontman Tony Reed as a walking encyclopedia of that era certainly helps. Yet Abyssinia is so much more than a thick slab of heavy rock revivalism. What makes this record so great is how it refuses to be limited by the constraints of its genre. In a crowded field of Sabbath-rehashes, Abyssinia is a big breath of fresh air. In fact, it is an admirably progressive album, probably owing to Tony’s love for Rush and King Crimson.

After letting loose one belter after another, it is especially in the last third of the album when Mos Generator topples you over with surprises. “There’s No Return From Nowhere” can be ridiculously heavy and light as a feather. “Time and other Thieves” is, according to Tony, heavily inspired by Voivod, and the moody “Outlander” ranks as one of this year’s best ballads. Mos Generator may have gone through hard times (Tony being the only original member left now), but his new crew has come out stronger than ever. The future does look bright for the Generator Mk. II.

Credit: Chris Schanz

6. Cult of Luna & Julie Christmas – Mariner
(Indie Recordings)

Opinions about metal are just as diverse as the genre itself. However, there seems to be a few things most people agree on, such as everybody loving Lemmy (we miss you). Another consensus seems to be about Cult of Luna’s collaboration with Julie Christmas (ex-Made of Babies, ex-Battle of Mice) being one of the best records of the year. And it has every right to be considered as such. Mariner is a post-metal juggernaut, as huge in tone as its synths are spacey. But what really elevates Mariner is Julie’s vocal work in conjunction with Cult of Luna’s own Johannes Persson. The sheer range of singing techniques she employs is stupefying, from unsettling high-pitched singing to hushes to dissonant shrieks. Her explosive timbre morphs with every second, making Mariner volatile and unpredictable from front to end. Mariner should be considered a landmark in metal vocals, and I feel truly blessed to have been able to witness the album being played live in full length just a few months ago.

5. SubRosa – For This We Fought The Battle Of Ages
(Profound Lore Records)

'More Constant than the Gods’ (2013 - Profound Lore Records) paved the way to the highest echelons of doom metal for SubRosa. That Olympus occupied by the chosen few: YOB, Pallbearer, and Neurosis. Now it was up to the SubRosa to once again fortify their position, something they’ve done formidably with their latest album. Though it does not have quite the same immediacy as its predecessor, it is still an emotionally devastating journey over the course of 70 minutes. Above all, it proves SubRosa’s songwriting mastery, from the harrowing lyrics, loud-quiet/melodic-unmelodic dynamics, and ever-wailing electric violins of Kim Pack and Sarah Pendleton, to the clever interplay of the vocalists (4 of the 5 band members). The atmospheres they create are thick, oppressive, and at times almost unbearable. If doom is so fucking beautifully bleak that it makes you almost want to stop listening, then you know that it has won the game. SubRosa is the sweetest torture.

4. Gozu – Revival
(Ripple Music)

I don’t know what it is with Gozu, but they remind me of the Joker. The fact that the LP version of their last (excellent) album, The Fury of a Patient Man came in purple and green, the Joker’s trademark colors certainly helps at that. Gozu is different than most bands. Gozu is stylish. Gozu is fucking nuts and on a killing spree in a tailored suit.

The Bostonian enfant terrible is back with its zany new album, Revival. The song titles are as weird as ever (“Bubble Time,” “Tin Chicken,” and “Lorenzo Llamas”) and Marc Gaffney’s soulful vocal performance, falsetto and crunch, is thoroughly unhinged. From the assaulting “Nature Boy” to the predatory “Big Casino Revival,” this album just does everything right. The solos are just the right amount of flashy, the production is bombastic and a joy to listen to. Gozu represents the very best rock has to offer to the current date. They’re an institution, and belong in one.

