We close out our 2015 end-of-year list-a-thon with contributions from LIFE IS NOISE friends and contributors Sally Townsend, Louis Dunstan, Liam Matthews and Gram the Son of Sam.
Sally Townsend, Perth-based music photographer I am a lover of music first of all, and firmly believe in supporting live music and local artists. I will travel for the indescribable magic that is live performance, and am trying to capture it the best I can with my camera. I’m a riff-worshipping, doom-loving, dedicated listener and participant in both the local and international heavy music scenes. There was too much good stuff released this year, so it seemed fitting to do a top 15 for 2015. In no particular order…
Bell Witch – Four Phantoms
High On Fire — Luminiferous
Windhand — Grief’s Infernal Flower
Uncle Acid — The Night Creeper
With The Dead — With The Dead
Dopethrone — Hochelaga
Monolord — Vaenir
Elder — Lore
Blackout — Blackout
Watchtower — Radiant Moon EP
Chelsea Wolfe — Abyss
Cult Of Occult — Five Degrees Of Insanity
Space Bong — Deadwood To Worms
Holy Serpent — Holy Serpent
Deafheaven — New Bermuda
Louis Dunstan (EXTORTION/Big Bread)
1. Ghost — Meliora
2. High On Fire — Luminiferous
3. Drowning Horse — Sheltering Sky
4. Tame Impala — Currents
5. Napalm Death — Apex Predator/Easy Meat
6. John Carpenter — Lost Themes
7. Jaakko Eino Kalevi — Jaakko Eino Kalevi
8. Elder — Lore
9. Ufomammut — Ecate
10. Ahab — The Boats of Glen Craig
Liam Matthews (Fourteen Nights At Sea, Old Bar/Public Bar, Melbourne)
1. Godspeed You! Black Emperor — Asunder, Sweet and Other Distress
2. Hope Drone — Cloak Of Ash
3. Self Defence Family — Heaven Is Earth
4. Deafheaven — New Bermuda
5. Nadia Reid — Listen to Formation, Look for the Signs
6. Luke Howard – Two & One
7. Mogwai — Central Belters
8. Mares — Mares
9. Closer — Heartache/Lifted
10. The Electric Guitars — The Electric Guitars
Gram the Son of Sam’s top Oz doom, occult and stoner of 2015
1. Witchskull – The Vast Electric Dark
2. Tarot – The Warrior’s Spell
3. Aver – Nadir
4. Hydromedusa – Hydromedusa
5. Space Bong – Deadwood to Worms
6. Seedy Jeezus – Seedy Jeezus
7. Watchtower – Radiant Moon
8. Roundtable – Dread Marches Under Bloodied Regalia
9. Drowning Horse – Sheltering Sky
10. Little Desert – Saeva(This could have been #1 but just not enough time to shine)
The guitarist from LIFE IS NOISE favourites Drowning Horse shares his top five releases of 2015.
Big Brave – Au De La
I only heard this album a few weeks ago but it’s been on high rotation since. Big Brave have a very jarring, unstructured sound that reminds me a little of Khanate — but without the harshness. Definitely a 2015 fave.
Various Artists: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985
A compilation of music from Indigenous peoples of Canada and North America from the mid-1960s to 1970s. Some really diverse sounds on this one, but there are some tracks that are kind of Townes Van Zandt-ish (e.g. Shingoose – ‘Silver River’). It’s beautifully presented, and does a great job documenting the music from this time and place. I think it was also nominated for a Grammy for ‘Best Historical Album’. Really looking forward to Volume 2.
Diät – Positive Energy
Great album from start to finish. There are hints of bands like Wire, but the tracks are weirder, and definitely more dynamic than their earlier tracks. Drums are punchy, bass is solid, guitars are bright, and the vocals sit perfectly in the mix. 2015 belter.
Nervous Trend – ‘Shattered’
A really catchy single from Nervous Trend (Perth/Melbourne/US). I’ve been hammering this one all year to the point where if I listen to it anymore I’ll ruin it for myself. I could cite several bands to try and describe their sound but that would probably turn you off from listening to it. Just give it a spin.
Dr Alien Smith – Phosphorus
A great EP released by Dr Alien Smith this year. To me it sounds like a cross between Godflesh and Death In June, and it was a great accompaniment to the colder months. For those that know Dr Alien Smith for his day job, you won’t be surprised to learn that the production is perfect.
