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Live Review: ROADBURN 2019 Day One, 04.11.19
Posted in Features, Reviews on April 11th, 2019 by JJ Koczan
04.12.19 – 02.31 CET – Thursday night – Hotel
It's a different kind of Roadburn for me, or at least this morning I decided it would be one. I'm still working on precisely what that means, so bear with me. Some of it I alluded to the other day, and some of it is just procedural on my end. I took no notes today. None. Normally when I'm here (or most places), I'm scribbling between bands, writing down observations that most of the time I don't even go back and look at. Today I dropped the pretense. It felt freeing, and today was a good day to feel free.
Such as there is a map, Roadburn 2019 is all over it. The day started in low-key shoegaze psych
bliss with Sherpa in Het Patronaat. They were the first band of the festival proper after the Ignition three-band pre-show last night. I had come back to the hotel to sleep after finalizing the Weirdo Canyon Dispatch issue this morning, but it was a big no dice. So I was early to the church and sat in front of the stage for a bit while people filed in. There was a good crowd by the time the Italian four-piece took the stage to play their late-2018 joy of a record, Tigris & Euphrates (review here), and they were treated to lush tones and drifting melodies, a kind of easing into Roadburn that one doesn't always get, but the fest very clearly made an effort to establish its vibe early.
Bismuth would soon rough up the Hall of Fame. It was Myrkur: Folksange on the Main Stage. In the Koepelhal, Crippled Black Phoenix played a two-hour-plus set. And in the Green Room, it was Thor Harris (Swans, etc.) leading the way with Thor & Friends with a set experimentalist enough that you might as well just call it jazz. I caught a couple minutes of Thor & Friends after popping up to see Crippled Black Phoenix as Sherpa were starting to wind down and was treated to a bit of sax and percussion, but it was ultimately Myrkur that held me in place for the duration with gorgeous Nordic folk harmonies accompanied by strings, piano, and a genuine sense of traditionalist homage. I've heard Myrkur's folk recordings before, but as will happen
in Tilburg each Spring, something special was taking place while the afternoon clouds parted to let in a bit of sun outside.
But even Myrkur: Folksange was a part of something larger than itself, and it was that initial burst of diverse sounds that would so quickly establish the vibe for the day. I bounced around until finally landing at Myrkur and stayed put in order to see Molasses, the first of this year's three commissioned projects, and — I won't lie — the one to which I was most looking forward. In 2014, following the death of The Devil's Blood guitarist and aesthetic mastermind Selim Lemouchi, his sister and that band's vocalist, Farida Lemouchi, took the stage with guitarist Oeds Beydals, Ron van Herpen (Astrosoniq) and a host of others to pay her brother tribute, and it remains one of the most moving sets I've ever seen at any Roadburn. Molasses, in bringing together Farida and Beydals — who has since brought his band Death Alley to an arguably premature end — as part of a new, complete band that may or may not be ongoing, continues some of the spirit of The Devil's Blood, but seems bound to find its own path as well.
This was their first show, and as Farida swayed in time to the music ahead of harmonizing with Beydals, they made a
powerful impression. Roadburn's foray into basically making bands and/or happen is no less extensively curated than the festival at large, but there's a deeply personal aspect to that as well, and one suspects that's all the more true of Molasses given their Dutch heritage and the members' history with the festival. It was the start of something special, and I hear tell there's a vinyl they'll be selling starting tomorrow. Every year I let myself buy one piece of wax. No question in my mind what it'll be this time.
Back up at the Koepelhal — which, I don't know how big it is in comparison to the Main Stage of the 013, but it's plenty huge enough — the Full Bleed art exhibit looked awesome and was arranged differently this year so it kind of got its own gallery. I had a couple minutes before Thou went on, so walked around. I'd already been there to buy merch — a black t-shirt and a red hoodie, because apparently my midlife crisis involved wearing a color, ever, on my torso; also hippie pants — but it was still being set up. It was packed into its space, but still awesome, and one more example of Roadburn branching beyond the confines of the traditional festival. I think the panel talks start tomorrow at V39, so yeah, there will be more of that.
Thou took the stage shortly thereafter for what was billed as an acoustic set but was really more just quiet and loaded with harmonies from three vocalists up front and more added from the band behind. The New Orleans outfit have long since left expectation behind, so I wasn't necessarily anticipating anything specific one way or the other, but as they played I kind of felt like I was intruding on something. It's hard to explain. It wasn't that the show was so intimate in that massive space — although I did find myself wishing they would just go ahead and cover Alice in Chains' Sap EP in full — and it didn't lack expressiveness, I just suddenly felt like I was somewhere I didn't belong. I don't think Thou were shooting to be particularly inviting, so it's nothing against them in this incarnation, but yeah. After a few minutes, I galumphed back to the 013 to catch the start of Hexvessel.
The Finnish outfit are kind of regulars on Planet Roadburn. They played here in 2012 (review here), 2013 and 2016 (review here), and frontman Mat McNerney played with the short-lived Beastmilk in 2014 (review here). Not exactly strangers to the experience. Still, they came this time heralding their latest long-player and return to their nature-worshiping forest
folk roots, All Tree (review here), so I was not about to miss them. Highlights from that record translated well to the Main Stage, "A Sylvan Sign" and "Wildness Spirit" working no less fluidly one into the other live than they do on the studio versions. Sudden as the shift seemed to a more kitchen-sink aesthetic on 2016's When We are Death (review here), All Tree's re-establishing of their foundation was no less striking, but they certainly sounded well at home on stage, McNerney well cast as the folk troubadour. I'm not sure why they're not on the folk circuit, but I'll take it.
From there on out, it was all about Heilung. I did see some of Emma Ruth Rundle at the Koepelhal, after more take-that-establishment jaywalking across whatever thoroughfare that is, and I was glad to have done so, but I knew what the crux of my night was going to be, and it was going to be wearing antlers and bones of sundry wildebeests and it was going to be percussive and throat-singy while also astoundingly melodic, and that was Heilung playing their Lifa (review here) performance in its entirety. I say without
reservation that it's easily among the most complete aesthetic experiences I've ever had in a live setting, from the circle they formed at the outset — bringing Roadburn's own Walter in their midst as a part of the ceremony — to the shield and spear-carrying soldiers in black bodypaint, to the later mimed beheading, to the off-the-rails, how-is-this-dance-music-but-it-totally-is fracas that ensued later in the set, it was simply incredible. I have seen as much spectacle in my time as the next guy, but this was really something else.
I've heard murmurings that Heilung, who are signed to Season of Mist and have a new album called Futha due in June, are planning to bring their show — and it is a show; a sight as much as a sound to behold — to the US. I have to wonder how that will go in terms of venue and just where they can play to pull it off. Festivals, presumably. But more than that, it seems like Northern Europe would obviously have a different relationship to the depictions of pre-Christian, pagan Norse history than would an audience in the States. The simple fact that their faces are painted black could very well raise eyebrows,
even in such a full context. It's just not a question here, because it's the native tribalism being depicted. One way or the other, I have little doubt they could make it work. They absolutely delivered a set that I'll be talking about for probably years, no matter how many times and in whatever setting I might see them subsequent to tonight. I wasn't going to stay for the whole thing, but there was no other option. A don't-miss scenario.
There was still a lot of Roadburn left, and that's not even talking about the next three days, and I had writing to do, but another part of the different Roadburn experience I'm having this year is staying out late. I did trundle back to the hotel to dump photos and get some work in on
this review, but Crypt Trip came all the way from Texas to be here, and as I've been digging their recently-issued full-length, Haze County (review here), it was only fair to be there to see them. For the minimal effort, I was rewarded with some primo Lone Star boogie. You can insert whatever cliche you want to about barbecue here — I'm sure the San Marcos three-piece have heard them all, but the fact of the matter is they earned every hair bit of mustache they had, and even though they were on a totally different wavelength than anything else on the Main Stage today, they absolutely brought their A-game to the 013. I wish I could say I stayed the whole time and partied until two in the morning or whatever, but yeah, I'm old, and lame. Ugly too, but that's beside the point.
What I was able to catch of Crypt Trip was a joy — and speaking of, Zach Oakley from Joy (who played last year) was hanging out on the side of the stage — and only affirmed in my mind the buzz I've been hearing about their live show for the last couple years. After the vast swath that today covered, closing out with some classic-style heavy rock and roll suited me just fine. It's a long weekend and a big spectrum of aesthetic. Sometimes you just want to get down to the basics. And Crypt Trip definitely got down.
And that was night one of Roadburn 2019. So much for a laid back start to the fest, though I knew that was a pipedream anyway. Tomorrow I'm up again early to wrap the day's issue of Weirdo Canyon Dispatch. If you saw that today or see it tomorrow or are reading this at all, thank you.
More pics after the jump.
Tags: Crippled Black Phoenix, Crypt Trip, Emma Ruth Rundle, Heilung, Hexvessel, Molasses, Roadburn 2019, Roadburn 2019 Trip, Roadburn Festival, Sherpa, Thou
Høstsabbat 2019: Hexvessel and Suma Added
Posted in Whathaveyou on March 22nd, 2019 by JJ Koczan
You already know what I love about this, right? It's how different these two bands are. Hexvessel — who, I admit, were announced last week; as ever, the Quarterly Review has me all jammed up as on other stuff waiting to be posted, so I thought it better to combine announcements rather than fall behind twice — and a Finnish freak-folk band, worshiping the natural world. Suma, from Sweden, would seem to only want to crush things natural and manmade alike with their chaotic and brutal noise. It's what you'd call an unexpected pairing, and that's exactly why I dig it. Maybe they'll play back to back. That'd be fun.
There's one more announcement next Friday from Høstsabbat 2019. Yes, I know who it is. It's awesome. You don't want to miss it. I'm not going to give you a clue, but it's someone I'm very excited to see.
Here are confirmations for Hexessel and Suma in the meantime:
Most of the time these band descriptions kind of write themselves. This next band however, is something completely different.
Their latest album "All Tree", released one month ago on Century Media Records, has spellbounded the Høstsabbat camp completely. Hexvessel operate in their own universe, mixing classic folky tones and groove, with the flourishing sounds of the 60's-era. Freedom and no restraint is key.
The band serves the listener a lush experience, putting a smile on your face, teasing you for a walk in the sun leaving all things bad behind… Sometimes that's what music is all about, right?
It's also a landmark, to finally have the first Finnish band represented on our lineup. Can you imagine a better debut for these beautiful people from the East, than having HEXVESSEL play the Church? We surely can't.
Please welcome HEXVESSEL to Høstsabbat 2019!
Ooooh, the heaviness!!!!
We are closing in on the announcements for this years' festival, but there's still two more goodies to come.
The first one is SUMA, probably one of the heaviest, hardest hitting, monstrous entities in our entire scene. For anyone who has witnessed this beast of a live act, there's no doubt who's in charge. We've seen people passing out, lying unconscious on the floor, knocked out totally, of the sheer weight coming out of the PA. They play around with the heavy with the greatest of ease, adding details, odd rhythms and undeniable grooves like true masters
SUMA are no strangers to Høstsabbat, and it's one of those bands we knew we had to invite back at some point. Having gained momentum ever since their latest visit, these fellas from Malmö, Sweden, will lay waste to all crossing their path.
This steamroller will leave you flat.
http://bit.ly/HSfestivalpass
SPOTIFY PLAYLIST – HØSTSABBAT 2019
http://bit.ly/HS2019playlist
https://www.facebook.com/hostsabbat/
http://hostsabbat.no/
Hexvessel, "Changeling" official video
Suma, The Order of Things (2016)
THE ORDER OF THINGS by SUMA
Tags: Hexvessel, Hostsabbat, Høstsabbat 2019, Norway, Oslo, Suma
The Obelisk Show on Gimme Radio Recap: Episode 11
Posted in Radio on March 4th, 2019 by JJ Koczan
Oh, it was a cold and snowy Sunday night, but the rawk was hawt, and so on. Okay, so maybe I'm not much for the introductions, but I dug this episode. I want to screw with what I've kind of made the "format" of this show, and starting out with Kings Destroy, Clamfight and Forming the Void in honor of the show I saw on Saturday at the Saint Vitus Bar was fun. So it's a little more than just be being like, "Duh, I like this record so here's this song by this band," though of course that pretty much applies here as well. I don't know. Just something a little different. Branch out a bit. Try not to set rules for myself.
Speaking of a lack of rules, this one gets a little weird. Look out for Return to Worm Mountain and Hhoogg in the second hour, and then Volcano leading into longer tracks from Sons of Morpheus and Bees Made Honey in the Vein Tree. That last song from the latter is 17 minutes long, and hell yeah I was going to include it. So good. That record is an unexpected turn from them, but absolutely awesome, so if you know it, all the better, and if not, maybe you'll dig. Dig dig dig.
New tunes besides from Hexvessel, Snowy Dunes, High Reeper, Yatra and the sadly-defunct Cloud Catcher, and a classic riff-roll from Spirit Caravan round out what I thought was a pretty killer mixtape, so yeah, if you checked it out last night or get to listen to it tomorrow morning, thank you.
Here's the full playlist:
The Obelisk Show – 03.03.19
Kings Destroy Fantasma Nera Fantasma Nera*
Clamfight Echoes in Stone III
Forming the Void On We Sail Rift
Yatra Smoke is Rising Death Ritual*
Hexvessel Wilderness Spirit All Tree*
Snowy Dunes Let's Save Dreams Let's Save Dreams*
High Reeper Bring the Dead Higher Reeper*
Cloud Catcher Beneath the Steel The Whip*
Spirit Caravan Cosmic Artifact Jug Fulla Sun
Hhoogg Journey to the Dying Place Earthling, Go Home!*
Return to Worm Mountain Song for the Pig Children Return to Worm Mountain*
Smokey Mirror Sword and Scepter Split w/ Love Gang*
Volcano No Evil Know Demon The Island*
Sons of Morpheus Slave (Never Ending Version) The Wooden House Session*
Bees Made Honey in the Vein Tree Cinitus Grandmother*
The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is March 17. Thanks for listening if you do.
Gimme Radio website
The Obelisk on Thee Facebooks
Tags: Bees Made Honey in the Vein Tree, ClamFight, Cloud Catcher, Forming the Void, Gimme Radio, Hexvessel, Hhoogg, High Reeper, Kings Destroy, Return to Worm Mountain, Smokey Mirror, Snowy Dunes, Sons of Morpheus, Spirit Caravan, The Obelisk Show, Volcano, Yatra
Hexvessel, All Tree: A Wilderness Spirit
Posted in Reviews on March 1st, 2019 by JJ Koczan
As side A plays out with its lush melodies and arrangements of flute and violin and cape-donned acoustic folk strum, past the pervasive sense of worship brought to "Son of the Sky" and "Old Tree," Hexvessel frontman Mat "Kvohst" McNerney intones in "Changeling" the repeated line, "Come back home." And so it seems the band has done just that. From the harmonized chants opening All Tree in the brief introduction "Blessing" through the birdsong of "A Sylvan Sign," the quiet but present and foreboding layer of distortion in "Otherworld Envoy," and the crackling fire of "Liminal Night," the Finnish outfit have gone to ground aesthetically, and returned to the spirit of their earlier recordings, 2011's Dawnbearer, 2012's No Holier Temple, and 2013's Iron Marsh EP.
Fair enough territory for McNerney and multi-instrumentalist Kimmo Helén (bass, piano, viola), guitarist Andrew McIvor, drummer/bassist Jukka Rämänen, vocalist/percussionist Marja Konttinen, guitarist Jesse Heikkinen and field recording specialist Antti Haapapuro to cover, but it's a stark change from where Hexvessel were three years ago on When We are Death (review here). Their third album was a break-away from the methods of No Holier Temple et al, and found Hexvessel delving into psychedelic goth, death-driven Bowie swagger, and a broad pastiche of styles. In the context of the work they've done over the course of the last decade, All Tree makes When We are Death feel like an anomaly. Maybe it was. But the turn that brought Hexvessel there was no less stark than the turn that brings them to All Tree. Once again, the band as a whole are defying expectation, and as they lay claim once more to what one previously thought of as their core sound, they don't necessarily forget the lessons of When We are Death in terms of tight songcraft — the ceremony runs a brisk 13 songs and 45 minutes — and nuance of arrangement, but there's no question that the shift is a drastic one and it leaves one scratching their head at what might've been behind it. Even the cover art was done by the same artist who did No Holier Temple.
