The Catch One venue is an old 1925 Mediterranean Revival monolith taking up half the block and surrounded by a thriving neighborhood of homes, Korean churches, juice shops, and auto parts stores. It boasts a fascinating history. From 1973 to 2015, Jewel Thais-Williams owned and operated a successful black LGBTQ dance club with her wife, Rue Thais-Williams. The space was vital to the community, an organization bringing people together, providing a place to meet, communicate and, of course, dance.

As I walked through all the bars, rooms off of bars with smaller bars, loft areas, spiral staircases, large wooden staircases, stages, secret extra stages with staircases leading to extra secret lofts with small, private bars, I imagined the building full of dancing, drinking figures moving from one room full of music to another.

Since 2016, Catch One has had a new owner. Hours before the show, people are rushing around getting things set up. The place feels DIY, but with a historic grandeur. It is all painted black – the perfect setting for the Psycho Smokeout, taking place on the coveted date of April 20th, 2019.

This year, Psycho Entertainment teamed up with Riding Easy Records, filling the hallways and bars with three stages raging. The hallways are replete with the rumbling of music playing, the next stage creating an intensity and an urge to go see every band. Because I was there to film, I had to make some difficult choices.

Ufomammut

I went to the Psycho Pre-Party on Friday to catch Ufomammut on their tour from Italy. Here is their full, glorious set. Watch as it builds from a dream-like hum pulsing through recurring themes until just about the 44-minute mark, when guitarist Poia breaks it up and reforms into “God” from their 2004 Snailking album. You’re going to want to spend the next 57:37 fully engaged, so cancel your appointments.

For the Saturday event, I covered the Disco stage – dead-set to film the seven eminent acts lined-up. I missed a few chances to film Elder and Monolord when they came through Portland, so I was hopped-up…and I was about six hours early. As I am a fan of the activity in preparation for the show, I took some pictures of the behind the scenes action: audio engineers, lighting techs, video techs, sound checks.

Veteran filmographer Arturo Gallegos set his cameras to capture all the action, too, and you can see his footage on the Psycho Entertainment channel or his sexthrash69 channel, showcasing nearly twenty years of documenting bands in the Los Angeles area.

Dreadnought

Dreadnought showed up from Denver, seemingly to steer us through many stages of the storm – from calm moments to lashing out with a force – bringing you to a conclusion that you have really been through something powerful.

UADA

Mysterious as ever, shrouded in hood and smoke. These Portland natives have never been easy for me to film, but that is for good reason. My focus is shifted from the visual to the relentless, visceral nature of their sound.

BelzebonG

This was a treat! Flown in from Poland, Alky Dude, Cheesy Dude, Sheepy Dude, and Hexy Dude brought heavy, fuzzed-out, consistent tempos interspersed with surprisingly melodic guitar episodes. As fitting, there was more smoke coming from the audience than from the stage. Watch and trance out.

It was right around this time the weight and the breadth of this full day of music hit me. The first three bands had already ripped it up and there were four titans left to go!

Amenra

Amenra’s set was as lush visually, as was their sound, with moments of quiet contemplation leading into severity. Their reputation preceded them and they did not disappoint.

Elder

Here’s Elder getting set up. Once they got rolling, we were treated to “Compendium,” then to “Thousand Hands,” winding their way through a gorgeously melodic set.

Monolord

The mighty Monolord started out their set with “Where Death Meets The Sea,” going into “Lord of Suffering.” I usually favor watching live shows and Monolord’s live set provided a great example for why. It really changed the way I heard their music. There is something extra there with their presence, an energy adding to the interstellar doom sound.

Yob

This was the last show on Yob’s tour and they ended it with a real burner. You get a guest cameo by Amernra’s Levy Seynaeve sandwiched between “Prepare the Ground” and that crunchy cog that is “Atma.” This performance commanded attention, finalizing in the singularity of Mike Scheidt’s voice at the last 1:08:31. A fitting end to the stacked line-up and buzz-filled weekend that was Psycho Smokeout.

While Massachusetts outfit ELDER would go on to expand their sound on subsequent releases ‘Lore’ (2015) and 'Reflections of a Floating World’ (2017), it is 2011’s Dead Roots Stirring that really does it for me. Riffs. Grooves. Jams. This release has 'em. I get the urge to pick up my guitar listening to these songs. Pop in the disc (yes, I still buy CDs), hear the flick of the switch on the amp, and we get right to it with “Gemini.”

Nick DiSalvo creates a groove from a single note on his guitar before the bass (Jack Donovan) and drums (Matt Couto) come in to play right along. Each song is its own journey (the chorus in Gemini “I’m coming home/It’s been so long.”) This album is great for a roadie. The long spaced-out instrumentals are beautifully picked by DiSalvo, and give time for reflection on your own thoughts before the riffage returns to remind you that you are listening to a kick-ass song. And the guitar solos; glorious.