10. Sunn O))) — Kannon
Consider this a provisional tenth place for Sunn O))), as I still haven’t had the chance to listen to Kannon on a sound system large enough to do it justice. But I can tell already it’s got everything you’d want in a Sunn O))) album — a whole pile of dark, intense drone, with a sense of focus and purpose often missing from the genre. Kannon is a relatively short work, but it still feels like an epic journey from start to finish.
9. Fourteen Nights At Sea — Minor Light
Alternating between soaring noise and sparse, beautifully textured ambience, Minor Light is another staggeringly fine piece of work from Melbourne’s Fourteen Nights At Sea. I’ve frequently put this album on in the background while working, only to find myself just staring off into space, transfixed. As well as impeccable production, Minor Light’s real strength is the sense of restraint found throughout; everything on the album is essential. A brilliant recording.
8. Kurt Vile — b’lieve i’m goin down…
Kurt Vile’s sixth record, b’lieve i’m goin down…, doesn’t exactly reinvent the KV wheel. Having said that, the usual elements work together perfectly here to create a little gem of an album. The usual reverbed fingerpicking guitar is pretty constant throughout b’lieve, with the pace and intensity changing depending on the mood. Vile’s voice seems to be getting better with age, sounding fuller and richer, while maintaining its distinctive slacker drawl. A wonderful slow burning record to add to a rapidly growing catalogue of excellence.
7. Mount Eerie — Sauna
Despite being released in February, I still feel like there’s a world hidden within Sauna that I’m yet to discover (a song like “Turmoil”, for example, is a simple, straightforward song imbued through its instrumentation with a sense of uneasy depth). There’s the usual juxtaposition of traditional folk and almost-noise, and experimentation that works together to create a beautiful, haunting and mysterious world. One well worth exploring.
6. High On Fire — Luminiferous
A flat out awesome, conspiracy-filled riff-fest… what’s not to love about High On Fire’s latest record, Luminiferous? There’s been a lot of attention on the Icke-influenced lyrics that fill Luminiferous, but nowhere near enough attention on just how much of a brilliant, perfectly-produced album this is.
5. Elder — Lore
Elder’s brand of doom-tinged psych is on excellent display on Lore. From the sly nod to “Immigrant Song” of opening track “Compendium”, Lore expertly walks the fine line between hypnotic repetition and monotony. There’s a dynamic typical of heavy three-pieces that can sometimes prevent the emergence of depth and texture. Elder avoid this, imbuing their tracks with a sense of space at some times, as well as a sense of balls-out rock at others. Lore is an impressive record for such a young band — one that promises much in the future.
4. Low — Ones and Sixes
Forgive me if I don’t sound enthused about this record. It’s not that it isn’t great (it is), or that Low are just going through the motions (they’re not). It’s just that the band are such a reliable producer of ridiculously good records, that I always have a certain amount of an “oh, another masterpiece… yawn” attitude for Low releases. That being said, Ones and Sixes takes everything you’re used to from the Minnesotans (breathtaking sparsity, chilling harmonies), but with a focus, clarity and added intensity from their recent output.
3. Drowning Horse — Sheltering Sky
Another example of a band in 2015 that took a stunning live sound and perfectly translated this to record. I’m going to skip any attempt to describe Sheltering Sky, and just link to The Black Captain’s perfect review.
2. We Lost The Sea — Departure Songs
I’ve had the privilege of seeing We Lost The Sea a few times this year, and they’ve completely blown me away every time. There’s plenty of Australian acts, however, that can pull it off live but not lack something on record. No such problem here. With Departure Songs, We Lost The Sea have eschewed the usual tired post-rock tropes and created something uniquely brilliant and beautifully poignant.
1. Sufjan Stevens — Carrie and Lowell
I love pretty much everything Sufjan Stevens has done, but Carrie and Lowell might be his masterpiece. The record finds Sufjan in stripped-back mode and makes you realise what makes him such a great artist — it’s not the bold production choices or layering, it’s just simple, well written songs and an instantly recognisable, beautiful and stark voice.
Despite the fact that the world can be a dark place (and this record does go to numerous places lacking in any light), the fact that the darkness can spawn such incredible beauty as Carrie and Lowell is, at least, a small comfort.
LIFE IS NOISE’s head honcho shares his favourite releases from 2015, with Elder, High On Fire and Shlohmo among the year’s best.