3. Inter Arma – The Paradise Gallows
(Relapse Records)

The Paradise Gallows is probably one of the most challenging albums of the year, at once embracing serenity and horror. In one moment Inter Arma’s latest LP sounds like a lost Pink Floyd studio reel, at the next hideous blackened doom dives into a hellish chasm of blast beats and anguished snarls. There are many bands that desperately fight being classified, but I feel the moniker “genre-defying” is one that has to be earned and with that, I’ll gladly bestow that mantle to Inter Arma. Stylistically, they paint with a gamut as wide as the stunning artwork by Orion Landau. Sometimes it feels like Inter Arma may choke on its own ambitions, and the way it’s drawn out accounts for a big part of the album’s challenging nature. Then again, I’ve lost count of how many hours I have put into listening to this record, and yet I still feel like I haven’t fully grasped The Paradise Gallows. If this isn’t a testament to its replay value, then I don’t know what is. By no means is this an easy listen, but by all means it is a masterpiece.

2. Conan – Revengeance
(Napalm Records)

Every year or so the monstrosity that is Conan will poke its three ghastly heads out of its Skyhammer Studios lair in northern England to take up their axes and man thee war drums for some seismic CAVEMAN BATTLE DOOM! (caps mandatory at all times). And once they have set this battering ram into motion, there are very few that can withstand their brutal amp-propelled inertia and live to tell the tale.

Revengeance, their newest declaration of conquest, goes harder than Arnie’s pegs, bathes in drop F tuned gore and glory, and shows off some fresh tricks thanks to the new rhythm section. More ferocious than ever, but not an ounce lighter. Verdict: louder than the lamentations of their conquered enemies, driving the competition before them to lay down their weapons in surrender. Dedicating a song with the title “Thunderhoof” to your old touring van spells a flawless victory in my eyes. Revengeance is riff-mongering of the highest order.

1. Elephant Tree – Elephant Tree
(Magnetic Eye Records)

It really speaks of your artistic merits when the British National Sound Archive decides to induct your work into its archives, to be preserved for future generations, making it part of Britain’s cultural heritage. I am not sure how the archive found out about Elephant Tree, but if there is one album that deserves this honor, then it is this one, for it is a veritable masterpiece of psychedelic stoner rock.

Marking a big shift in sound Elephant Tree decided to ditch the sitars and screams of its debut EP Theia, instead going for a much more streamlined approach. Breathtaking melodic vocal harmonies now reign supreme over the suffocating, fuzzy, and warm production. What they may have sacrificed in experimental sound has been replaced by deep songwriting, the quality of which should be nigh impossible to achieve for a band this young. At times, Elephant Tree seems like a Bizarro-Mars Red Sky, relying on the same heavy-light dynamics. Yet instead of becoming more experimental with each release, they’re just progressing into the opposite direction towards an uncertain destination. This destination, by all accounts, may very well eventually be the catchiest stoner rock album ever created.

Being a big fan of Theia, I knew I had something special in front of me even before I started listening to the first track, but I never expected the record to hit me as hard as it did. I had convinced myself early on in the year that Revengeance would be my favorite of 2016 since Conan happens to be one of my favorite bands. And though both records are almost at a tie, I just had to hand it to Elephant Tree – not because they’re the small guys, simply because they deserve it. End of discussion.

P.S. I apologize to those in my immediate circle for constantly raving about this record, but you know it to be true. I’d be surprised and disappointed if it isn’t at least considered to be a minor classic in the heavy scene in a few years.

But Wait! There’s More…

Not only would I consider 2016 to be a great year in terms of stoner-psych rock and doom-sludge metal, but heavy music in general. I’ve dedicated a lot of time exploring different genres and sub-genres this year, and I have found new tastes I cannot help but to share in the following honorable mentions.

Woman is the Earth – Torch of our final Night
(Init Records)

Spotting this rather oddly named album by this oddly named band from Rapid City, South Dakota in the feeds of some of my more black metal leaning friends made me curious. Little did I know that I was about to discover one of my absolute favorite records of the year, regardless of genre. I still cannot get a hang of a lot of black metal, but WITE’s atmospheric brand was immediately captivating in its strong contrast of beauty and harshness. Moments like the breathtaking climatic ending of “Brother of Black Smoke” still send chills down my spine after having listened to it countless times. If you have any appreciation for atmospheric music, be it black metal or not, you’d do yourself a disservice if you didn’t check out Torch Of Our Final Night.

