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It’s damn near impossible to start one of these posts without some derivation of, “Whew!
If you’ve been checking in on any of the lists that have gone up so far, you might notice that some of these records have appeared elsewhere, and possibly in a different order.
Undaunted by a name change from Church to CHRCH, the Sacramento five-piece unleashed rare doom extremity on their debut album, but peppered that with a stylistic nuance that many in the pummel-pummel-pummel game cast off, whether it was psychedelic flourish in the guitar or some eerie atmospheric. Swedish retro forerunners are hands-down one of the most influential European heavy rock acts of their generation. It felt so good to put on Death Hawks‘ Sun Future Moon for the first time and be completely blindsided by its serene psychedelic ritualizing. A quick and strong turnaround from this Norwegian sax-inclusive foursome, who might seem to come out of nowhere were it not for the pedigree of Kenneth Kapstad and Bent S?ther in long-running progressives Motorpsycho. As the title promised, The Midnight Ghost Train‘s third offering and Napalm Records debut delivered harsh truths.
Blessed art the weirdos, whose records might be few and far between, who might not tour, but whose bold fits and starts span genres easily and whose work truly stands alone. How could anyone possibly have even remotely reasonable expectations for a Clutch record after 2013’s Earth Rocker (review here).
An awaited return for Midwestern-turned-West-Coast psychedelic rockers Mondo Drag, their self-titled sophomore outing had three years between its recording and release, and was made in 2012 with a shortlived incarnation of the band with bassist Zack Anderson and drummer Cory Berry, both formerly of Radio Moscow and then-soon to be of Blues Pills. At the risk of sounding biased, just about any new release from New Zealand tantric psych outfit Lamp of the Universe is going to be welcome by me. Even with its title-track broken into two 20-plus-minute side-consuming halves, it was abundantly plain to hear that Sparkling Waters was the most realized Mammatus outing yet. There were moments where the self-titled debut from Brothers of the Sonic Cloth was almost too much to take in one sitting. My expectations for Snail‘s third post-reunion full-length and Small Stone label debut, Feral, were pretty high. Monolord, V?nir – This was my go-to for 2015 when nothing else seemed quite crushing enough.
Freedom Hawk, Into Your Mind – After making a transition from a four-piece to a trio, this Virginian outfit proceeded to take a few stylistic risks on their second Small Stone long-player, and they paid off. Ice Dragon, A Beacon on the Barrow – Kind of a down year from Ice Dragon in terms of overall productivity, but if the quantity was down compared to some, A Beacon on the Barrow was quality enough to carry them through. Have you been willing to get to know someone from a different country from you or do you avoid them? The second full-length from the four-piece Golden Void was a logical step forward from the band’s 2012 self-titled debut (review here), but that was precisely what it needed to be.
Part of the enduring appeal for The Harvest for me is not only how Ukrainian three-piece Stoned Jesus so absolutely pushed back from the album before it, 2012’s sophomore outing, Seven Thunders Roar (review here), but how much reasoning they put behind the moves they made on the six included tracks.
The ’70s revivalism they helped spearhead on their first, second and third LPs has given them rich ground to develop, and they still managed to bring something new to their sound with the soulfulness of Innocence and Decadence, as well as increasing command and diversity in the vocals.
They came at breakneck speed and delivered with stage-hewn chemistry by the Midwestern power trio, whose years of road-dogging were brought to bear in the gruff, gravel-throated voice of guitarist Steve Moss, who led drummer Brandon Burghart and newcomer bassist Mike Boyne across nigh-unparalled riff torrents, with all the boogie of any number of ’70s-style sidewinders, but also with a tonal thickness that seemed a miracle it could move at all. Leeches of Lore‘s Toshi Kasai-produced Motel of Infinity was a godsend in the enduring battle against normality.
Unsurprisingly, the grooves were tight, but even better, Mondo Drag blew past the peaceful headtrippery of their 2010 debut, New Rituals (review here), toward more expansive and proggy fare. The four-song, 75-minute offering brimmed with a clarity that even their late-2013 third album, Heady Mental (review here), could only partially claim, leaving behind the fuzz and fog of their earlier work almost entirely while remaining open to employing sonic heft when suitable to their more complex motives. As much punk as metal as heavy rock, it wasn’t for everybody, but it was most definitely for me.

Idahoan heavy psych explorers Sun Blood Stories‘ second album, Twilight Midnight Morning was soaked in vibe and moved fluidly between experimentalist noisemaking and patient, memorable songwriting.
I wouldn’t be surprised if they had a quick turnaround, but either way, their first outing knew its audience and spoke directly to it. Very interested to see where the German heavy prog outfit wind up in terms of expanding their arrangements, but Moksha was a satisfying step forward in that process. The Swedish trio have very quickly stomped their way into the hearts and minds of the international underground, and rightfully so. The meld was punishing and lost nothing of its groove, wherever it went at any given moment. In a way, I think the album actually benefited from the band giving listeners time to take it in. The Spanish heavy psych troupe dug in deep on Given to Emptiness and conjured sonic and emotional resonance on their second full-length. After growing up in the Bay Area and living in Europe, I've learned to apprectiate diversity rather than be afraid of it. At the same time, a more straightforward heavy rock is also making a return, and look for that to continue as new listeners discover past landmarks and modern plays thereupon. Each song had its purpose and place in the overarching flow, and The Harvest continues to deliver something new on thoroughly-earned repeat listens.
Drummer Axel Sjoberg turned in a career performance, and although there are heaps upon heaps of bands out there indulging in post-Graveyard boogie, they showed once again that they’re able to stand both out from the crowd and well above it.
My first exposure to the group and their first outing for Svart, it’s a record so textural and so graceful that it seems to unfurl itself more each time through. They’ll look to continue that thread on their third outing, The Occultation of Light, in 2016, but the self-titled captured a special moment worthy of celebration, still rife with the classic-minded ethereal spirit of the first outing, but clearly bent on defining its own sonic dogma in hooks and synthy vibes.
In just about 41 minutes, Black Magick Boogieland was not only a voyage well worth taking, it was a potential-filled, headbang-worthy ripper of an album from an outfit who deserves every bit of attention they seem to be shouting for.
Six years after their demo (review here) served notice like a tectonic rumble in the distance, the album arrived with comet-into-planet heft, and its oppression was as much about atmosphere as it was sheer aural assault. They moved away from the retro style of their first two outings, but in so doing took fuller command of their sound and put it to remarkable use. The prospect of a fourth Acid King record has been tossed around for at least the last six of those 10 years, but to finally have it realized was something else entirely. Middle of Nowhere, Center of Everywhere was without a doubt my most-listened-to album of the year, and its combination of tonal haze, low-end heft and spacious atmosphere was perfect.
Everything is cyclical, and I’m interested to see what the next two or three years bring, both as Millennials hit 30 (and beyond) and as younger kids come up and fuzz out. Plus, any swing-rocking album that dares to break out soul-singer backing vocals and blastbeats, and pull both off without blinking deserves respect, no matter what else it might have going on.
Was a while in the making, coming three years after 2012’s Calmer than You Are (review here), but easily worth the wait. Imagine an arm reaching down your throat, grabbing your lungs, and forcibly deflating them one at a time.
For a record that arrived five years after they got back together, it could have easily been disaster, but Black Age Blues built on what Goatsnake was without detracting from the legacy that has influenced a generation of heavy rock. These authors have all encountered different experiences that have shaped their views on the world orspecifically on America. Through reading the five required books this semester, I feel as though my thoughtsand views on America have become more educated. Everything about how it came together worked just right, and even as a fan of the band’s work since they got together again, I was taken aback by the unflinching quality of Feral front to back. How many bands walking the earth could even get away with calling a track “Laser Headlights,” let alone make it kick ass?

At nearly an hour long, Lore was not a minor undertaking, but each song seemed to set up its own atmosphere, feeding not only its own singular focus, but that of the album overall. This book tells the story of Firoozeh growing up in American with her family as an immigrant from Iran.
Yeah, Goatsnake came back this year, and that was great, but for me, the return of Acid King to their throne of nod was even more the story of the year. Its turns blinding, its impact forceful and its affect drawing from the best of the sonic personalities of all three players, Elder‘s Lore reaped wide acclaim and earned it every step of the way.
The book shares her personal and family's experiences that shaped her views that she has on America today. Together with producer Billy Anderson, they offered a depth of tone that was simply unmatched, and without an ounce of pretense, they unveiled a roll that continues to resound. As she spoke of these, it was very eye opening because as Americans, we dona€™t usuallypay attention to the opinions of immigrants. I was fortunate enough to have lived in Spain for half of a year, so in a wayI was able to relate to Firoozeh because I was once an outsider too.When I was living abroad, I fell in love with Europe, but also was reminded of my love for my home, San Francisco, CA. As I read about another immigranta€™s opinions of America, it was particularly easy for me to connect to his writing because he spoke about where I was from. He talks about the Bay Area as if it was a cultural melting pot, and I couldna€™t agree more with this observation.
One of the reasons that I love the Bay Area so much is because of how many different cultures there are. The protagonist along with other characters experiences nostalgia after September 11th, but this leads to the protagonist questioning how he feels about the United States. This book was a story about forgiveness that focuses on Eugene de Kock, a killer that she choses to interview, leading to many questions about forgiveness. Not only what forgiveness is,but how someone is forgiven, how one chooses to forgive, if you ever can forgive 100 percent, and how different cultures havedifferent cultures on forgiveness. The last book read in class this semester, Haruki Murakami a€?s a€?The Elephant Vanishesa€? is another book that left unanswered questions for me. In this book, Haruki Murakami introduces themes that are relatable to people around the world.
His stories keep readers grounded because of realism presented in situations, but also let readers escape to a surreal situation. Even with this unlikeliness, the situations presented in the stories gives the reader the impression that perhaps it is possible. Through reading this book, I was always confused as towhat was actually happening and what was perhaps a dream. For example, in the story a€?TV Peoplea€? from the book, I wasnevertoo sure what exactly was going on.All five of the books in class this semester left me wondering a littler more about the world and how our thoughts are shaped. My eyes were opened more to different cultures and reminded me of how diverse America is, which allowed me to be more accepting of different cultures. I strongly believe that reading books from international authors is something that should be done by more American students. In a Spanish literature class I took this summer, I also had to branch away from reading American authors. This semester, as a whole has been internationally eye opening for me and it is something that Ia€™m extremely thankful for.

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