10. Sunn O))) – Kannon
The drone giants Sunn O))) return in 2015 with another crushing display in the form of Kannon. It is heavy, it is slow, it is fearful and it is imposing. My only criticism is that it is a little short. I wanted more than just the three songs. Who knows, perhaps this is just a tease for another Sunn O))) album in 2016. After all, six years is too long to wait for such epic majesty.
9. Echoes of Yul – The Healing
The Black Captain introduced me to Polish act Echoes of Yul. Ever since I have loved their work. You can read The Black Captain’s review here. I love the dreamy dark quality of this record. It is a melancholic masterpiece.
8. Windhand – Grief’s Infernal Flower
Windhand return with the their third record Grief’s Infernal Flower. As heavy as ever and featuring the hauntingly beautiful vocals of Dorthia Cottrell, Windhand have a great balance between the depth and crushing on one had and the ethereal and haunting on the other. Grief’s Infernal Flower is a consistently good album and confirms Windhand’s pre-eminence in the worldwide doom revival.
7. Church – Unanswered Hymns
My favourite debut album of the year came out of the blue from Church (or Chrch as they are now known). Unanswered Hymns has a musical bed of depravity and destruction with vocals that sound like a demon sacrificing a virgin on a satanic altar on top. An occult masterpiece from these Californian natives.
6. Sufjan Stevens – Carrie and Lowell
Sufjan returns to his folk roots on record number seven. He gets to me when he is super sad, and on this album he is at times at his most serenely melancholic. ‘Should Have Known Better’ is my favourite in this respect. It is what folk music should be and most often isn’t. Stripped away from the overburdening production of previous work, Carrie and Lowell gets down to basics. It has beautiful melodies and thought provoking lyrics. Dare I say it — a return to form for Stevens.
5. Ahab – The Boats of Glen Carrig
Funeral doom/nautical doom/progressive rock/post-rock whatever. The Boats of Glen Carrig may be an interesting fusion of styles packaged in their ever expanding worlds of boats and krakens and wrecks but when you boil it down it is just a great heavy record. Super riffs aplenty, great clean vocals and brutal growls. Super catchy in a destructive way.
4. Drowning Horse – Sheltering Sky
The latest Drowning Horse album is totally crushing. Read The Black Captain’s review here. No other words need be spoken.
3. Shlohmo – Dark Red
Shlohmo is a consistently amazing electronic producer. His latest album Dark Red is no exception to this. He inhabits a dark and weird world most of today’s beatmakers dare not inhabit. But the final word on this should come from the press release for the album, where we are told Dark Red would sound like “if Electric Wizard tried to make an R&B record, or if Boards of Canada met Burzum by the River Styx” – maybe not true but certainly an interesting concept.
2. High On Fire – Luminiferous
Lyrically mind-altering and musically earth-shattering, the latest effort from High on Fire is another pummelling journey from the metal three-piece and a great addition to their great catalogue. All members are in great form. Des Kensel’s drumming is relentless, Jeff Matz’ bass work is as always without fault and team leader Matt Pike’s vocals and guitar work have reached a new pinnacle. But with all the Motorhead-style fast fury, it is the slower tracks that stand out for me. ‘The Falconist’ has a sneering menace, while ‘The Cave’ is the standout for me. High on Fire have developed as a band with Luminiferous. There is power aplenty but listen further and you can reach other dimensions.
1. Elder – Lore
In 2015 nothing beat the power riffs and melodic mastery of Lore from Massachusetts band Elder. It is a tip of the hat to the iconic rock legends of the 70s but Lore is a furious modern stoner take on all things psych and doom. I love how Elder meld various passages in their songs so seamlessly. At times monolithic and bludgeoning and at others beautiful and delicate, Lore is impressive from first to last listen. It’s an album I have punished but continues to give me great joy every time I put it on. Thanks Elder – you just keep getting better.
Honourable Mentions
Vhol – Deeper Than Sky
Glowsun – Beyond the Wall of Time
Hope Drone – Cloak of Ash
Sumac – The Deal
Dungen – Allas Sak
Bell Witch – Four Phantoms Tangled Thoughts of Leaving – Yield to Despair
Kowloon Walled City — Grievances
We Lost The Sea – Departure Songs Ecstatic Vision – Sonic Praise
Built to Spill – Untethered Moon
Fourteen Nights at Sea – Minor Light
Joanna Newsom – Divers
Wrekmeister Harmonies – Night of Your Ascension
The Critical Mass crew share their top picks from the year in metal.