Opeth – Sorceress
(Nuclear Blast)

I’ll be the first to say that I still miss death-metal Opeth. If you’re a death metal band who also happens to be a prog rock band, then you can sonically paint with a much wider palette than if you’re just a prog rock band (and being as diverse as possible seems to be kind of the idea behind prog). That being said, I was a huge fan of Pale Communion and Sorceress seems to be more of that, just a bit heavier at times. Will we ever get Growlpeth back? I don’t know, but I like a lot of what’s going on in Sorceress.

I’m a sucker for chug guitars, so the title track has my needs covered (an oddly blunt approach for Opeth), but also the lighter moments, like the beautiful waltz of “Will o’ The Wisp” know how to enchant. Not every track has lasting power, but overall Sorceress is a very solid record.

Batushka – Litourgiya
(Witching Hour Productions)

Technically Litourgiya was released in mid-December 2015, but to so little attention that most people didn’t catch up with the band until this year. Yet another band that left a lasting impression on me during my first venture into black metal Batushka play a very particular style of black metal (sung entirely in Russian) that relies heavily on the imagery of the Slavonic orthodox church, including chants and traditional priest garbs. The stage presence of the polish band (whose members remain anonymous) is a thing on its own, the live shows appear to be closer to processions, and similar things can be said about Litourgiya itself. Despite being black metal I found the album to be surprisingly accessible, thanks to the big, epic and at times doomy compositions. And the priest’s chants really are a class its own. Highly recommended.

Vermin Womb – Decline
(Throatruiner Records)

2016 was the year when I started to explore new genres. Always a sucker for a heavy musical pounding and already being a huge fan of Primitive Man’s life-weary and hateful sound, I found the perfect entrance into grindcore with Ethan Lee McCarthy’s other band, Vermin Womb. Saying that Vermin Womb is just sped up Primitive Man would sell the band below its value, but it gives a good idea what Vermin Womb sounds like. Hell. It sounds like hell. Decline grinds in more than one way. It is dark, it is chaotic, and it is downright terrifying. Ethan Lee McCarthy must be possessed by a wrathful deity, because that voice absolutely inhuman. This is really a record that will make you feel miserable and fear for your life, and that’s what I love about it.

Gojira – Magma
(Roadrunner Records)

Gojira is quickly becoming one of the biggest acts in modern metal, and Magma is without a doubt one of the biggest metal releases of this year. It surely was one of my most anticipated releases of 2016. And I was left being disappointed after my first listen through. The album lacked in technicality and heaviness, the things I appreciated Gojira most for.

Luckily I saw them play a good part of Magma live the very same evening, and it motivated me to dive into the record again, and it has really grown on me. This is a much more personal and intimate work (heavily impacted by the loss of Joe and Mario Duplantier’s mother), and I couldn’t fault the band for pouring so much heart into it. It is not the best thing they have ever done, but it is their most unique release to date.

Oranssi Pazuzu – Värähtelijä
(Svart Records)

Man, Värähtelijä is as weird a record as hard as it is to pronounce. This thing is all over the place in the best way possible. It’s a dazzling, disorientating, at times overwhelming work, and as manufactured as the moniker psychedelic black metal sounds, Oranssi Pazuzu really put a stamp on it. It’s constantly on the verge, and throws an endless stream of eerie synths, swirling guitar lines and alien sounds into your general direction, and it really sticks, creating these impenetrable soundscapes and layers upon layers of mind bending psychedelia. If you’re heads deep into psychedelic (and not fearing darker territories) or extreme music and haven’t listened to Värähtelijä then you’re missing out. This is both the best and worst trip you’ll ever have.

The Dillinger Escape Plan – Dissociation
(Cooking Vinyl/Party Smasher Inc.)