Perhaps the songs themselves hold the key to understanding the motivation. Like that "Come back home" in "Changeling," or the chorus, "You can't change this wilderness spirit," in "Wilderness Spirit," there is something about All Tree that feels very much to the core of Hexvessel's project. It brings together elements of British folk with a pointed naturalism that presents an alternate view of the modern world in which hillsides might be the shoulders of some giant unseen to human eyes or ghosts seem to populate the landscape as much as any form of life. In minimalist stretches like the finale "Closing Circles" or pieces of "Old Tree" earlier on, McNerney's voice is given a showcase it's more than up to handling, and as much as there's an overarching theme to the band's sound, they subtly work in a surprising amount of variety, tapping into weepy pedal steel on "Birthmark," bringing in session violinist Daniel Pioro for "Old Tree," or recalling 16 Horsepower-style swing in "Wilderness Spirit."
Be it the more severe strumming of "Ancient Astronaut" or the quiet brooding of the brief mostly-instrumental "Vision of A.O.S." that follows, "Otherworld Envoy" with its build toward a resonant wash or the brief interplay of keys and guitar on "Journey to Carnac," All Tree does not to away with the prior album's fascination with alternate dimensional planes, but it is by reinterpreting the means of conveying these ideas that so much about All Tree feels different. Even in "A Sylvan Sign," which is the longest inclusion here at 6:28 as well as the centerpiece of the tracklisting, there's something ethereal about the proceedings and the hypnotic repetitions of the title amid the plucked strings of acoustic guitar. As dug into the earth as some of these songs seem, wandering aged forests with dirt under the fingernails, there is no lack of mystique or wonder to them. A decade on from their beginnings, Hexvessel seem to be returning to marvel at what surrounds them, telling stories of the place of one's self in nature and nature's place in one's self. "Wilderness Spirit," in that regard, is a declaration of freedom as much as anything.
So where does that leave Hexvessel? They're not back where they started, by any means. The level of craft, the diversity of their arrangements and their ability to shift in mood has carried over from When We are Death to All Tree in a way that distinguishes the new work from anything they've done before, but at the same time, there's no getting around the fact that Hexvessel have stepped back into a forest-folk style that, for the most part, they let go three years ago. Does that make All Tree a moment of reconciliation between who Hexvessel were and who they became? Does their fourth album negate the accomplishments of their third or invalidate them somehow? Did Hexvessel hear those songs and think it wasn't working on some level? How did we get here? Maybe (almost certainly) I'm overthinking it, but what does the fact that Hexvessel returned at least to the general vibe of their earlier work say about who they are as a band?
I'm not sure, and I'm not sure we're supposed to know. For a band who made so much of their statement stylistically, it was particularly bold when Hexvessel dropped (almost) everything and went in a different direction. Likewise, listening to All Tree, it feels no less bold for Hexvessel to be back under such open skies. I can't answer the questions above and I'm not going to try, but it feels like much of the purpose in these songs is self-discovery as it is expression. In that regard, Hexvessel have never wavered at all. As a collection in its own right, All Tree has moments of pain, beauty and awe that come across as genuine and driven by an urgency in their creation. On a level of craft, Hexvessel have never sounded more sure of what they want to do or how they want to make that unreal real. As to the rest, their story clearly isn't done being written, and the narrative has grown more complex with time. Something tells me they wouldn't have it any other way.
Hexvessel on Thee Facebooks
Hexvessel on Twitter
Hexvessel on Instagram
Hexvessel on Bandcamp
Hexvessel website
Century Media website
Tags: All Tree, Century Media, Finland, Hexvessel, Hexvessel All Tree, Sacred Trees Records, Turku
Posted in Radio on January 21st, 2019 by JJ Koczan
This was my 2019 preview… of sorts. By which I mean that it in no way encompassed everything coming out this year and that some of it was basically me being like, "golly, it sure would be nice if BAND X put out a record in the next 12 months." Still fun, but I think definitely well earning that "of sorts" tag.
I keep notes with a running list of things like albums coming out and best records of the year, artwork, EPs, etc., and in my notes for what's coming out in 2019 I have over 50 bands listed so far. Here they are, cut and paste-style:
Cities of Mars, Mr. Peter Hayden, Curse the Son, High Fighter, No Man's Valley, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man's Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan, Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Kings Destroy, Lo-Pan, Samsara Blues Experiment, Papir, Conan, Green Lung, BUS, Worshipper, Volcano, Mos Generator, Earth, Nebula Drag, Elder, Daxma, Besvärjelsen, Bellrope, The Sabbathian,
Some of that has been officially announced, some hasn't, and some is rampant speculation, but many of these, and there's always the contingency that expected releases can be delayed owing to recording and tour schedules, pressing concerns, pianos falling on heads, and so on, but I wouldn't be surprised to find a bunch of those records on my year-end list in December. Whoopee.
What's more important to stress, however, is that this is by no means the be-all-end-all list of things coming out. It's a long year, and it's January right now. There will be offerings in September and October that no one knows now are even in the works, and still more that aren't. That's why the list ends with a comma and a space instead of a period. There's more to be added.
That said, this is a damn good show and I stand by it. Some of the inclusions could/would/will be among the year's best albums — the new Worshipper is fantastic, and the new Kings Destroy owns my soul — but I wanted to put some stuff in here that the Gimme audience, which I tend to think of as being more metal though I have absolutely nothing to base that on, isn't familiar with. Curse the Son, Snail, Sun Blood Stories.
It's fun to talk about new albums coming out — I had a particular blast mentioning how annoyed I am at the universe for there being a new Sun Blood Stories album and I haven't heard it yet — and even if some of it is speculative, that's a good time too.
If you missed the show last night, it's on tomorrow at 9AM at: http://gimmeradio.com.
The Obelisk Show Ep. 08 – 01.20.19
Lowrider Lameneshma Ode to Io (Deluxe Edition) 0:04:57
Kings Destroy Smokey Robinson Kings Destroy 0:04:03
Mammoth Weed Wizard Bastard The Master and His Emissary Totems (Split w/Slomatics) 0:12:02
Snail Born in Captivity Feral 0:05:00
Motorpsycho The Tower The Tower 0:08:41
Mars Red Sky Friendly Fire Apex III (Praise for the Burning Soul) 0:04:51
Sun Blood Stories Step Softly Ghost It Runs Around the Room with Us 0:04:48
Elephant Tree Dawn Elephant Tree 0:04:12
Curse the Son Aislamiento Isolator 0:07:13
Alunah Awn Amber & Gold* 0:05:50
Worshipper Night Child (The Oath cover) Mirage Daze 0:04:19
Hexvessel Old Tree All Tree* 0:03:40
Vokonis Rapturous The Sunken Djinn 0:06:09
Mr. Peter Hayden We Fly High Eternal Hayden 0:07:13
Kind Rabbit Astronaut Rocket Science 0:03:49
Om Haqq al-Yaqin Advaitic Songs 0:11:29
Samsara Blues Experiment One with the Universe One with the Universe 0:15:07
The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 3. Thanks for listening if you do.
Tags: Alunah, Curse the Son, Elephant Tree, Gimme Radio, Hexvessel, Kind, Kings Destroy, Lowrider, Mammoth Weed Wizard Bastard, Mars Red Sky, Motorpsycho, Mr. Peter Hayden, Om, Samsara Blues Experiment, Snail, The Obelisk Show, Vokonis, Worshipper
The Obelisk Presents: THE TOP 30 ALBUMS OF 2018
Posted in Features on December 20th, 2018 by JJ Koczan
Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven't yet contributed your favorites of 2018 to that, please do.
It just wouldn't be a year if it wasn't completely overwhelming, right?
2018 has certainly met that standard and then some. The swath of output, whether it's a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it's still happening. There's a little more than a week to go in the year. You think a band isn't putting something out today? Of course they are. It's every day. It's all the time.
But this year wasn't just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let's estimate we're somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word "awesome?" Well, I'm sure we'll see it a few more times before this list is over, so there you go.
I say something like this every time I do a list, but please keep in mind these are my picks and I'm one person. But I am a person. I know there's the whole internet-anonymity thing, but I assure you, I'm a human being (more of a cave troll, really) typing these words. I'm all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let's keep it civil and respectful. These things can spiral out of control quickly, but let's remember that we're all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.
Thanks in advance for reading. Here we go:
[UPDATE: You'll notice the inclusion of an '18a.' I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I've added them back in, but it didn't seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you're pissed about one more killer record being added, please feel free to email me and tell me all about it.]
30. The Skull, The Endless Road Turns Dark
Released by Tee Pee Records. Reviewed Sept. 12.
Chicago's The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like "Breathing Underwater" and "All that Remains (Is True)." They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.
29. Foghound, Awaken to Destroy
Released by Ripple Music. Reviewed Nov. 21.
The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester's last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It's a record that can't ever be divorced from its circumstances — just can't — and so it can be a heavy listen in more than just its tones, but it's basically Foghound proving they're unstoppable. And so they are.
28. Orange Goblin, The Wolf Bites Back
Released by Spinefarm Records. Reviewed June 13.
Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in "Ghosts of the Primitives" and "Burn the Ships" — or, you know, any of them — they added to one of heavy's most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.
27. Fu Manchu, Clone of the Universe
Released by At the Dojo Records. Reviewed Feb. 15.
There are two kinds of people in this world, and they're both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush's Alex Lifeson on the 18-minute side-B-consuming "Il Mostro Atomico," but really to focus on that instead of "Intelligent Worship," "(I've Been) Hexed," "Don't Panic," "Slower than Light," etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014's Gigantoid (review here), and Clone of the Universe was in every way a worthy successor.
26. Witch Mountain, Witch Mountain
Released by Svart Records. Reviewed May 16.
It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain's self-titled LP. That's the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.
25. Windhand, Eternal Return
Released by Relapse Records. Reviewed Oct. 3.
Richmond, Virginia, doomers Windhand's second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand's trajectory in such a manner that, where one might've thought they knew where the band were headed in terms of their progression, they've made themselves a less predictable outfit on the whole. For that alone, it's a triumph. Then you have the songs.
24. Sun Voyager, Seismic Vibes
Released by King Pizza Records. Reviewed April 18.
I don't even want to admit how long I was waiting for Sun Voyager's first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn't want it to have shown up any sooner. An easy pick to stand among 2018's best debut albums. Now to wait for the next one.
23. Forming the Void, Rift
Released by Kozmik Artifactz. Reviewed July 27.
It should tell you something that after working quickly to produce three albums, Louisiana's Forming the Void are still defined by their potential. If I had my druthers, I'd put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don't know if that'll happen, but they'd only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.
22. Spaceslug, Eye the Tide
Released by BSFD Records and Oak Island Records. Reviewed June 29.
Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017's Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record's accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.
21. Conan, Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.
Conan's reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.
20. Pale Divine, Pale Divine
Released by Shadow Kingdom Records. Reviewed Nov. 21.
Look. A new Pale Divine record doesn't come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012's Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron "Fezz" McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.
19. Mos Generator, Shadowlands
Released by Listenable Records. Reviewed May 11.
The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground's feelgood story of the decade, but it hasn't by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection's moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.
18a. Stoned Jesus, Pilgrims
Released by Napalm Records. Reviewed Sept. 5.
The only safe bet about Stoned Jesus' fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012's Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they've ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what's coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.
18. Backwoods Payback, Future Slum
Self-released. Reviewed Aug. 15.
"Pirate Smile." "Lines." "Whatever." "It Ain't Right." "Threes." "Cinderella." "Generals." "Big Enough." "Alone." "Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016's Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.
17. Corrosion of Conformity, No Cross No Crown
Released by Nuclear Blast Records. Reviewed Jan. 3
No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005's In the Arms of God was one of this year's top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994's Deliverance (discussed here) and 1996's Wiseblood (discussed here) in terms of direction, while updating the band's style with a four-part 2LP in mind. In some ways, it'll be their next album that really gives listeners a sense of where they're at and where they might be headed, but as welcome returns go, having Keenan alongside Mike Dean, Woody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.
16. Naxatras, III
Self-released. Reviewed Feb. 14.
It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn't actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.
15. Clutch, Book of Bad Decisions
Released by Weathermaker Music. Reviewed Aug. 27.
It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who's known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015's Psychic Warfare (review here), which was the too-soon follow-up to 2013's Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch's unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch's studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.
14. Ancestors, Suspended in Reflections
Released by Pelagic Records. Reviewed Aug. 3.
After 2012's In Dreams and Time (review here), I wasn't sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn't until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can't help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like "Gone," and "The Warm Glow," they tempered their expansive sound with an efficiency that can only be had with time.
13. High on Fire, Electric Messiah
Released by eOne Heavy. Reviewed Sept. 28.
The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn't get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015's Luminiferous (review here) and 2012's De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they've become one of the most essential metal bands of their generation. Metal, period. Doesn't matter what subgenre you're talking about it. If you're listening to High on Fire, you know it. Usually because you've just been decapitated.
12. Yawning Man, The Revolt Against Tired Noises
Released by Heavy Psych Sounds. Reviewed July 2.
You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you're still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased "Catamaran," which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don't know if they'll ever be as huge as they should be, but every bit of acclaim they get, they've earned, and if The Revolt Against Tired Noises helps them get it, all the more so.
11. Greenleaf, Hear the Rivers
Released by Napalm Records. Reviewed Nov. 26.
Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they're a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they're absolutely on fire in the album's tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016's Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won't say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don't think even Greenleaf knew was there.
10. Gozu, Equilibrium
Released by Blacklight Media / Metal Blade Records. Reviewed April 4.
Five records deep into a career into its second decade, Gozu haven't had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu's well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that's Gozu's proven track record.
9. Monster Magnet, Mindfucker
Released by Napalm Records. Reviewed Feb. 23.
The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They've stopped writing to genre. They're driven by the creative mania of frontman/founder Dave Wyndorf, and they've seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What's left to do but whatever the hell you want? So that's what Monster Magnet are doing. It just so happens that while they're doing it, they're still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could've asked than what Mindfucker delivered. And if you're still trying to get your brain around it however many months later, you're not alone. I think that's the idea.
8. Apostle of Solitude, From Gold to Ash
Released by Cruz del Sur Music. Reviewed Feb. 20.
Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like "Keeping the Lighthouse," "Ruination by Thy Name" and "My Heart is Leaving Here." Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn't exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you'll only regret it later. I'll say it one more time: Best doom album of 2018.
7. Holy Grove, Holy Grove II
Released by Ripple Music. Reviewed Oct. 31.
Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like "Blade Born," the shorter, sharper "Aurora," the patiently rolling "Valley of the Mystics," "Solaris" and closer "Cosmos," which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB's Mike Scheidt, — and oh wait, that's all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it'll be hard to complain with this record to keep company in the meantime.
6. All Them Witches, ATW
Released by New West Records. Reviewed Sept. 18.
Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017's Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener "Fishbelly 86 Onions" to the memorable moodiness of "Diamond" and the back-end jam "Harvest Feast" en route to the stretched-out end of "Rob's Dream," All Them Witches essentially confirmed they could do whatever they wanted and make it work.
5. YOB, Our Raw Heart
Released by Relapse Records. Reviewed June 7.
Actually, if you want a sample of YOB's raw heart, the place to go is probably 2014's Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might've lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts "Beauty in Falling Leaves" and "Our Raw Heart," they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.
4. Brant Bjork, Mankind Woman
Released by Heavy Psych Sounds. Reviewed Sept. 13.
I'm not going to say I wasn't a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014's Black Power Flower (review here) and 2016's Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of "Chocolatize" and "Brand New Old Times" or the callout "1968" and laid back vibes of the title-track and "Swagger and Sway," Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it's in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.
3. Earthless, Black Heaven
Released by Nuclear Blast Records. Reviewed March 15.
They've been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they're godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn't not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener "Gifted by the Wind" was one of the best songs I heard this year, and while "End to End" and the all-thrust "Volt Rush" affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that's (largely) fueled their tenure to date. Earthless don't want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.
2. King Buffalo, Longing to Be the Mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.
In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn't exactly come out of nowhere, but even with Repeater preceding its arrival, I don't think anyone necessary expected King Buffalo's second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That's this record.
1. Sleep, The Sciences
Released by Third Man Records. Reviewed May 1.
Obviously, right? To some extent, when Sleep surprise-announced on April 19 they'd release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike's own High on Fire, there was no way that when the end of the year came around, it wasn't going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike's wild soloing, Cisneros' meditative vocals and Roeder's intricate but smooth style of roll all came together in older pieces like "Antarcticans Thawed" and "Sonic Titan" and newer highlights "Giza Butler" and "Marijuanaut's Theme," and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could've anticipated. There's a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.
The Next 20
Indeed, it wouldn't be much of a Top 30 at all if it didn't go to 50. Don't try to make sense of it, just look at the records.
31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney
Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we'll get there). Eventually numbers add up. I won't say a bad word about any of these. That's it.
This section always winds up expanded as other people point out things I missed and so on, but here's what I've got in the immediate, alphabetically:
Alms, Act One
Ape Machine, Darker Seas
Belzebong, Light the Dankness
Black Moon Circle, Psychedelic Spacelord
Blackwater Holylight, Blackwater Holylight
Bong, Thought and Existence
Carpet, About Rooms and Elephants
Churchburn, None Shall Live… The Hymns of Misery
Deadbird, III: The Forest Within the Tree
Dead Meadow, The Nothing They Need
Death Alley, Superbia
Drug Cult, Drug Cult
Dunbarrow, II
Electric Citizen, Helltown
Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
Evoken, Hypnagogia
Funeral Horse, Psalms for the Mourning
Fuzz Evil, High on You
Graven, Heirs of Discord
Graveyard, Peace
Green Dragon, Green Dragon
Green Druid, Ashen Blood
Here Lies Man, You Will Know Nothing
High Priestess, High Priestess
Horehound, Holocene
IAH, II
JIRM, Surge ex Monumentis
Killer Boogie, Acid Cream
Lonely Kamel, Death's Head Hawkmoth
MaidaVale, Madness is Too Pure
Moab, Trough
Mountain Dust, Seven Storms
Mouth, Floating
Mr. Plow, Maintain Radio Silence
T.G. Olson, Earthen Pyramid
Onségen Ensemble, Duel
Orango, Evergreen
Owl, Nights in Distortion
Pushy, Hard Wish
Rifflord, 7 Cremation Ground/Meditation
River Cult, Halcyon Daze
Rotor, Sechs
Somali Yacht Club, The Sea
Sumac, Love in Shadow
Sundrifter, Visitations
Svvamp, Svvamp II
Thou, Magus
Thunder Horse, Thunder Horse
Weedpecker, III
Somehow it didn't seem appropriate to include these in the list proper because they're not really underground releases, but there were two more records I especially wanted to highlight for their quality:
Alice in Chains, Rainier Fog
Judas Priest, Firepower
Best Short Release of the Year
Normally I'd do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:
Mammoth Weed Wizard Bastard & Slomatics, Totems Split
Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:
All Them Witches, Lost and Found
Alunah, Amber & Gold
Canyon, Mk II
Demon Head, The Resistence
Destroyer of Light, Hopeless
Ecstatic Vision, Under the Influence
Godmaker & Somnuri, Split
Holy Mushroom, Blood and Soul
King Buffalo, Repeater
Minsk & Zatokrev, Split
Sleep, Leagues Beneath
Stonus, Lunar Eclipse
Sundecay, Gale
A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what's coming, but here's what I have in my notes so far, in absolutely no order:
Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man's Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.
Okay, That's It
Yeah, no, I'm serious. List is done. Everybody go back to your lives. Your families miss you.
Really though, while this is by no means my last post of 2018, I can't let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I'd still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.
So thanks.
If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don't make me feel stupid because I forgot your favorite record. I forgot a lot of people's favorite records. I'm one dude. I'm doing my best.
And please keep in mind if you've got a list together that the Year-End Poll is open and results will be out Jan. 1.
Everybody have a great and safe 2019.
Tags: 11Paranoias, Abrahma, Alice in Chains, All Them Witches, All Them Witches ATW, Alms, Alunah, Ancestors, Ancestors Suspended in Reflections, Ape Machine, Apostle of Solitude, Apostle of Solitude From Gold to Ash, Arcadian Child, At the Dojo Records, Atala, Atavismo, ATW, Awaken to Destroy, Backwoods Payback, Backwoods Payback Future Slum, Belzebong, Black Heaven, Black Moon Circle, Black Rainbows, Blacklight Media, BlackWater HolyLight, Bong, Bongripper, Book of Bad Decisions, Brant Bjork, Brant Bjork Mankind Woman, BSFD Records, Buffalo Fuzz, C.O.C., Candlemass, Canyon, Captain Caravan, Carpet, Chubby Thunderous Bad Kush Masters, Church of the Cosmic Skull, Churchburn, Cities of Mars, ClamFight, Clone of the Universe, Clutch, Clutch Book of Bad Decisions, Conan, Conan Existential Void Guardian, Corrosion of Conformity, Corrosion of Conformity No Cross No Crown, Cruz Del Sur Music, Crypt Sermon, Curse the Son, Dead Meadow, Dead Witches, Deadbird, Death Alley, Demon Head, Destroyer of Light, Domkraft, Dorre, Drug Cult, Dunbarrow, Dunbarrow II, Eagle Twin, Earthless, Earthless Black Heaven, Ecstatic Vision, Electric Citizen, Electric Messiah, Elephant Tree, Elepharmers, eOne Heavy, Equilibrium, Eternal Black, Eternal Return, Evoken, Existential Void Guardian, Eye the Tide, Foehammer, Foghound, Foghound Awaken to Destroy, Forming the Void, Forming the Void Rift, Freedom Hawk, From Gold to Ash, Fu Manchu, Fu Manchu Clone of the Universe, Funeral Horse, Future Slum, Fuzz Evil, Godmaker, Gozu, Gozu Equilibrium, Grandier, Graven, Graveyard, Grayceon, Green Dragon, Green Druid, Greenleaf, Greenleaf Hear the Rivers, Hear the Rivers, Heavy Psych Sounds, Heavy Temple, Here Lies Man, Hexvessel, Híbrido, High Fighter, High on Fire, High on Fire Electric Messiah, High Priestess, Holy Grove, Holy Grove II, Holy Mushroom, Horehound, IAH, II, III, JIRM Killer Boogie, Judas Priest, Kind, King Buffalo, King Buffalo Longing to be the Mountain, King Pizza Records, Kings Destroy, Kozmik Artifactz, Listenable Records, Lo-Pan, Lonely Kamel, Longing to be the Mountain, MaidaVale, Mammoth Weed Wizard Bastard, Mankind Woman, Mansion, Mars Red Sky, Mastiff, Megaton Leviathan, Messa, Metal Blade Records, Mindfucker, Minsk, Moab, Monster Magnet, Monster Magnet Mindfucker, Monte Luna, Mos Generator, Mos Generator Shadowlands, Motorpsycho, Mountain Dust, Mr. Peter Hayden, Mr. Plow, Mythic Sunship, Napalm Records, Naxatras, Naxatras III, New West Records, No Cross No Crown, No Man's Valley, Nuclear Blast Records, Oak Island Records, Om, Onségen Ensemble, Orange Goblin, Orange Goblin The Wolf Bites Back, Orango, Oreyeon, Our Raw Heart, Owl, Pale Divine, Pale Divine Self-titled, Pelagic Records, Pilgrims, Pushy, Red Beard Wall, Relapse Records, RidingEasy Records, Rifflord, Rift, Ripple Music, River Cult, Rotor, Saint Vitus, Samavayo, Seedy Jeezus, Seismic Vibes, self-titled, Shadow Kingdom Records, Shadow Witch, Shadowlands, Sleep, Sleep The Sciences, Slomatics, Snail, Somali Yacht Club, Somnuri, Spaceslug, Spaceslug Eye the Tide, Spinefarm Records, Stickman Records, Stoned Jesus, Stoned Jesus Pilgrims, Stonus, Sumac, Sun Blood Stories, Sun Voyager, Sun Voyager Seismic Vibes, Sundecay, Sundrifter, Sunnata, Suspended in Reflections, Svart Records, Svvamp, Swallow the Sun, T.G. Olson, Tee Pee Records, The Endless Road Turns Dark, The Machine, The Revolt Against Tired Noises, The Riven, The Sciences, The Skull, The Skull The Endless Road Turns Dark, The Sonic Dawn, The Wolf Bites Back, Third Man Records, Thou, Thunder Horse, Top 30 of 2018, Träden, Uncle Acid and the Deadbeats, Vokonis, Weathermaker Music, Weedpecker, Windhand, Windhand Eternal Return, Witch Mountain, Witch Mountain Self-titled, Yawning Man, Yawning Man The Revolt Against Tired Noises, Year of the Cobra, Yob, YOB Our Raw Heart, Zatokrev, Zaum
Hexvessel Release All Tree Feb. 15; "Old Tree" Video Posted
Posted in Whathaveyou on December 11th, 2018 by JJ Koczan
How many clever-as-hell reviewers do you think are going to talk about how forest folkers Hexvessel are getting 'back to their roots' (nudge nudge) on their new album? All of them? All of them twice? If it's anything less than an 80 percent number, I'll be disappointed in the modern press.
Hexvessel's nonetheless brilliant 2016 outing, When We are Death (review here), was indeed a departure for the band into go-anywhere-do-anything-even-pop songcraft that showcased a host of influences, some less derived from the natural world than others. They still danced like mad pagans, though, and it seems that All Tree will bring back some of the nature worship of the collective's earlier work. Preorders are up for the album now for those in Europe, and they've posted a video for "Old Tree" that you can see at the bottom of this post. It's serene and sad and gorgeous, and if you'd expect less, you have some homework to do.
From the social medias:
The first single and video "Old Tree" from our new album is out now!
From the ghostly notes of the dead tree branch, played with a violin bow by Antti Haapapuro, to Andrew McIvor's haunting guitars, violin by Daniel Pioro and found forest sounds, our new song "Old Tree" sings of personal loss with a pagan heartbeat.
Mat McNerney says: "I wrote this song at a time of what should have been deep sadness, but as a way of finding solace in nature. We tend to think of life from such a short term perspective. Nature takes millions of years to develop some of the intricate life support systems we depend on to survive. I found my answers in the trees and what they tell me. As Hesse said, when we listen to trees, we learn the 'ancient law of life'. This song 'Old Tree' is very much like the first song I ever wrote as HEXVESSEL and goes to the core of what our music is about. To quote Lord Byron, 'I love not Man the less, but Nature more'."
With visuals beautifully captured in the old growth rainforests of Vancouver Island by British Columbian filmmaker Mark Wyatt, our video is a reverential paean to the intrinsic and eternal divinity of nature.
https://Hexvessel.lnk.to/AllTreeID for digital and European preorders. This track is also available on Spotify etc. from today.
"We are happy to announce that our fourth album "All Tree" will be released on CD, LP and digitally on February 15th, 2019 worldwide. The album will be made available via our own label Secret Trees, in exclusive partnership with Century Media Records.
"All Tree is not just about going back to the heart of Hexvessel, with a slight return to our forest folk roots, it's about drawing fresh inspiration from my own heritage too. The English pastoral folk influences are infused with Celtic mythology from my Anglo-Irish blood, with Finnish nature as our backdrop.
"From the Canterbury folk scene and early prog bands that soundtracked my youth in England, to the ghost stories I was told as a child on my uncles farm in Ireland, this album is a spiritual journey where the old myths are doorways to enlightenment. The dawn light across boggy fields, the wind blowing through the keyhole, the branches dragging their breath inwards as the seasons ignite a magic sense of mystery about the wilderness. That's what we tried to bring out into the songs on this album. By bowing old dead tree branches with violin bows, by summoning the sounds of the fire and the birds in the field outside, we gave the music a life which, like the liminal spirits of Samhain drifts in and out of this world. That's what folk means. It's the countryside singing out from within me. It's their story we sing. And no matter where I go or where I end up staying, it's that folk countryside which is the seed from which I sprang. All Tree." – Mat McNerney
Cover art photography by Bastian Kalous (who created the cover for No Holier Temple).
https://www.facebook.com/hexvessel
https://twitter.com/Hexvessel
http://instagram.com/hexvesselband
https://hexvessel.bandcamp.com/
https://www.hexvessel.com/
www.centurymedia.com
Hexvessel, "Old Tree" official video
Prophecy Fest 2017 Lineup Finalized: Sólstafir, Arcturus, Dool, Hypnopazuzu and More to Play
Posted in Whathaveyou on April 13th, 2017 by JJ Koczan
Haven't you ever wanted to go to a festival in a German cave? Fucking of course you have. Don't even pretend otherwise. And somehow, given the vast sonic swath it covers, from the post-everything metal of Arcturus to the Eastern European folk of The Moon and the Nightspirit to the goth-infused heavy rock of Dool — all of which operates under the banner of Prophecy Productions, it has to be noted — the lineup for Prophecy Fest 2017 couldn't be more appropriate. The fest is set for July 28 and 29 at Balver Höhle in Balve, Germany.
Yes. It's really a cave. Yes, you can go there and see cave stuff. There will also be a lineup of bands that emphasizes the unique (not a word I use often) breadth of Prophecy Productions, and that only makes it more special as an event. I don't know how many fests you go to in the average year — 10? 15? — but I try and hit a few. I've never been to one in a cave. I'm ashamed to admit it.
Lineup rules, location rules. Concept rules. I can feel the vibe from here already.
From the PR wire:
Prophecy Fest 2017 – 28th & 29th July 2017 – Balver Höhle/Germany
Prophecy Fest takes place in a natural cave from Old Stone Age – Balver Höhle. According to Germanic Saga, the blacksmith Wieland had his workshop in the cave. Balve, Germany, is situated between Dortmund, Cologne, Frankfurt and Hannover.
After the amazing work Austrian graphic designer Irrwisch did made for Lotus Thief's "Gramarye", he was our choice for the art director function at Prophcy Fest 2017. We are delighted to have him on board and can't wait for his exhibition in the cave of Balve!
Sun Of The Sleepless, the black metal/experimental side project of Schwadorf (Empyrium, The Vision Bleak), will play its second show ever at Prophecy Fest 2017! As a side note, the first concert was at the first small Prophecy label festival in 1999. Dornenreich will grace us with a special history acoustic concert at Prophecy Fest 2017! The set list will contain songs from all their albums as well as the "Mein Flügelschlag" demo tape. The Vision Bleak will perform with the Shadow Philharmonics for the first time since 2006 again.
We are proud to have Schwadorf and Konstanz back at Prophecy Fest 2017 for a special performance with a classical ensemble of strings, percussion and vocals! We are proud to add DOOL, one of our most exciting signings in recent years, to the billing of Prophecy Fest 2017. Ryanne van Dorst and her pack will prepare a special set with five additional musicians and singers exclusively for this event! The Moon and the Nightspirit will play a one-time show at Prophecy Fest! Their line-up will be extended by a pianist/harpist and a flutist and their set will include songs never played before.
Hypnopazuzu, the new band of David Tibet (Current 93) and Youth (Killing Joke), give their very first concert in Germany! Lotus Thief will be in Europe for the first time and we let them set ancient words to song in the cave of Balve. Hexvessel will prepare an extended performance for us with implemented acoustic set. Arcturus, the epitome of avant-garde metal, will perform at Prophecy Fest. Soror Dolorosa will perform "Severance" in its entirety for the first time. Additionally, they will present their new album "Apollo".
Glerakur surprised us and blew us away with their performance at Prophecy Fest 2016. It was an easy decision for us to invite them again. Sólstafir will illuminate the cave of Balve! NOÊTA will play their first concert outside Scandinavia at this year's Prophecy Fest! Spiritual Front will play a special "Armageddon Gigolo" set for Prophecy Fest 2017! Nhor world premiere performance at this year's Prophecy Fest!
Unlike other festivals, we will not start with the most "unknown" artist and end with the "headliners".
To us, they are all headliners and were chosen because we expect an amazing performance from them.
Therefore, all artists will receive the playing time they need for their performance, and the running order will reflect what we consider the optimum in terms of dramaturgy and suspension.
http://en.prophecy.de/prophecy-fest/
http://live.weltnetz.lu/en/titel/prophecy-fest-28-07-29-07-2017-balve/
Les Discrets, Live at Prophecy Fest 2016
Tags: Arcturus, Balve, Dool, Dornenreich, Germany, Glerakur, Hexvessel, Hyonopazuzu, Lotus Thief, Nhor, Noeta, Prophecy Fest, Prophecy Fest 2017, Prophecy Productions, Solstafir, Soror Dolorosa, Spiritual Front, Sun of the Sleepless, The Moon and the Nightspirit, The Vision Bleak


This review is about item#9243613.
As it was cheap, we purchased. There is no thickness in proportion to the size of the box, and there is a little difficulty in strength.
This review is about item#09243604.
This review is about item#9243586.
There is no problem. Price and lot were just right.
This review is about item#9243595.
I bought it with the discount benefit of the weekend and I think that it was possible to buy the unit price per sheet considerably with corrugated cardboard of this size. Because the thickness of the corrugated cardboard is not so thick, it may not be a bit appropriate for heavy loading, but it is relatively lightweight (up to 15 kg) and it is not optimal for putting bulky objects of large size.
As we deal with metallic products, it is important to consider the heaviness as the contents may become quite heavy. Although I purchased it before, I think that it is a very good product with thickness. I do not think that it is expensive, especially high. I would be happy if you could maintain the price with this quality as it is.
Furniture Because it was a cardboard of a good size, even if it entered 10 pieces, I could send it in various ways. If possible, I'd be happy to have a set of 5 or 1 seller.
It is easy to store with just the right size. I want a little more strength as I put the document.
It is more user-friendly than the one of the home center, and it is saved because it can choose the size.
This review is about item#09243613.
It seems that strength as corrugated board is insufficient.
This review is about item#09243586.
Since this size is not so much, I will also purchase, I want you to strengthen the strength a little more. It is regrettable that you may get crushed during delivery.
Although the product was normal, delivery company's delivery will be delayed so seriously. Even if it is shipping early, it is very uncomfortable because it stops at the shipping company.
Is paper quality bad, the surface paper is very weak. Since the quality of the surface layer is not written in the catalog, I do not know it when ordering. Also, the surface layer close to this size is K5's, but it seems not to be sold, so it will be appreciated if you can expand product development in the future.
The strength was moderate and it was just right for the intended use.
The tube file (8 cm × 3 volumes + 6 cm × 1 volume) which is currently being sold goes into a box, and it is reasonable weight to carry weight alone. The size is just right. However, the thickness of cardboard is slightly thin, so if you have a lot of time to move, it might be a bit thicker.


Scottish Liberal Democrat agriculture spokesman Mike Rumbles MSP today repeated his call for a full parliamentary statement on the latest Common Agricultural Payment (CAP) shambles.
Mr Rumbles was speaking as details of errors in an emergency loans scheme introduced after repeated delays in this years' CAP payments were snuck out in response to an inspired parliamentary question.
Mr Rumbles is now set to raise this issue with party business managers at a meeting of the Parliamentary Bureau tomorrow.
"Slipping out details of this latest CAP failure quietly will not reassure any farmers that the emergency financial support they have been promised will arrive in full and on time. This saga has been going on for months now and farmers need to be reassured that the Scottish Government are finally getting to grips with things.
"The Cabinet Secretary needs to come to Parliament and explain to MSPs - and more importantly to farmers and crofters - the steps that are being taken to get the loan scheme back on track. I will be pushing hard for a full statement from Fergus Ewing at the meeting of the Parliamentary Bureau tomorrow.


Item title reads - Romance of the hunting field. Mr George Evans, Master of the Hampshire Hunt, weds Miss D. Smith and afterwards led the field for last Meet of the season. Ropley.
L/S of people leaning over a wall to watch the hunt ride up the road. Various shots of Mr Evans standing on the road. M/S of the bride riding with another man, possibly her father. M/S of the two of them together. L/S as Mr and Mrs Evans walk between the crowds who throw rice on them. He helps her onto her horse.


Isn't it funny how right wing gun nuts think? Not funny, funny. But, you know, funny.
Senator Thom Tillis (R-NC) was upset about the Democrats staging a sit in because Republicans refuse to take any gun control measures seriously. He went so far as to say they should have been arrested.
And of course GOP Speaker of the House Paul Ryan (R-WI) called it a publicity stunt that threatens American Democracy. Unlike, for example, being owned by the NRA like most Republicans.
It is NOT a publicity stunt. This is a real issue and Republicans refuse to consider that they may be wrong. They refuse to consider that putting gun sales ahead of letting a potential terrorist buy those guns might help save American lives.
I would be happy to see us start with eliminating just a few gun deaths. That's a great start. And I'll take my chances against a knife, or spoon, or baseball bat over a gun any day.
As far as the whole publicity stunt thing? Republicans should know much better what a publicity stunt is. Aren't they the one's that have voted over 50 times to repeal Obamacare?


Thanks to the following amazing bloggers for their wonderful, advance-copy reviews of Paleo Cooking from Elana's Pantry.
If you are looking for more information before you order my new book, maybe one of these bloggers who received an early-release copy has shared something below that will give you insight into what my book is all about.
If these reviews don't give you enough information to help make up your mind, check out the "Look Inside" feature on amazon.com, and stay tuned for more reviews and sneak preview recipes.
My new book is available on amazon.com and barnes & noble.com You can pre-order your own copy of the book today!
are there a lot of egg recipes?
More than half of the recipes in Paleo Cooking from Elana's Pantry are egg-free. For more information on this cookbook, please check out my cookbook page.