It has been an interesting year for metal. We’ve had releases from veteran bands (Iron Maiden, Slayer, Motorhead), releases from upper tier/mainstream bands (Fear Factory, Lamb Of God, Amorphis) releases from more underground bands and several ‘follow up’ albums from bands with something to prove.
Until very recently, there hasn’t been any single release that resulted in a chorus of praise and/or ridicule as had happened in previous years. The new Slayer album came and went, the general consensus being that it sounded like Slayer, but was dull at best. The new High On Fire album impressed many with its no nonsense Matt Pike rollercoaster. The new Deafheaven album silenced critics of the Sunbather era by ratcheting up the heaviness, but some were disappointed that they did not continue further down the post/shoegaze path. Liturgy turned ears and heads with their wonderfully bizarre The Ark Work, but it seems as though the uniqueness of that album didn’t cause as many people to get as upset as they had been in the past. Perhaps people are getting older? Maybe people are sick of being addicted to outrage?
Then right at the end of the year two albums dropped (or are about to at the time of writing) that have gotten a lot of people very excited: Sunn O)))‘s Kannon and Baroness’ Purple. The new Baroness being the followup to the very successful double album Yellow & Green and their first recording since the devastating bus accident in 2012. I’ve heard snippets of both, and both sound incredible, however for roster and time commitments my list was finalised during the first week in December. So those albums will be honourable mentions. Also some more obvious albums such as the new High On Fire and VHOL are absent; I know both are great, but I haven’t heard them as much as the others on this list. I’ve also made a note to listen to the new Tribulation album soon.
There was also a lot of good synth/horror/score music coming out that weirdly goes well with a lot of metalheads. Goblin Rebirth, Zombi etc put out some great mood music in 2015. Ultimately there are many albums that won’t make the list, a lot of good stuff in the ‘to listen to’ pile, but these are the albums that made an impact with me.
Honourable mentions:
Enslaved — In Times
Iron Maiden — The Book Of Souls
Silent Knight — Conquer & Command
Cattle Decapitation — The Anthropocene Extinction
Napalm Death — Apex Predator/Easy Meat
Tangled Thoughts Of Leaving — Yield To Despair
10. Raven — Extermination
This album shouldn’t be on my list. The 40-year-strong NWOBHM veterans made an album full of big, dumb, sing-songy, verse-chorus-verse metal/rock that belongs in a bad 80s action movie. But you know what, sometimes I LOVE big dumb metal.
9. Between the Buried and Me — Coma Ecliptic
I’ve never really been an BTBAM fan, and couldn’t really name much of their back catalogue, but the bands seventh album blends heavy, technical prog with some catchy synths, choruses and some damn good songs.
8. Deafheaven — New Bermuda
Alternately silencing critics and isolating fans of the more post/shoegazey Sunbather sound in one fell swoop, Deafheaven ratcheted up the heaviness on New Burmuda.
7. Ghost — Meliora Meliora impresses after 2013’s slightly lacklustre Infestissumam. A cocktail of occult rock, ABBA-style song arrangements and some Queen-esque vocal harmonies (!) makes for a great third album.
6. Gama Bomb — Untouchable Glory
Gama Bomb cement themselves as one of the strongest thrash bands around — this absolutely smokes Slayer’s new one by a country mile.
5. Bloodlust — Cultus Diaboli
Blackened thrash from two veterans of the Perth metal scene. The catchiness of Venom mixed with the epicness and force of Bathory.
4. Ur Draugr– With Hunger Undying
The second release this year from the band sees them produce the kind of backwards riffing and power of early Morbid Angel mixed with some feral black metal and beyond. Stunning.
3. Horrendous — Anareta
Old school howling death metal that twists and turns in ways that follow the path of Chuck Schuldiners vision. Worth going out of your way to hear.
2. Drowning Horse — Sheltering Sky
Dark and heavy, low and slow. Elements of Neurosis and Earth abundant. By just tweaking their sound a touch they stand head and shoulders above any and all pretenders playing heavy doom.
1. Sigh — Graveward
The veteran black metal band (once signed to Euronymous’ DLS label) have expanded their sound, exclusively playing ‘Cinematic Horror Metal’. Harsh vocals, swirling synths, saxophone, crazy solos and much more. Listen to this album on headphones — LOUD.