After 20 years of global stage annihilation mathcore legends The Dillinger Escape Plan have decided to call it quits. Those live shows must wear you out at some point, after all. Luckily TDEP have given us a farewell gift with Dissociation, and unlike many other farewell albums it is a great one. It seems like the band wanted to put in as many ideas as they had left over into this one final effort, without the resulting record being overly bloated.

For a band as spastic and eccentric as TDEP, it is commendable how they can establish such a massive groove despite all the breaks and staccatos, and Dissociation remains unpredictable and (emotionally) engaging at all times. And when the title track brings Dissociation to a close it does so with a teary eye and without pretense. This is how you put a seal on your legacy.

Alcest – Kodama
(Prophecy Productions)

If I had one word to describe Kodama, it would be beautiful. The latest album by the French blackgaze pioneers was a more than welcome return to Alcest’s black metal roots, yet they did not lose an ounce of their poise and sense of aesthetic. There is almost a certain playfulness to the serene reverberating leads that spread through the album, accentuated by Neige’s harsh screams and clean vocals. It’s dreamy, beautiful music to get lost into, yet it will not simply lull you with lush atmospherics. The music remains captivating at all times. There is a lot of thought behind each stroke of the album; Kodama is a carefully crafted piece of art, and may be Alcest’s best work to date.

Kvelertak – Nattesferd
(Roadrunner Records)

Kvelertak found itself at a point where they had to decide whether to stay true to their black metal roots, or continue down the path of classic rock, something many people criticized them for on their last album, Meir. But Nattesferd is all black metal, with a lo-fi production, blast-beats and the whole shebang. And yet it still is an incredibly catchy record, heavy on classic rock tropes. “1985” sounds like a throwback to its namesake, “Dendrofil for Yggdrasil” (what a song title!) is a true black metal rager.

“Heksebrann” may be one of the best songs they have done to date, and the mid-tempo closer “Nekrodamus” wouldn’t feel out of place on a stoner-sludge record. Nattesferd is a mixed bag, but it totally delivers the goods.

Zeal and Ardor – Devil is Fine
(Independent)

Devil is Fine by Zeal and Ardor was created out of a challenge on 4chan’s /mu/-board. I dare you to read up the whole history behind this release, but the result was an album that combines black metal, slave blues/gospel and trap music. The eerie gospel-esque chants and prayers sound as if they were recorded a long time ago, but are in fact relatively new (since satanic gospel is a bit of a rare commodity).

Lines like “A good god is a dead one, a good god is one that brings the fire” or “Burn the young boy, burn him good. Wash the crimson stains from the field” are incredibly sinister and make you feel as if you were trapped in a fever dream of an alternate history. I could write pages upon pages about this album, but it is really something that has to be heard to be comprehended.

You know I cannot finish this piece without mentioning several records from 2016 that also advanced the sound and scope of the heavy underground. Here are several of them:

Wo Fat – Midnight Cometh (Ripple Music)
Goya – Doomed Planet (Opoponax Records)
Pallbearer – Fear and Fury (Profound Lore)
High Fighter – Scars and Crosses (Svart Records)
Herder – Fergean (Reflectons Records)
Crippled Black Phoenix – Bronze (Season of Mist)
Church of the Cosmic Skull – Church of the Cosmic Skull (Kozmik Artifactz)
Crowbar – The Serpent Only Lies (eOne Music)
Geezer – Geezer (Ripple Music)
Beastwars – The Death of All Things (Universal Music New Zealand)
Cough – Still They Pray (Relapse Records)
Rising – Oceans Into Their Graves (Interdisciplinarian Records)
16 – The Lifespan of a Moth (Relapse Records)
Bossk – Audio Noir (Deathwish Inc.)
Messa – Belfry (Aural Music)
Salem’s Pot – Pronounce This! (Riding Easy Records)
Slabdragger – Rise Of The Dawncrusher (Holy Roar Records)
Perturbator – The Uncanny Valley (Blood Music)
Nails – You Will Never Be One Of Us (Nuclear Blast)
Vektor - Terminal Redux (Earache Records)
the body - No One Deserves Happiness (Thrill Jockey)
Black Tomb - Black Tomb (Independent)

Now, if you’ve been a brave trooper and made it this far, thank you for reading. I am certain I have missed a fair share of quality recording like I did last year with CHRCH, Coltsblood, and Intensive Square but we’re already looking ahead to an exciting new year, with 2017 yielding promise of new efforts by Sleep, High on Fire, Pallbearer, and Jeremy Irons & The Ratgang Malibus. I look forward to meeting you again this time next year!

Interview by Zachary Painter

I had the opportunity of talking with desert rock legend BRANT BJORK a short time ago, who’s just released another ripper of a record, ‘Tao of the Devil’ (2016 - Napalm Records). It’s the latest contribution to the Low Desert Punks since we last heard from Bjork & crew in 2014. The new album is riding on high expectations, following Black Power Flower–and it definitely delivers. In this interview, we discuss the new LP, November’s tour through Europe, and several other projects the prolific rocker is involved in. Enjoy!

So how are you doing man?

I’m doing good, thanks. How are you?

I’m doing good, just sipping on a beer and looking forward to talking to you. Well let’s jump right into it and talk about this record, 'Tao of the Devil.’ Can you tell us about the collaboration process between you and Bubba Dupree?

Yeah, well, the songwriting process began with us just getting in a room and jamming on some riffs and working in our new drummer. It all went down over the course of about a year, you know. It’s important that we develop the chemistry of the band and we wanted to record live. When it came to songwriting and arrangement, the actual production of the record, Bubba and I worked very well together on Black Power Flower. So we kind of thought if we combine forces we could have extra radness, so that’s what we did. He co-produced with me and, yeah, he wrote some songs and helped arrange, so it was a really good, effective partnership.

I don’t listen to a lot of rock music. Jazz from the '40s and '50s…it’s intriguing to me. I just like old music, man.

Well, it’s inevitable that we compare your latest work with your past catalogue, so compared to 'Black Power Flower,’ how would you guys say you approached this record? The songwriting seems–I don’t want to say it seems tame or reserved–but it’s a lot more, I would think, relaxed.

Well, Black Power Flower was an angry record and the music, the sound, reflects that and, you know. My records always kind of reflect my mood and where I’m at. I kind of exercised and expressed those feelings that I had at that particular time I was creating Black Power Flower, and with this record it’s more relaxed because we’re, well, more relaxed [laughs].

Well put. Let’s talk about the songwriting on track one, “The Greeheen.”

Yeah, that’s just a song I wrote while we were in Europe about a year ago and I was in my hotel room and playing my guitar. To me, it was kinda an old blues song, but I kinda revved it up a little bit. It’s a fun song, you know.

So would you say your inspiration is always sporadic like that? Is it something that happens in transit or is something more intentional, like sitting down and focusing?

It’s both. I don’t have any formal way to create or generate inspiration, you know. Life in general is what fuels me as an artist. Sometimes, I can sit down with the guitar and something will fall out of me. Sometimes I’ll be watching a movie, sometimes I’ll be doing nothing, like you said, just taking a walk. Sometimes I can just really, almost, just on demand say “Hey, man, I need to get something out” and I’ll pull a rabbit out of my hat.

Can you tell us about the making of the video, “Stackt”? I saw the Rolling Heavy crew was involved.

Yeah, well I’m tight with the Rolling Heavy guys. In fact, my current manager works with the Rolling Heavy crew. They kind of had this idea for the video and I trusted that it would be something fun and cool and groovy. You know, I’ve never been super excited about videos, but I really enjoyed making this video for the reason that I put trust in my managers and the Rolling Heavy crew and they put something together that was right on point. We had a good time.

I wanted to briefly talk about Bunny Racket. I noticed on the Kickstarter campaign it’s fully funded now.

I honestly don’t know. Andy Walker–who’s a good friend of mine–he’s the brains behind the Bunny. It’s his project and he asked me if I’d be interested in assisting him in the production and the performance of the record, which I was excited to do because I like the idea of making rock music for kids. It sounded like a fun thing to do and it certainly was. As far as where the direction is and the release and how and where and when and all that, I honestly don’t know.