If you are not sold on this band by the end of track one…I cannot fathom a conclusion to that thought, as I am overcome with the fuzzed-out bass to begin track two.

Shortly thereafter, I find myself fully enveloped in DiSalvo’s guitar playing again. The hook in the title track is captivating, building up to a hefty verse riff. Continued variation propels the listener through this song, and onto “III.”

The wind blows and an acoustic melody is picked, as we feel lost on our road trip. Suddenly, we plug back in. Wrapped in the fuzz once more, we continue driving through this instrumental to reach “The End.” The beginning of “The End” is gracious before bursting into the main riff and a tantalizing fill/solo (one of several in this song alone).

Thankfully, The End is not the end of this album, as there is one more song to get us home. Aptly named “Knot,” the final track ties it all together. The fuzzed-out riffs along with the majestic passages we have enjoyed thus far culminate into one epic track, and we have found our way home.

Once again, I have made the pilgrimage across the sea to one of the many riff filled lands, Camden Town, home of the legendary Desertfest London. Though the journey was long, it was just as worth it as last year. The folks behind Desertfest have delivered yet another blistering festival stacked with bands spanning across all the subgenres of a stoner’s fantasy. With centrally located venues both small and large, yet all feeling personal, the atmosphere is natural and free flowing. I’d like to take you through the fest and highlight some of my favorite performances of the weekend.

The first band to grace the Underworld stage was Old Man Lizard, delivering an excellent forty-five minutes of mind bending riffage. I had never heard of this band before the fest, but odd times that consistently caught me off guard paired with the intricate chord work of their guitar player Jack Newnham drew me in immediately and kept me satisfied throughout.

The next band that really got to me was Radio Moscow. Hailing from San Diego, these guys travelled further than I did to be there on day one of the fest, and they delivered with the rage that a transatlantic flight gives a person. They were the only band I was in the pit for that really got the crowd to go absolutely bananas. Forward moving bass riffs layered with tripped out Hendrix meets Jeff Beck guitar solos provided some serious inspiration to me as a musician.

The absolute heaviest tone I experienced throughout the weekend was dished out by none other than Dead Witches. A supergroup of sorts, employing ex-Electric Wizard member Mark Greening on drums, Dead Witches showcased their talent to create a very grim atmosphere. I’ve never particularly been a fan of their recorded material, but I wanted to check out the live sound anyways and I’m very glad that I did.

Another band I had never heard of, and possibly the most different sounding group from the lineup, was Steak Number Eight. I had no idea what to expect going in, but with the line for getting in to High On Fire being unreasonably long I thought I would go check these guys out instead. The music was interesting, stoner hardcore of sorts with very cool grooves and sounds, but what blew me away was the performance. Everyone in the band is fairly young and they were all running and jumping about the stage with belligerence in their blood. It made for a very entertaining set.

Onto Sunday, perhaps the most stacked lineup with my tastes. The only venue I spent time in this day was the Roundhouse, one of Camden’s oldest and most renowned venues. The lineup on this stage was absolutely insane. The first band to lay waste was Monolord, who I have been listening to for years but never had the opportunity to see prior. They exceeded all expectations and brought forth one of the heaviest yet trippy sets I’ve ever seen. Crushing bass and drum sound paired with souring delay and reverb soaked vocals made for an entrancing swirl of headbanging.

Immediately following Monolord was one of my favorite bands of all time: Elder. They are known for their intricate riffs and sound spectrum encompassing guitar work, and rightfully so. This was my third time seeing Elder but the first time seeing them with their recently added fourth member. It was very cool to see this band with all the proper guitar harmonies included on ‘Reflections of a Floating World’ and ‘Lore’, and the synth work added a great layer to the sound. Also included was a projection of unrelenting tripped out, fractal infused visuals that were the icing on the cake.

The last band I saw of the weekend was the legendary Hawkwind. I’m honestly not all that familiar with their catalog, but knowing their influence I knew it was an opportunity I could not pass up. A regular drum/bass/guitar trio along with two synthesizer players, and vocals that were heavily soaked with several effects created an ever flowing sound that induced psychedelic feelings both in the mind and the body. The music was wonderful and very unique, it was a true treat to see this band while I had the chance.

Overall the experience was optimal for a festival, easy to navigate, constantly flowing, and never a shortage of great music. It went by quickly but days later my body is still recovering from the bustle and my ears are still recovering from the Doom. If you ever get the chance to experience this festival, it is well worth your time and money, and will provide you with a weekend of experiences you will never forget. Here are a few extra snaps I got that capture the vibe of the weekend.