Deryk from Critical Mass had these as his top 10:
Hate Eternal — Infernus
Enslaved — In Times
Torche — Restarter
Nightwish — Endless Forms Most Beautiful
Fear Factory — Genexus
With The Dead– With The Dead
High On Fire – Luminiferous
Elder — Lore
Ghost — Meliora
Intronaut — The Direction of Last Things
Scott Williams is still working on his, but included albums from the likes of: Enslaved, Locrian, Steve Moore, Blind Guardian, Ghost and Baroness.
Thanks to all our listeners and supporters! See you in 2016!
Critical Mass airs every Wednesday from 9PM (GMT+8) on RTR FM 92.1 in Perth, Australia.
The host of PBS 106.7FM’s Po-Jama People shares his top picks from 2015.
Here are 10 nuggets from a year that brought shite loads of great music from home and overseas. Five Australian albums to start:
Tangled Thoughts of Leaving — Yield to Despair
A band that can only just squeeze five tracks onto a double LP is OK in my book. Tangled Thoughts play some of the most interesting proggie art-rock around. Check out ‘Albanian Sleepover’ parts 1&2
Fourteen Nights at Sea — Minor Light
Following on from their excellent Great North, released last year, Fourteen Nights at Sea carry the bleak and moving nature of their post-rock to infinity and beyond. I look forward to seeing how their sound evolves with a new band member.
Check out ‘Chiltern Justice’.
We Lost the Sea — Departure Songs
Since the death of We Lost the Sea’s vocalist Chris Torpy in 2013, the band’s reinvention as an instrumental behemoth has been achieved with great aplomb. This album as a tribute to Chris, intended or otherwise, has a darkness and a sorrow with a little glimmer of light.
Check out ‘A Galant Gentleman’.
Seedy Jeezus — Seedy Jeezus
Seven tracks of the best 70s-inspired psychedelic rock around with a big twist of stoner. Recorded live at the iconic Tote Hotel. Great songs, huge riffs and more hair than anything this side of ZZ Top.
Check out ‘How Ya Doin’.
My Disco — Severe
Five years since their last album, this latest offering has elements of post-rock and noise, with a little post-punk sprinkled in for good measure. Well and truly worth the wait, in my opinion.
Check out the track ‘Our Decade’.
And five international albums…
Elder — Lore
Their latest album Lore added a big block of prog to the already brimming bowl of psychedelic-stoner-doom-metal. Much cleaner sounding than the epic Dead Roots Stirring, this is an album recorded by a band wise beyond its years.
Check out the title track.
Mogwai — Central Belters
The Glasgow five-piece need no introduction. A band that can do no wrong (in this Scotsman’s eyes). I am usually doubtful about compilation albums entering the arena just before Christmas, but this is an exception to that rule. Central Belters is a three CD (or six LP) monster. It’s a 20-year retrospective, above and beyond the call, 2 CDs of album tracks and one of b-sides and rarities.
Check out the 20-minute long closer ‘My Father My King’ (recorded by Steve Albini).
Papir meets Electric Moon — Papermoon Sessions, Live at Roadburn 2014
Danish trio Papir are joined here by Sula and Lulu from Electric Moon and Mogens from Oresund Space Collective. Three of the best heavy psych jam bands rolled into one, recorded two massive slabs of the best improvised space-rock this side of Uranus.
Check out the track ‘Powdered Stars’.
Sunn O))) — Kannon
A late addition on many of this year’s best of lists I am sure. An album in three tracks, clocking in at just over half an hour. It may be short on time but lacks for nothing else. This trio of tracks manages to be subtly uplifting while conjuring the soundtrack to your worst nightmare. Do not listen to Kannon after midnight.
Check out the middle track ‘Kannon 2’.
Various Artrists — Electric Ladyland (Redux)
The classic Jimi Hendrix double album is reimagined by All Them Witches, Earthless, Wo Fat, Mos Generator, Gozu, Mothership, Elder and many more. This could be the best tribute album ever.
Check out all 15 minutes of All Them Witches’ version of ’Voodoo Chile’.
Chris Pearson presents Po-Jama People on Melbourne’s PBS 106.7FM.
All the psychedelic-stoner-post-space-doom-rock that can be squeezed into the last two hours of Wednesday night.
LIFE IS NOISE’s editor Cam Durnsford shares his top ten releases of 2015.