A little chat about the story so far and some background information.
https://www.podbean.com/media/share/pb-zxscq-ad59bb We take a little time to chat about the story and give you some background information on how it all started.
https://www.podbean.com/media/share/pb-cgzv3-ad11d1 After introducing and beautifully narrating the first episode of Layliana's tale from The Todalie Stories series, Humphrey Smellington Smythe would like to take this opportunity to thank you all for listening, sharing with all your friends and subscribing to our Podcast.


Before we get down to the nitty gritty of kinds of photography, equipment etc. the first thing I should say is that ideas come before and above all that.
Photographs are made in the mind before they are made in the camera. Even observed work requires anticipation and a watchful eye. So, please book me because you like what I've done before but also realise I want to bring something new to any given situation.
I like to to work to a good comprehensive brief. The more detailed the better. From timing of events to cover at a conference to the message to get accross from a PR shoot, the greater the exchange of ideas and information the more likely I am to meet and hopefully exceed your expectations as a client.
A good detailed brief also helps me get the best value estimate done in advance. If you're unsure I can draw on many years of experience and we can talk it through.
If I shoot on DSLR I am able to transmit quick timely edits from location as needed.
If the aesthetic requires film to be shot I can do this in both 35mm and medium format.
If the job requires studio type lighting I am more than happy to bring this in.
I can set up a small studio on location with this in mind or if a full studio is needed we can hire the use of one.
I can supply your finished pictures on anything from digital files via email (WeTransfer), Dropbox or GoogleDrive, ftp, DVD and memory stick through to photographic print, canvas etc. Your call.
I can work with your designer to get the best out of digital files by making sure sizing and colour workflow is optimised.


text:
Anacoemastis glycaea är en fjärilsart som beskrevs av Edward Meyrick 1914. Anacoemastis glycaea ingår i släktet Anacoemastis och familjen praktmalar, Oecophoridae. Inga underarter finns listade i Catalogue of Life.

Källor

Praktmalar
glycaea

redpajama_set_name: RedPajamaWikipedia


I love dishes that are more than the sum of their parts: really delicious but so easy to make that you feel like you're cheating. This Cervelle de Canut definitely fits into that category. It's a flexible friend, great with crackers and also good to dollop over roast potatoes or steak, or to dot on oysters.
Even better, it has an interesting story. The dip is a specialty of Lyon, France's third largest city, sitting on the confluence of two rivers in the south-east of the country. Lyon was famous for its silk industry and 'cervelle de canut' means silk worker's brain. No-one is quite sure why but it's interesting to speculate as you eat it!
See below for more cheese dip ideas and for a little more about Lyon and its silk workers.
I made this video with the incredibly knowledgeable Anthony Femia of Maker & Monger at Prahran Market.
Add all ingredients except lemon zest to mixing bowl. Combine for 5 sec/speed 5, then scrape down and mix 8 sec/speed 4.
Turn into a bowl and sprinkle generously with lemon zest or refrigerate for 4 hours or overnight to marinate (see Tips) before sprinkling with zest.
Sometimes I don't mind a bit of chopping but you can let your Thermomix do the work! Place garlic, eschallot and tarragon into mixing bowl and chop for 2 sec/speed 7. Add cheeses, olive oil and finely chopped chives then continue with recipe.
Leaving the dip before serving allows the flavours to develop and mellow.
Have you tried Anthony's boat-shaped Khachapuri? It's cheesy heaven!
For another interesting use of quark see my quark dumplings, part of a great family meal with two types of dumplings.
Virtual Bacon Dust: the killer condiment that tastes like bacon but isn't!
Do you love cheese as much as I do? Then check out this delicious Blue Cheese Dip and my Food Chat – Cheese Platter Chatter with Anthony Femia and discover his tips for creating the perfect cheese platter.
This dip is also delicious over a steak. To learn all about the perfect cut of beef check out my Beef Banter with Butcher Gary McBean. And while we're on the subject of beef take a look at some of my favourite beef dishes.
Did you know Dani Valent gift vouchers are available right here? They make the perfect present for the Thermo-lover in your life.
I love my Elk coat and shirt.
Food writer Bill Buford packed up his American family and moved them to Lyon where he studied to be a cook. This impassioned and funny article gives an insight into the city's food culture.
Why might this dip be called 'silk worker's brain'? King Louis XIV turned Lyon into France's centre of silk production in the 17th century and, by the end of the 18th century, it's estimated that around one-third of the city's 15,000 people were working in the industry. As the industrial revolution took production out of the hands of skilled experts, Lyon became a hotbed of early worker uprisings, which were suppressed by the military on four occasions. Perhaps 'cervelle de canut' was an insult by the affronted upper classes to the rowdy silk workers.


Tulsi leaf has been known as Holy Basil for thousands of years, as even its presence is purifying and satvic (peaceful) in nature. In India, this sacred plant is often kept in each family's house or yard, allowing it to bestow its blessings onto each home. It is used as an offering in holy Hindu rituals and is thought of as the Earthly manifestation of the Goddess Tulsi, a consort of Vishnu. Although said to be spiritually cleansing, the presence of the Tulsi plant is also physically cleansing, as it is known to absorb positive ions and energize negative ones; clearing the air of dust, mold spores, pollen, pet dander, odors, cigarette smoke, bacteria and viruses.
Tulsi is a very versatile and powerful herb, allowing its healing properties to cover a wide range of areas. As already mentioned, the physical presence of the plant cleanses energy and the environment; but when taken internally, this herb can heal a wide range of imbalances as well. Tulsi is a commonly used herb in the world of Ayurveda, and is now becoming more well known here in the West. Although Tulsi can be powerfully healing, it is said to be satvic (peaceful) by nature, making it suitable for all body-types in moderation (will increase Pitta in excess), with no known side effects.
Tulsi can be utilized in several different ways depending on the needs of the individual. An easy and effective way to incorporate Tulsi into your daily routine is to simply sip on Tulsi tea throughout the day. You can make a large pot in the morning and drink off of it all day long. For treatment purposes, I generally recommend taking 1 cup of Tulsi tea, 3-4 times daily.
For Vata types you can mix Tulsi with fresh ginger to make a tea; for Pitta types try mixing with brahmi or rose petals; and with Kapha types try dry ginger. For a lovely tri-doshic blend, try our OM Shanti Tea!
Boil 4 cups of water and then turn the heat to low.
Add 3 Tbsp of Tulsi and steep for 8-10 minutes. ***Add any additional herbs during this time if desired.
Strain into a pot and drink 1 cup 3-4 times a day.
Click here for our "Tulsi, Turmeric and Ginger Tea Recipe". Great medicine for treating and preventing colds, cough, flu and fever!
Tulsi can also be used in the form of a powder, taken solely or added to an Ayurvedic formula. This is a great way to get a larger, more consistent dose of Tulsi, allowing its healing properties to become more potent. With the addition of other "like-minded" herbs, Tulsi becomes even more powerful still. Try our Mind Tonic tincture!


Eric joined CRYE-LEIKE in 2004. His professional background includes commercial construction management, architectural design, and marketing. This background has given him a unique foundation for evaluating, promoting and procuring commercial properties.
Eric is a Certified Commercial Investment Member (CCIM) through the CCIM Institute. Only 6% of the estimated 150,000 commercial real estate practitioners nationwide hold the CCIM designation, which reflects not only the caliber of the program but also why it is one of the most coveted and respected designations in the industry.
Eric and his wife Joanna have five children, Gabe, Audrey, Sam, Ellie, and Molly.


text:
Q: Boost::Asio - read or read_until? I'm learning to use Boost::Asio
I was wondering : when should I use read_until ? When should I use read ?
Is it better to specify the length of your data in a header at the beginning of your data buffer OR to use a delimiter with read_until ?

A: One is not better than the other.
You use what your protocol requires.
Typically

*

*binary protocols specify the packet length up front (by sending it first)

*text protocols tend to structure information using delimiters (like { ... } for JSON like grammars, or \r\n for SMTP/HTTP etc).
Naturally you'd use read_until for the latter

redpajama_set_name: RedPajamaStackExchange


London Diva Escorts Agency. Helpful and polite receptionist is aim to assist you from 10am till late, in finding the right girl for you. Our girls love their work and never rush, so Call Now our ladies are looking forward to it!


text:
Прохорчук — фамилия.

Известные носители:
 Прохорчук, Виктор Александрович (1975—2014) — участник Евромайдана, погиб во время февральских противостояний в Киеве. Герой Украины (2014, посмертно).
 Прохорчук, Егор Борисович (род. 1971) — российский учёный, специалист в области медицинской геномики, член-корреспондент РАН (2022).


text:
CEOs HAVE THEIR SAY - XAVIER DE ROQUEMAUREL, CEO CZAPEK
1. The demand "crisis" in China combined with the anti-corruption legislation goes back to late 2012, yet no significant downturn in exports was observed in 2013 and 2014. So, faced with the natural decline in sales volumes, the big names were probably forced to maintain their export volumes in one way or another… The change in the exchange rate in January 2015 was an opportunity for the markets to "correct" their stock volumes. This corrective action offsets a level of stock that corresponds to several years of sales above current volumes. Consequently, it's a mathematical probability that it will continue into 2016 and perhaps even into 2017… but in a less marked fashion. Even so, there are no signs that watch-lovers have turned to another passion …. So rather than a crisis we ought rather to talk in terms of a bubble bursting. Someone really passionate about watches buys in a more thoughtful way. We're not talking about spur-of-the-moment, impulse buying here.
2. 2015 marked Czapek's return to the watchmaking scene. 2016 will mark our arrival on the markets with our first collection: Quai des Bergues. We'll be selling it mostly through partner retailers. We made our debut with Chronopassion in Paris and are hoping for the same response from all connoisseurs of haute horlogerie, whether in Europe, the Middle East, the Americas or Asia. For Czapek's launch, we opted to position ourselves in a reasonable or relatively low price segment for steel to give as many aficionados as possible the chance to be a part of our adventure by owning one of our timepieces. In terms of communications, it's the very notion of sharing this passion that is the principal driver. A pure, unique, almost fragile aestheticism is expressed in our watches; on the wrist they bear witness to the owner's sensitivity to beauty, the poetry of time … So on paper our quest is simple: to familiarise watch-lovers with Czapek and give them the chance to acquire one of these first-edition models, which are justly baptised "Renaissance"…
3. As an opportunity, of course! Once again, it's all a question of the law of numbers: with their ageing populations developed countries aren't the principal market for smartwatches and haven't been for a long time, it's probably the BRICs and Middle Eastern countries, where the population is considerably younger. The early 2000s were marked by a move away from watches by young people, who preferred reading the time straight from the screen of their smartphones. The arrival of smartwatches is an opportunity to put watches back on the wrists of all those young people out there while waiting for the spell of time to work and mechanical timekeeping to regain its lost territory... Which will happen, because the relationship of people to time is incredibly powerful, rather as if it were a determining factor of the human condition.
4. Baselworld is a must for Czapek and it's going to be a baptism by fire. This first-time participation is a key milestone in our development, because we deeply believe in the complementarity of the middlemen and of the distribution networks. Baselworld is an opportunity to meet several tens of professionals with expert knowledge of their market and establish lasting relations with a view to developing business together. Multi-brand boutiques have a fine future before them, with all the choice and expertise peculiar to them. Lastly, it's also a very important opportunity to meet the press and a unique chance to talk with other horology aficionados.
EUROPA STAR'S FOUR QUESTIONS
1. What are your predictions for 2016? Do you think that exports will recover, or will the markets stagnate or continue to decline after the slump we saw in 2015? And what do you think were the reasons for the downturn in 2015?
2. What are your priorities for the coming year: consolidating your existing markets, actively exploring new markets (if so, which), rationalising / consolidating / expanding your distribution network, launching new products, PR initiatives, etc.?
3. Over the longer term, do you believe that mechanical watchmaking will gradually die out, hybridise, or continue to occupy its own exclusive niche? Do you see the advent of smartwatches as a potential threat, or an opportunity for growth and diversification?
4. What exactly do you hope to achieve from your participation in Baselworld 2016? Do you feel your presence at the fair is essential to your business, or are such forums less important now than they were in the past?
LIST OF RESPONDING CEOs
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"Collectors won't be enough for Swiss watchmaking"
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THE WATCH FILES On a superficial level, the worlds of watchmaking and automobiles are often compared through the many partnerships forged between the two industries. But (...)
WATCH MARKETS

redpajama_set_name: RedPajamaCommonCrawl


Carl's Jr., internationally known American hamburguer restaurants has arrived to Spain. The first restaurant of the company will open its doors in the Gran via 45 in Madrid.
Cushman & Wakefield, a global leader in real estate services, has advised AG Restauración Group, a company led by restaurant experts with more than 25 years in the sector, as a franchisee of the brand in the location of its first establishment in Spain.
The site has a total area of 513 m² and it is divided into three floors (basement, street and first floor) and is scheduled to open in the last quarter of 2017.
The Californian Company was created in 1941 and already surpasses the 4000 establishments, distributed in 40 countries. It is currently in full national and international expansion and, in the last year, has expanded its presence to Australia, Japan, Chile, Nicaragua, Kenya and Cambodia.