Another year, another ridiculously bloated list of albums. Even longer than last year’s. Way too late for my own liking, if I may add. What to me is a writing exercise and a chance to write all those reviews I never got to over the last 12 months (which feels almost compulsory to me) is to you hopefully a guide to find some new, exciting music. You’ll discover records outside of the usual genres (for the first time not relegated to the honorable mentions) and just like last year, the ranking is mostly arbitrary beyond the first five or so picks. An album’s placement on this list should have little bearing on its standing, believe me. If you like what you’re reading in the reviews, check out the music and support the bands.

I. Pallbearer – Heartless
(Profound Lore/Nuclear Blast)

I’m not going to lie, at no point in time did I think anything would contest Pallbearer’s iron grip of my top spot for the year. Such was my confidence in the Little Rock band’s capabilities. Sure enough, as soon as I had finished my first listen through Heartless, I knew that I was right in my convictions. There were a lot of exceptional records that came out this year, yet none managed to dethrone Heartless. And even though I don’t think that they have outdone their brilliant debut, Sorrow and Extinction (2012), Heartless stands firm on its own two feet, decisively different from its predecessors, even in some way a departure.

There’s a reason I called it “The Great Divider” in my earlier review, most notably for the slightly less heavy production, more adventurous songwriting, and much greater emphasis on the vocals. This could’ve come out a lot worse, of course, but Brett Campbell has grown considerably as singer, even sneaking in a vocal harmony here and there. At the end of the day, Pallbearer proves once again that they not only have their riff craft down, but can still write emotive guitar leads like it’s nobody’s business.

Heartless being lauded as a very proggy record is not too far off, either, if one takes songs like “Dancing in Madness,” with its impressive sonic arc, into consideration. This song is indeed a journey, from its opening Pink Floyd-esque solo to the chugging middle part, acoustic break and triumphant end, and marks one of the high points of Pallbearer’s career so far. Not only does Campbell shine on this record; bassist and backing vocalist Joseph D. Rowland deserves praise for his great lyrics, too – in particular the title track with the definite death knell that is its last verse, beautifully delivered by Campbell. Pallbearer remains utterly anthemic at any given moment.

There’s so much more I could tell about Heartless, but I don’t feel like spoiling all the fist-clenchingly awesome moments this album contains, which I could never do justice anyways. Pallbearer is anything but heartless on this record and you should lend it an ear. Nobody does emotional doom like them. However untimely and unfortunate Warning’s demise was, I, for one am glad that there’s still a band out there boldly combining doom old and new the way Pallbearer does.

II. Hell – Hell
(Lower Your Head)

As far as metal band names go, Hell seems like a low hanging fruit, until you hear the kind of noise that Hell makes. If you ever wondered what would happen if somebody decided to re-record Dopethrone with a black metal band, well, here you have the results – and Hell are going more doom than ever before. Sound good? You bet it does. The Salem, Oregon band may never have made lighthearted music, but this album feels significantly darker than its predecessor. Gone are the gorgeous tremolo-picked sections of previous songs like “Metnal”; the contemplative, somber strumming of “Mourn” or “Foetorem Timere” is a thing of the past. All that is left is the blackened residue of doom, the pu(t)rified filth of the rotten-to-the-core bass sound, M.S.W.’s and A.L.N.’s (also of Mizmor fame) shrieks and growls, and the merciless thunder of the drums. Even the once sweet tremolo picks have turned sour and sickening, as if they were bile fighting to breach your throat.

Hell does not relent, does not let you catch a breath until the middle of the penultimate track, the 12-minute epic of “Victus” – and therein lies the brilliance of this record. For the eschewing of balance makes the release so much more satisfying and the piercing clarion call of the string section so much more powerful, not to mention the mournful guitar hits you like a freight train. You were on the brink of suffocation, but the respite is only brief, because Hell launches into one of the most barren and heavy sections of the album before bringing it to a close with the beautiful, pastoral outro “Seelenos,” which lays your beaten body to rest.

This record is a master class in dramaturgy and I hate myself for not checking Hell out sooner. Hands down my favorite new discovery of 2017. Miss out on this experience at your own peril.

III. Tchornobog – Tchornobog
(Fallen Empire/I, Voidhanger)

Not taking Mirror Reaper into account, Tchornobog may very well be the most stupefying, ambitious, and thought-out record of the entire year. Even a simple description of this ominous monster is a mouth full. A concept album about an ancient, many-headed Slavic deity that inhabited the head of Tchornobog’s solitary full member and mastermind, Markov Soroka told by an unholy, dissonant vortex of black, death, and doom metal, with some surprise saxophone thrown in – all stretched across more than an hour’s worth of music, cut up into four tracks.

Tchornobog opens with a massive roar and cascade of instruments, set into scene through the oh-so-cavernous and abyssal production, with endless layers upon layers of guitar tracks like some grotesque kind of onion expanding into infinity, each coinciding with another plunge to a deeper infernal level, perpetually disemboweling, and self-devouring. It’s an all-engrossing affair that only reluctantly releases you back into our world, tempting you to hit the replay button instead…many, many times. And with each of those consecutive plays, my appreciation for Tchornobog grew.