To pick just 10 records in a year with so many quality releases is not an easy task – here are my favourites as it stands at the moment, with honorable mentions for Royal Headache’s High, Protomartyr’s The Agent Intellect, Chook Race’s About Time, Power’s Electric Glitter Boogie and the self-titled debut from Terrible Truths. All more than deserving of a spot in this or any list.
1. My Disco – Severe
This really was untouchable as the standout release of 2015. The Melbourne band’s fourth LP – their first in five years – is both a major departure from their previous work and a logical evolution of their take on post-punk and math rock. It feels as though the monolith on the album cover could crush you under its weight during any of the loaded pauses the band utilise so well on Severe; the rush that comes when they break these silences is truly visceral. Robert Forster once said the classic three-piece lineup is rock and roll in its purest – here the archetypal power trio plumbs new depths of sound and form.
2. Föllakzoid – III
Chile’s Föllakzoid have been doing their take on the motorik rhythm for a while now, fusing it with space and desert rock motifs that are somehow distinctly Andean. It’s on III though that they’ve really found their groove – a propulsive and hypnotic beast of a thing that stays constant across three of the album’s four lengthy tracks. These are simple, repetitive songs that chug along at a dancefloor-friendly 120 bpm – they could very easily find their way into the crates of a minimal techno DJ as much as an acid-fried psychonaut’s bedroom.
3. Floating Points – Elaenia
I’ve been a fan of Sam Shepherd’s work since first hearing his earlier bass-heavy compositions a few years back – a long string of singles, EPs and production credits spanning deep house, techno, dubstep (think Burial, not Skrillex), and hip hop, so hopes were high for his debut LP. Elaenia completely surpasses these lofty expectations, despite being quite different from his earlier work, and better suited to introspective contemplation than losing one’s shit on the dancefloor. His absolute mastery of sound and love of jazz shine through; live orchestral arrangements result in a lush and immersive suite of songs that demand start-to-finish listening.
4. Gold Class – It’s You
Every so often a band emerges fully formed, seemingly from out of nowhere, ready to capture the attention of a public that didn’t even know they were waiting for said band’s emergence. Of course, it’s never that simple – it takes years of work to be an overnight sensation and all that – but all the same, Gold Class’ debut It’s You is an assured opening salvo from a band who seem to be destined for greatness. Much has been made of Adam Curley’s commanding stage presence and distinctive baritone (with good reason), though the incredible musicianship on display is really what sets Gold Class apart. Post-punk can be so broad a term that it becomes meaningless, though there’s certainly touchstones here of moody UK Rough Trade bands in style as much as delivery.
5. Lucy Cliché – Drain Down EP
With more than 10 years entrenched in Australia’s musical underground with bands like Naked on the Vague, Half High and Knitted Abyss, and previous, more experimental releases under this moniker, Lucy Phelan’s take on live techno was always going to resonate with the punk kids. The DIY assembly of hardware she uses to do this is a welcome change from the safety (and predictability?) of the omnipresent Ableton Live, or the quantized perfection of the modern digital DJ. Drain Down owes as much to Severed Heads as it does to Sleezy D – a kind of industrial acid techno that would go down just as well at Berghain as it does at The Tote.
6. Blank Realm – Illegals in Heaven
After 2014’s exceptional LP Grassed Inn launched the Brisbane avant-pop band on to the world stage, Blank Realm’s follow-up could have easily fallen victim to ‘difficult tenth album syndrome’. Thankfully Blank Realm don’t seem to give two shits about how they’re viewed by critics or the ‘industry’ more generally – they focus instead on crafting sublime songs with psychedelic flourishes and irresistible pop hooks, while never losing sight of their experimental roots.
7. Fuzz – II
It’s been an unusually quiet year for the ever-prolific Ty Segall, with only his contributions (drums and vocals) to Fuzz’s sprawling double LP and a Ty Rex reissue to show for it. II is much more than the product of a Segall side-project though – Meatbodies’ Chad Ubovich and Ty’s long-standing collaborator Charles Mootheart (Epsilons, Ty Segall Band et al) forming like voltron and employing a collaborative approach to writing the songs for their second LP. It’s not going to win many prizes for originality, but this is as good an example as you’ll find of Blue Cheer/Black Sabbath worship.
8. Taipan Tiger Girls – 1
Australian synth pioneer Ollie Olsen makes a welcome return to a live band setting and the result is some of the most exquisite noise you’ll hear. Skittish free-jazz drumming, mountains of demented guitar feedback and Olsen’s propulsive synth combining to give us something that sounds like the Large Hadron Collider powering up, just before it banishes us all to the black hole. It’s not all nihilistic though – you could just as easily imagine the whirling dervishes wigging out to TTG’s brand of minimal synth drone.
9. Batpiss – Biomass
Batpiss further refine their sludgy take on punk rock on album number two. I hear more Jesus Lizard in there than on their debut Nuclear Winter – not just the absolutely monstrous tone of Thomy Sloane’s bass or Paul Portal’s slide-inflected guitar parts, but a similar pathos on display here too. As constants on Melbourne’s live scene, this band has become a fearful live act – if you’ve somehow managed to avoid them you clearly don’t get out much. Rectify that.
10. Institute – Catharsis
Austin’s Institute had me with last year’s Salt EP – a definite 2014 highlight. Their debut LP – yet another outstanding release on the dependable Sacred Bones label – sounds less pessimistic than Salt, with an ever-so-slight polish on this collection of songs. There’s still a sense of foreboding here, and an anxiety writ large by song titles like ‘Admit I’m Shit’ and ‘Cheerlessness’. Another slightly deranged take on the great post-punk revival of 2015.
The next instalment in our end-of-year wrap-up comes from Alex Gillies, of No Anchor, Grieg and A Savage God.
1. Baroness – Purple
Very few bands in the world that can make heavy and beautiful mix seamlessly. The newly rebuilt Baroness have done that refining the melodrama and further defining the possibilities of their brand of metal.
2. Sumac – The Deal
Old Man Gloom/Russian Circles/Baptists all rolled into one lumbering mental-case of musical gristle.
3. High On Fire – Luminiferous
Returning with an even better dosage of the riff-filled metal that brought them this far.
4. Deafheaven – New Bermuda
A stronger, tighter and more ferocious blend of blasts and atmospherics. The old guard still hate it but this sounds like the future.
5. Drowning Horse – Sheltering Sky
Doom metal done right. Bleak and barren songs pushing you along like a slow march to hell.
6. Hope Drone – Cloak Of Ash
Like Deafheaven, a new generation pushing the boundaries of metal’s blackness and sophistication.
7. Built To Spill – Untethered Moon
The indie stalwarts’ latest incarnation of Neil Young-styled guitar squall. Made more so by singer Doug Marsh’s unique cathartic philosophical meanderings.
8. Torche – Restarter
Metal that makes you feel a million bucks! Crushing riffs, caustic melodies and a beautiful taste for the absurd.
9. Last Chaos – Only Fit For Ghosts
Raging Japanese-style hardcore punk from Brisbane that’s kicking teeth in left right and centre.
10. Yukon Dreams – Little Worlds
Dark twilight songs from Pall of Black Heart Procession, filled with musical saw and sung from the bottom of a whisky glass.
Regular LIFE IS NOISE contributor Matthew Stoff shares 10 of his favourite releases from the year that was.
Ten albums seems like way too few for a year as packed with great releases as 2015. Because of that, I wanted to talk about the albums that I keep coming back to, rather than trying to come up with a more definitive list of albums of the year. You might not think of these as the best releases of 2015, but they’re the ones that spoke to me the most. With that in mind, here’s my end of year list:
1. Algiers – Algiers
Cold wave, Marxism, and soul might seem like a funny combination, but after Algiers self-titled album I can’t imagine what my life would be without it. This is one of most innovative albums of the decade, and its hard-hitting, courageous, and challenging political commentary is the icing on the cake.
2. Gold Class – It’s You
I can’t get enough of Gold Class. They’re smart, passionate, and totally authentic. Their live show is amazing too. Gold Class are indisputably the best traditional-sounding post-punk band in Australia at the moment. Maybe even in the world.
3. Sleater-Kinney – No Cities To Love
Sleater-Kinney’s revival album could have been a lot of things. It could have been out of touch, or lacking energy, or just a simple rehash of their old material. What it was, was nothing less than a masterpiece. It feels as though they’d never left at all.
4. Ought – Sun Coming Down Sun Coming Down is a weird album. It’s post-punk, but it isn’t really post-punk, with atypical vocals, rambling song structures, and pop-but-not-really-pop-at-all melodies. A singular experience.
5. Heat Dust – