The Obsessed

#626.3: The Big Lists of 2017 Part Three: Iron Tom Sharpe

No commentary from Tom, just rock.  Pay attention, as many of these titles are recurring on these lists!

 

Tom’s Top 20 for 2017

20 Vulfpeck – Mr. Finish Line

19 The Wizards Of Delight – The Wizards Of Delight (EP)

18 Neil Young – Hitchhiker

17 Thundercat – Drunk

16 Mothership – High Strangeness

15 Steve Hackett – Night Siren

14 Deep Purple – InFinite

13 Mastodon – Emperor of Sand

12 Gov’t Mule – Revolution Come Revolution Go

11 John Garcia – The Coyote Who Spoke In Tongues

10 Pallbearer – Heartless

9 Steve Earle – So You Wannabe an Outlaw

8 Elder – Reflections of a Floating World

7 Magpie Salute – Magpie Salute

6 Jason Isbell – The Nashville Sound

5 Fireball Ministry – Remember the Story

4 The Obsessed – Sacred

3 The Atomic Bitchwax – Force Field

2 Five Alarm Funk – Sweat

1 The Necromancers – Servants of the Salem Girl

#626.1: The Big Lists of 2017 Part One: Dr. Dave

 

 

Dr. Dave’s Top Ten for 2017

By Dr. Dave Haslam

I can’t believe that it’s been another year and I have to do one of these things again. Where does the time go? Right into the shitter, apparently.

Anywho, where was I?

 

Not a great year, but not a terrible one, either (musically speaking). Since I’ve become something of a “standard bearer” for LeBrain, flying the dirty, blood-stained banner of METAL year after year, it should not be surprising that most of my list is metallic. I tend to gravitate towards that, though I could mention things non-metallic (Stranger Things, Godless, Big Mouth) that are not musical but which would feature in my yearly “best-of” if I did not choose to restrict myself to my top-10 musical releases of the year. And, for the record, I do like things that are not metal. Just…not so much these days. And that’s not really my fault. So…

 

10 – Power Trip – Nightmare Logic

Old-school thrash that is direct and catchy. The speed and double-bass assault is kept to a minimum, so the emphasis is on the mid-tempo swagger and the down-picked chug. Totally convincing without sounding like a nostalgia act (I hate that). There are parts that recall Slayer (the sudden accelerations) and Exodus (the tricky rhythmic shifts in some of the riffs), but, by and large, it doesn’t sound completely derivative of any particular band. Nicely done! (Question: how long are we going to have to wait, with Trump’s America, for some obscene country-rap duo named “Buy and Large” to break big? Don’t tell me you can’t imagine it. I know you can. And that is SAD!).

Song Selection: “Executioner’s Tax: (Swinging the Axe)”

 

9Paradise Lost – Medusa

So apparently there is a Halifax in England as well as in New Scotland (Latin is for jerks, word to your mother). And judging by the output of that town’s most notable musical export, it must be a really, really, REALLY gloomy place. Paradise Lost has been one of metal’s most unsung bands since the late 80s (check out Draconian Times if you think I’m fooling – that shit’s killer). They’ve made some dizzying left turns in that time, but they’ve mostly returned to their roots, which is a hybrid of doom and death metal. They’ve released better albums than Medusa in the past ten or twelve years, but I just have to include this on principle.

Song Selection: anything really, it’s all pretty much the same.

 

8 – The Necromancers – Servants of the Salem Girl

Props to Mr. Morwood for drawing my attention to this French outfit who present as a less-polished, more sprawling Ghost, filtered through some Fu Manchu and a host of other stoner/70s humping outfits. They even have a BOC feel, like in the opening track, which has a chorus reminiscent of “Astronomy.” And then, at 3:50, they bust out a runaway freight-train of a riff that recalls the finest moments of Porcupine Tree’s “Fear of a Blank Planet.” And delicious solos to boot! A band to watch as they grow and better digest their influences.

Song selection: “Salem Girl, Part 1”

 

7 – Akercocke – Renaissance in Extremis

Back in the 90s, these sincere (and snazzily-dressed) English Satanists combined death, black, and progressive metal in a manner that veered from the unsettling to the undeniable (Words That Go Unspoken, Deeds That Go Undone will always be their opus). In 2017, they came roaring back after a long hiatus, and though they left the Brooks Brothers’ suits behind them, they are still a complex and scary proposition. Hail Satan!

Song selection: “Disappear”

 

6 – The Obsessed – Sacred

Thankfully, I have seen Wino perform at least once. It was in Philly, at the North Star Bar, for one of Spirit Caravan’s last live performances. The man is a legend – as close as any American comes to Lemmy, and he can basically do no wrong. Revivifying The Obsessed – a band that should have become major in the late-80s/early-90s – is as good a way as any to reassert himself. Nothing fancy here, just dirty and crusty heavy rock, done right.

Song Selection:

 

5 – Mogwai – Every Country’s Sun

Ah, Mogwai. Glaswegian post-rock titans. The only live band I’ve ever seen that was louder than Mogwai was Motorhead. That…was a while ago. Nowadays, Mogwai have three basic templates: the poppy/happy Mogwai, the ambient Mogwai (which has seen them become a very-much-in-demand soundtrack band), and the crushing, guitars-up-to-twelve band that I originally fell in love with. They don’t really start cranking it up until the second half of this album, but for “Old Poisons” alone this is easily a top-ten release for me. Their melodic turns often come from left field, but that’s part of the charm. Nobody else does this shit better.