It’s an exciting album, not only due to its scope and execution, but also thanks to the person behind it. According to Soroka, he’s been working on this record for 8 years and was only 21 at the time of release. To know what he’s already capable of and what he might be able to do in the future is frankly terrifying to me, considering the songwriting chunks (not chops) he already possesses. We may very well be witnessing the birth of a new underground metal mastermind and his prolific output so far (such as with previous projects Slow, Aureole, and most recently Krukh) is just another indicator. If that is not a reason to be excited, then I don’t know what is. Plus, the record has got one of the coolest cover arts of the year courtesy of Adam Burke (who’s been really killing it lately).

IV. Bell Witch – Mirror Reaper
(Profound Lore)

Without a doubt, Mirror Reaper was the biggest album of 2017. Well, and it’s also the biggest single track of the year. Huge, in fact. Gargantuan, even. You take your pick of adjectives. Not only does it have an epic run-time, Mirror Reaper, with its eye-catching Beksinski-esque artwork by Mariusz Lewandowski (our pick for ‘Album Cover of the Year’), is a record of superlatives in every regard.

Mirror Reaper is a stunning reflection on duality and a loving tribute to late drummer, Adrian Guerra, even going so far as using some pre-recorded vocals by Guerra in the song, titled “The Words of the Dead.” It is, as the mood dictates, a rather quiet record that ebbs and flows, using heaviness sparingly but effectively.

I really must go out of my way to underline how gorgeous not only song, but sound craft is on this album. The towering production truly makes justice of the sheer size of Mirror Reaper. The tone of Dylan Desmond’s six-string bass and Jesse Shreibman’s drums are in a league of their own. Each note is a tug at your heartstrings and stretches across eons, each beat of the drum beckons a new age, and organs add yet another layer to Bell Witch’s already majestic atmosphere.

As with previous releases, the Seattle duo shines the brightest when guest singer Erik Moggridge of Aerial Ruin enters the fold, as he does in the second half of Mirror Reaper. It is hard to reduce it all to one moment, but the record reaches a tentative high point around the one hour mark. With Desmond playing this painfully yearning, yet comforting melody, Moggridge spirals into a climatic call and response with himself. It’s in moments like this when Mirror Reaper sounds so grand that it almost feels like a desecration to play it anywhere outside of a cathedral.

Something like Mirror Reaper only comes once each generation. Of course, the comparison to Sleep’s Dopesmoker is not too far off, but both songs, beyond the above average run-time, share a deep ambition to explore the boundaries of what can be done within heavy music, only it seems like this time the world is luckily readier for it, however long we may take to fully comprehend.

V. The Midnight Ghost Train – Cypress Ave.
(Napalm Records)

There is a certain irony to the fact that the best record by a band that has made itself a name for being extraordinarily raucous and energetic happens to be their most subdued. Such is the case with The Midnight Ghost Train’s moodier than ever Cypress Ave. Much of it is probably owing to front man Steve Moss being a sort of bard for hoodlums and the disenfranchised and his uncanny ability to translate these life experiences into songs that bleed honesty and authenticity. Be it the cranky blues of “Break my Love”(the band at their Tom Waits-iest), the deep, cutting “Black Wave,” the groove of “Red Eye Junkie Queen,” and “The Boogie Down” – a funky as hell number that employs guest rapper (you read that right) Sonny Cheeba. The band feels at home on every crook and crevice of the terrain in this impeccably produced album. Maybe less is more sometimes, but The Midnight Ghost Train always gives 110%, rain or shine.

VI. Usnea – Portals Into Futility
(Relapse Records)

Here we have the epitome of a pleasant surprise. Truth be told, I just picked up a review copy on my way out and I didn’t go into Portals with a lot of expectations, having only tangentially brushed Usnea’s preceding discography without paying much attention. However, I walked out of Portals as a huge fan, and I’d go as far as saying that it is one of the finest pieces of death-doom/funeral doom of the year, and we had spades of those in 2017.

Usnea does almost everything right on Portals, with their varied approach to vocals, poignant use of cleans, and the air of grandeur transported through the songwriting and riffs that I find only in the very best of doom. And sweet mother mercy, they may take an unholy amount of time to pick up the pace, but once they do, they’re absolutely menacing, and nothing can stop them (see “Eidolons and the Increate”).

Arguably, there’s a still lot of room to grow for Usnea, but if they continue to emphasize the strengths expressed in “Eidolons and the Increate,” “Pyrrhic Victory,” and “Crown of Desolation” then we may not be too far off from a masterpiece the magnitude of Inter Arma’s Paradise Gallows.