So this record should conclude your contract with Napalm?

Yep.

Can you give us a window into your future plans?

Yeah, yeah. My manager and I are talking about that right now. There’s no rush. We don’t want to wait around, but we don’t want to rush, either. There are some ideas that we’re messing with, one of which is starting to oversee and put out our own records, which I did for many years, anyways, but we don’t know. We’re not committed to anything, we’re just gonna see. The idea is to just keep creating music and keep getting it out to the people. How we do that is yet to be seen.

So what’s been the reception for the new record so far?

I don’t keep track of that stuff too much, but what little stuff I have seen seems positive and that’s always nice to know that people appreciate what you do. But most importantly, we’re content with the record. We feel content with what we created. So, yeah it’s all good.

There’s a lot of good contrast on it. We mentioned The “Greeheen” and “Stackt,” but then you have songs like “Dave’s War,” which I thought had more of a ‘free feel’ approach, and also “Evening Jam.” Are those the result of late nights jamming?

Yeah, so we’re improving, but we’re doing so consciously. We’re very much interested in, you know, free music, if you will. Jamming and improvisational performances and capturing that in the studio. But it’s very much conscious; we’re very conscious of what we’re doing.

As far as production is concerned, what’s your take on hi-fi vs. lo-fi? How do you guys measure that when you’re recording?

Yeah, well, therein lies the challenge, because it’s an interesting time we’re living in right now for music and for everything in general, but for music and recording formats. Bubba and I, we just share a love of rock music from the '60s and '70s, at a time when recording equipment and bands and their musical direction and styles…there was a synergy, there was a drive that was happening that was very, very effective and we really study that. We study that era and it was our motive to capture that essence and spirit in our rock music with what we have in front of us here today, which was both analogue and digital gear, and it’s not easy. It’s not easy, but I feel like we’re content with the results.

Europe’s really been good to me. It’s always a joy to go over there and give the music back to ‘em.

I think you guys found a good balance with all the options available today. That being said, do you listen to a lot of the new stuff coming out? I know you have an eclectic taste, so what’s in your head these days?

Um, I don’t listen to much rock music. I might go listen to some old KISS records, especially since my two boys are gettin’ into KISS right now. I grew up with KISS, so it’s always fun to go back for nostalgic reasons. Other than that, I mostly listen to like, jazz; I listen to a lot of jazz. A lot of blues, really. That’s about it.

Ok, so as far as blues as jazz is concerned, do you listen to modern stuff or just the classics?

I’m not really interested in music after like… [laughs] There’s some stuff in the '80s that’s ok, but like, I mean I’ve always had a tendency to go backwards from the '70s and '60s and jazz from the '50s and '40s. You know, I just like the way it sounds, the way it feels. That’s what I study, you know. It’s intriguing to me. That’s not to say that good music isn’t being created today–of course it is. I mean, there’s lots of music in the world today, more than probably ever and I’m sure it’s all appropriately what it needs to be, but for me I just like old music, man. Like old movies or something.

So let’s talk about Desert Generator. Any plans for another one?

Yeah, we’ve got another Desert Generator locked in. My manager, Ryan Jones, is the one that kind of oversees that whole festival, so he’s working on the details right now. I don’t know all the details, but I do know it’s confirmed to happen again next year–April, I believe.

So your European tour in November–you’ll be primarily in Germany. Do you really enjoy going to Europe? Is that something you look forward to?

Yeah, I mean, Germany’s always been a very positive market for me on all levels. It’s hard for an artist not to indulge in an area where they’re appreciated and also supported financially. So yeah, it’s a big part of my ability to keep moving forward on the level that I am at as musician. Europe’s really been good to me. It’s always a joy to go over there and give the music back to ‘em.

Do you have anything else you want to say to our readers?

Nah, just that the new record’s out, man. Check it out.

Follow Brant Bjork.

Get 'Tao of the Devil’ on Napalm Records.

Explore Brant Bjork’s Discography.