Song selection: “Old Poisons”

 

4 – Wolves in the Throne Room – Thrice-Woven

I’m not, nor ever will be, a “black metal” purist or “troo kvltist.” I’m pretty sure many of those a-holes will slag this album with their last dying, frosty breath, but I don’t give a corpse-painted shit. After the demise of Agalloch, WiiTR stand alone atop the Cascadian Black Metal heap (that’s black metal from America’s Pacific Northwest for you noobs). After taking a whole lot of shit for their last album, in which they apparently let their ambient/experimental instincts take over (I’m afraid to listen to it, frankly), WiiTR have come back with an album that could stand as a “how-to” or “Idiot’s Guide” for composing black metal riffs and melodies. Each song has it’s ambient/atmospheric passages, but the riffs themselves are almost parodically perfect. The production is both modern and inviting; while “classic” black metal albums from the 90s sound like they were recorded in an over-turned dumpster, the sounds here are warm – the drums are thunderous yet precise, and the guitars are perfectly balanced between the biting and the enveloping.  This is THE record that could get any sane, functioning metalhead into black metal. It’s great. Fuck off and give it a listen. And if you let the raspy vocals put you off then you are weak, and you are why the world has gone to shite.

Song Selection:

 

3 – Mastodon – Emperor of Sand

Ho-hum. Another year, another Mastodon album in my top-10, as should be expected. “But they’re popuuular! They’re mainstreeeeeeem! They suck now!” Yeah, you know what? Go shit in your hat.

Song Selection: “Steambreather”

 

2 – Elder – Reflections of a Floating World

More of a #1b than an actual #2, this is the left hook to the next album’s right cross that made 2017 the year of progressive doom for me. Sumptuous, sprawling without being indulgent, sensitive yet strong, progressive without being a wankfest…holy shit, I can’t believe these guys are from Boston! Somehow it all hangs together in an entirely organic way. The live footage on YouTube of them performing “Sanctuary” is fantastic. Why they are on some obscure German record label is beyond me. Boston’s not that far away, you know. Throw us puckheads a fucking bone and come for a visit, Massholes!

Song Selection: “Sanctuary”

 

1 – Pallbearer – Heartless

            Heartless? I think not. This, like the Elder, has it all – dramatic arrangements, stirring melodies, and riff after riff after riff. Sure, it was kind of a cock-tease when they pre-released “I Saw The End” and it turned out to be the most directly impactful song, and arguably the best several straight minutes on the whole album. But fuck, that’s not just splitting hairs; that’s splitting the hairs on a paramecium. (Or a Porg. Now, really, what’s that deal?  I mean, look at them. They’ve got a brain the size of a very small plum. Yet one of them gets to co-pilot a spaceship? Fucking nonsense. Would you let your cat use a blender? Exactly.)

Song Selection: “I Saw The End”

 

So that’s it. Peace to you all and all your loved ones (unless they’re dicks).

And on a final note: please please please stop using the phrase “it is what it is.” It’s a tautology, and as such it is utterly devoid of any meaningful content. Seriously – just stop. It’s not Zen. It’s not wise. It’s silly. It is a form of cognitive surrender. And do we really need any MORE of that these days?

 

Dr Dave

REVIEW: Wino – Adrift (2010)

“25 years in a rock n’ roll band, 10,000 women on a one-night-stand, all I got to show is the hole in my hand, where the money burned through.” – Wino

WINO_0001WINO – Adrift (2010 Exile on Mainstream)

I don’t know a hell of a lot about Scott “Wino” Weinrich (for shame), only that he was the guy from Saint Vitus, and they are doomy deliciousness.  I’d heard him before on a couple records — a Sabbath tribute, and Dave Grohl’s Probot. I do love acoustic records by metal artists.  I don’t mean unplugged albums, or acoustic versions…I mean when a heavy rock artist picks up an acoustic guitar and records what is (essentially) an acoustic heavy metal album.  Take Zakk Wylde’s Book of Shadows as an example.

Adrift is a fucking great album.  Even if you don’t like singer-songwriter type recordings, you’ll dig this.  According to the cool liner notes, a lot of these songs are old compositions from his past.  Wino made a ball crushing acoustic album out of them, and it’s brilliant.  It’s not entirely acoustic; there are stunning electric solos and the odd flourish here and there, but it’s mostly just wood, strings, and Wino’s hands.  Did I mention it’s fucking brilliant?  You can even hear the guy breathing on some songs.  It doesn’t get much more real.

But how does it sound?  Take some simple rock chords and acoustic licks, and combine together for maximum impact.  Wail out a long and atmospheric guitar solo when needed.  Sing deeply personal lyrics with a haunting, gritty double tracked voice.  Except on the instrumentals of course (of which there are two).

For shits n’ giggles, there is also a killer acoustic cover of Motorhead’s “Iron Horse/Born to Lose”.  Its placement is a little weird (right smack in the middle of the album) but my God does it smoke.

Check out:  “Green Speed”, “Old and Alone”, “Whatever”, “Shot in the Head”.

5/5 stars