VII. DVNE – Asheran
(Wasted State Records)

It is a somewhat odd coincidence that DVNE’s debut record dropped around the same time when I decided to finally read Frank Herbert’s sci-fi classic by the same name. And just like its namesake, DVNE’s music feels epic and vast in its scope, goes along like a fine wine – proper environmental sci-fi post-prog sludge vintage. There may be some obvious hints towards Blood Mountain/Crack the Skye-era Mastodon here, and those are more than welcome after the somewhat lackluster Emperor of Sands, but DVNE definitely do their own thing here, finding a delicate balance in-between prog and post, from the Dudley Tait’s fantastic drumming to the intricate and yet at times dreamy guitar work. It can’t be put in other words, DVNE does everything right on Asheran, and the result is one of the most exciting and refreshing pieces of prog-sludge of recent memory.

p.s. Look up the lyric concept behind Asheran – seriously.

VIII. Gnaw – Cutting Pieces
(Translation Loss Records)

It seems almost axiomatic to mention Alan Dubin’s involvement in seminal drone terrorists Khanate whenever one talks about the man, almost to a point where I wonder if Dubin doesn’t get tired of being only associated with past accolades. Granted, his output with that band is legendary and still searches its equal in fucked-upness, but here we have a man that can invoke pure terror in me simply by how he intonates a word like “wrong.” His work with Gnaw (now on their third album) certainly doesn’t have to hide behind Khanate’s discography.

A feeling of foreboding and dread permeates this noise and industrial metal perversion known as Cutting Pieces. As song after song unloads on the listener, the horror never dissipates; it only gets worse. What it may lack in heaviness (at least compared to its nearest competitors) it makes up for in its disturbing content and delivery. Alan Dubin’s voice, whether he sings, whispers, or shrieks, is uncomfortably in your face and yet constantly breathing down your neck, backed by a more than competent band. It’s terrifying stuff and if that guy screeches about burning, you feel the fucking heat. This record stalks you long after you’ve ceased from listening, like the tinnitus caused by an orchestra of countless fingernails on a wet blackboard, eternally carved into your brain.

IX. All Them Witches – Sleeping through the War
(New West Records)

I don’t know if it’s something in the Nashville water, but All Them Witches seem to draw from a creative well that never runs dry. After the beautiful folksy fever dream that was 2015′s Dying Surfer meets his Maker, the Nashville band is back with a new record. Unsurprisingly, it sounds totally different than what they’ve done on the previous albums.

This time, I’m having a hard time pinning down what they’re mixing their own brand of psychedelia with. I’m getting a slight ‘90s alt rock (or God knows what) vibe from it, but that’s all I can say about it, cause Sleeping through the War is all over the place stylistically, such as in songs like “Alabaster” that represent their own micro-cosmos, including some rather sludgy guitar chugs. In “Don’t Bring Me Coffee,” front man Charles Michael Parks Jr. channels his inner Kurt Cobain, and “3-5-7” envelops the listener in a lush, almost suffocating layer of grainy psych rock par excellence. There’s no telling where ATW may go to next, but they’re yet to show any weakness in their unwavering ambition to reinvent themselves again and again, and I’m down for the ride.

X. Ulver – The Assassination of Julius Caesar,
Sic Transit Gloria Mundi   (House of Mythology)

A look at Ulver’s discography would make a pop record seem like a very unadventurous move, seeing how the Norwegian collective has done black metal, soundtracks, trip hop and everything in-between over their almost 25 years spanning career. Not that it matters much, because damn, is The Assassination of Julius Caesar (and the tie-in EP Sic Transit Gloria Mundi from the same recording sessions) good. Some say that it’s even their best work, and it’s not hard to see why. If you’ve got a craving for some sleek synth-pop a la Depeche Mode, look no further.

On top of that, Ulver packages it all with a lyrical concept centered on the ancient Roman Empire, juxtaposing for example the death of Princess Diana with a brash Roman festival (“Nemoralia”). There’s nothing quite like listening to Garm’s silky smooth voice recounting tales of Christians being burned alive like human candles.

XI. Zola Jesus – Okovi
(Sacred Bones)

I can’t say that I’m an avid pop listener, but every once in a while, there comes a record from genres outside of my stomping ground that just smacks me over the head, and this year pop got it’s due with not one, but two records. The first one being Okovi (Slavic for shackles) by Nika Danilova aka Zola Jesus, a truly captivating amalgamation of pop, goth, and industrial music that is anything but happy go lucky.

Okovi is dark, dealing with the untimely death and suicide of loved ones. The two centerpieces, “Witness” (a heartbreaking ballad) and “Siphon” (an uplifting offer to help a friend), are especially deserving of mention. The lead single “Exhumed” also knows how to wow, with its dramatic string section stabs that almost take me back to Chelsea Wolfe’s “Carrion Flowers.” Fittingly, both inhabit a rather similar sphere of music and aesthetics, and if you like one I can’t see how you’d dislike the other. Zola Jesus can count a new fan in her ranks and I’m very much looking forward to seeing her later this year.

XII. Mutoid Man – War Moans
(Sargent House)

Mutoid Man is ready to leave its existence as the side project of that guy from Cave In, that other guy from Converge, and that sound guy from Saint Vitus behind. Mutoid Man in 2017 is an independent, self-confident entity that kicks asses, takes names and no hostages, and War Moans is the most outright fun record of this year. It’s brimming with thrashy joy, I couldn’t possibly imagine someone not having a blast listening to this unique combo of sludge, HxC, thrash, psych and god knows what. Cheeky and geeky, the sexual tyrannosaurus of the underground – that is what Mutoid Man is. Hell, the title track even sports a solo by Marty Friedman. No eyes left dry (you got Bandages to thank for that), no necks left unsprained, no bodies left unbruised when Mutoid Man takes the wheel.

XIII. Elder - Reflections of a Floating World
(Armageddon Shop/Stickman Records)

Undeniably, one of the biggest doom releases of the year, Elder continues to turn heads and blow minds with Reflections, the follow-up to Lore (2015). And just like two years ago, progressive doom is a rare commodity, and Elder is undeniably the king of the hill.

I’m not going to lie, I’m still not 100% down with Nick DiSalvo’s voice, but I think I’m slowly getting the hang of it, at least I’ve found myself variably humming and barking along to the album opener “Sanctuary” multiple times. And however my opinion of Nicks vocals may be, the man can shred and riff like few others, and he’s got the songwriting to back it all up (and usually at least one of these variables is lacking in other bands). Bassist Jack Donovan and drummer Matt Couto carry their weight just as effortless. Guest musicians Mike Risberg and Michael Samos add another level of amplitude to Elder’s already sprawling arrangements, with the addition of experimental guitar effects and keyboards on the record (Risberg went on to accompany the band on tour).

Song-wise, Lore might just inch out Reflections by a tiny bit, but Reflections is a huge achievement, nonetheless, and it is always great to see how bands like Elder are finally getting into the limelight beyond their own scenes. Elder, if they were not already doing it, are finally playing in the big league and they deserve it. And rest assured, at home they’re already being lauded as heroes.

XIV. Chelsea Wolfe – Hiss Spun
(Sargent House)

Looking at Chelsea Wolfe’s career over the last few years it seems like her doing a full-on metal record was only a matter of time…or rather fate. The sum of her musical path, from her folksy beginnings to the synth-laden masterpiece Pain is Beauty (2013) and the many-faced Abyss (2015), is represented in Hiss Spun and, as ever, her music is enshrouded in beautiful, beautiful darkness.

With her last two records being exceptionally well received expectations for Hiss Spun were sky high and to get it right out of the way, no, the record sadly does not quite live up to those expectations. However, it’s still a Chelsea Wolfe record, so you know good things are ahead, such as the gloriously smeared guitar leads courtesy of none other than Troy van Leeuwen of Queens of the Stone Age fame on the lead single “16 Psyche” or the disarmingly gorgeous and two-faced “The Culling,” easily one of Chelsea’s best songs yet.

The record certainly has its shining moments and none of the songs feel particularly weak, but they start bleeding into one another towards the end of the album. Hiss Spun might have profited from shaving off a song or two and expanding others instead, to counteract the loss of variety that was the strong suit of Abyss.   Metal songs need more room to breathe and as Chelsea moves down further this ever darkening and increasingly heavier black hole, I’m sure she’ll find her way.

XV. Egypt – Cracks and Lines
(self-released)

There’s just something very satisfying about having your expectations met. Almost in a "told you so” kind of way. As I’m finding myself being increasingly burnt out on a lot of stoner and doom it is nice knowing that there are certain bands in those genres that I can depend on to deliver quality music, and Egypt is one of those. Presenting their latest record and essentially companion piece to 2015’s Endless Flight, this time more emphasizing on their blues and psych roots, Egypt bring only the choicest of riffs, crispest of drumming and juiciest of bass lines to the table, and the banquet is righteous. The two longest tracks, “Cracks and Lines” and the luscious psych wash of “What Lights this Ocean,” especially deserve mention for the extended jam-sections that build up into massive climaxes. That sustained Hammond towards the end of “What Lights this Ocean” is pitch perfect. It just feels right and is a bittersweet send-off, as it not only concludes the record but Egypt’s entire discography as a band, having decided to call it quits earlier this month. At the very least, they can claim to have gone out with a bang.

XVI. Primitive Man – Caustic
(Relapse Records)

If you came here looking for the heaviest record of them all, well, congrats; you’ve found it. This is the shortcut…to fucking hell. Caustic is easily one of, if not the heaviest records in years. There’s enough raw meat to go 'round for everybody: one hour and 18 minutes of pure, unadulterated hatred from the Denver doomers.

This thing is massive, disgusting, and heavy to the point where it felt like an ordeal just to sit through this slog. I wasn’t even sure whether I liked it in the end (that is kind of impressive, in and of itself). I had to change my approach to this monolith of wax by treating it as if it were a drone album; such was the monotony of the blow-by-blow sonic punishment I was enduring. But eventually I walked out of it with a new-found appreciation for Caustic, an album that may not be as immediate as Scorn, but no less boundary-pushing.

Primitive Man truly defies standards and absolutes on this noisy bastard of an album. Caustic is tar and misery distilled into audio and if the earth is a giant ball of shit, then Primitive Man is the dung beetle that will roll it all over you.

XVII. Grave Pleasures – Motherblood
(Century Media/Secret Trees)

Man, I’m a sucker for Mat McNerney. Hard to pin down what it is with him, but he’s got that golden touch (look Hexvessel) and a massive swagger. As such, it shouldn’t be a surprise that the album by his death rock outfit Grave Pleasures (formerly Beastmilk) is an absolute barn-burner. Mat and companions reach deep down into the sack of cold war era nuclear paranoia, and deliver 37 minutes of blistering, wonderfully macabre anthems, sparking with nigh-sexual tension. Motherblood gets right under your skin.

XVIII. Royal Thunder – Wick
(Relapse Records)

Yet another record that seemingly nobody talked about. I too only became aware of it pretty much in the last minute, and the more I listen to Wick, the less it makes sense how it could possibly be overlooked. Beyond the obvious focal point that is Mlny Parsons voice I must praise the consistency of songwriting on Wick, there’s not a single song on this record that doesn’t bring some sort of vocal melody, riff or hook on the table to catch your attention.

As usual, Mlny is the highlight, a true powerhouse, a rip-roaring force of nature, from the intriguing call and answer of the scintillating album opener “Burning Tree” or the beautiful acoustic ballad, “Plans,” in which her voice almost breaks, as does your heart. There’s so much honesty in that “Come back” towards the end of the song, you’d have to be one cold bastard to not be moved in some way listening to it.

XIX. Der Weg einer Freiheit – Finisterre
(Season of Mist)

Black metal and a lo-fi production just go hand in hand. All too dreaded is a sterilized production, since lo-fi is just another fundamental aspect of black metals rebellious nature. But every once in a while, a band breaks the mold and does something different. DWEF, certainly a band that inspires both awe and spite, depending on who you ask, opts for a (relatively) polished production that wouldn’t have amounted much beyond failure, were it not matched with an equal amount of musical craftsmanship and professionalism from the band itself.

Jokes about German precision and engineering would be all too easy to make, but one only has to take a look at one of Tobias Schüler’s drumming videos to see that this is anything but a joke. I’d normally leave my swooning over such things to tech-death, but Finisterre is a joy to listen to, not only on the technical side, but also songwriting-wise it is highly engaging. And at the end of the day, I’m just a sucker for a good blast beat.

XX. Valborg – Endstrand
(Prophecy Productions)

German is a very martial language and Valborg knows how to use it to full effect, because Endstrand sounds like a declaration of war. Jan Buckard (bass/vox), Christian Kolf (guitar/vox), and Florian Toyka (drums) prowl through this twisted landscape like a doomed death-sludge Dada-Rammstein on Viagra. Thematically and musically, Valborg keeps it militaristic, operating very much with a “function over form” mentality. Valborg is curt and straight to the point: simple chug riffs and drumming, no unnecessary noodling. Riff first, ask questions later. But that’s what makes Endstrand so entertaining. It’s brutal, no-nonsense headbanging. Valborg gives a lesson in sonic warfare and, most important of all, gets the job done.

Odds & Ends

Lo-Pan – In Tensions   (Aqualamb Records)

Adrian Lee Zambrano’s brief stint as Lo-Pan’s guitar player bore some rich fruits (that riff towards the end of “Pathfinder” is just so damn righteous) and Jeff Martin’s voice has never been better before. Being an EP, it’s a short spin – you know, all killer/no filler – but dare I say it’s Lo Pan’s best release to date. I can’t wait for the next one.

Mesarthim – Presence   (self-released)

A counterpart to their previous full length Absence, Presence marks the latest entry in the slew of EPs released by the Australian cosmic black metallers Mesarthim, and it features a heavier than ever focus on the electronic elements of their music. Indeed, some sections wouldn’t be out of place at a rave, and they only help to amplify the impact of the already brilliant crescendos.

Abstract Void – Into the Blue   (self-released)

Just as Mesarthim, Abstract Void combines (post)-black metal with electronic music, but opts for Synthwave instead. There’s no false pretense, Into the Blue is gaudy and cheesy to the max (especially on Police Cruiser), but there’s a certain novelty to the music as well. I hope this grows into a more serious project.

SubRosa – Subdued  (Roadburn Records)

The only live record on this list. Normally I would not bother including live records, but a subdued SubRosa is a very different beast, one that earns an entry with the folksy roots of Salt Lake City band laid bare by way of a gorgeous unplugged set at last year’s Roadburn.

Sinmara/Misþyrming - Split  (Terratur Possessions)

Two excellent cuts from two of the very best bands that Iceland’s furiously ingenious black metal scene currently has to offer. Sinmara’s “Ivory Stone” may be their most accomplished track yet and Misþyrming continues to wow us with “Hof.”

Woman is the Earth – Thaw   (Init Records)

Significantly rawer and more aggressive than their previous effort, 'Torch of Our Final Night,’ but no less impactful. The Rapid City trio continues to be one of my favorite black metal bands. Keep a close watch on these guys.

Mastodon – Cold Dark Place  (Reprise Records)

I can’t say that I was a big fan of Emperor of Sand, but this EP grabbed me unawares. What a return to form! It feels like it’s straight out of their Crack the Skye era. I want more.

Funeral Sun – The Dragging  (Throne Records)

It might not hit quite the heights of Weight of Coronation, but the new project of ex-Horn of the Rhino guitarist/vocalist Javier Galvez is certainly no slouch. His remarkable Chris Cornell turned evil voice is ever the star of the show.

Sólstafir – Silfur Refur/Scorpion Moonrise   (Season of Mist)

Berdreyminn might have felt a bit like a letdown after the brilliant Otta (2015), but they saved the best cut of that record for a separate release together with a song that stars nobody else than Mat McNerney. Me gusta.

Jute Gyte – Oviri   (Jeshimoth Entertainment)

I’m not even sure, if I could call Oviri listenable, but it’s just about the most dizzying experimental piece of music I’ve heard in 2017, coming from micro-tonal black metal mad scientist Jute Gyte.

Snub of the Year Prior

Mizmor – Yodh   (Gilead Media)

If there was a record I slept on in 2016, it was the all-consuming, pitch black abyss that is Yodh by blackened doom maestro A.L.N. aka Mizmor, who just so happens to be Hell’s drummer and backing vocalist. Seldom have I heard music that is as depressive, yet cathartic, as Yodh and it’s a record that will be talked about for many years into the future.

Honorable Mentions

So many of those deserve their own little reviews, and just as much attention, but there’s only so much time one can spare. Regardless, make sure to check out:

• Monolord – Rust
  
• Fange – Pourissoir
  
• Chaos Moon – Eschaton Memoire
  
• REZN – Let it Burn
  
• Kadavar – Rough Times
  
• Gurt – Skullosus
  
• Aosoth – V: The Inside Scriptures
  
• Grails – Chalice Hymnal
  
• Monarch! – Forever Never
• Loss – Horizonless
• Boris – Dear
• Coltsblood – Ascend into Shimmering Darkness
• Botanist – The Shape of He to Come
• Planning for Burial – Below the House
• Here Lies Man – Here Lies Man
• Five Horse Johnson – Jake Leg Boogie
• Coughdust – Worldwrench
• vvilderness – Devour the Sun
• Amenra – Mass VI
• Saturndust – RLC
• Dopelord – Children of the Haze
• Ragana – You Take Nothing
• Endon – Through the Mirror
• Black Cilice – Banished from Time
• Couch Slut – Contempt
• The Picturebooks – Home is a Heartache
• Vokonis – The Sunken Djinn
• Nightbringer – Terra Damnata
• Sasquatch – Maneuvers
• Queens of the Stone Age – Villains
• The Builders and the Butchers – The Spark
• Big Brave – Ardor
• Lionize – Nuclear Soul
• Temple of Void – Lords of Death
• Youngblood Supercult – The Great American Death Rattle
• Timeworn - Infectious High
• Igorrr - Savage Sinusoid
• The Obsessed - Sacred
• Spectral Voice - Eroded Corridors of Unbeing
• Rope Sect - Persona Ingratae
• Godflesh - Post-Self
• Artificial Brain - Infrared Horizon

Calvin Lampert is now in his third year of contributing to Doomed & Stoned.
He reports on the European scene and is based in Switzerland.

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

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

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’ (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

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

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.

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

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

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

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’ 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

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

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

“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

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

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

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

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.

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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.

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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.

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Dorthia Cottrell – S/T

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.

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Vhöl – Deeper than Sky

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!).

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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.

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Tome of the Unreplenished – Innerstanding

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.

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Plainride – Return of the Jackalope

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.

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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.

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Gurt – DIYMCA

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.

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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.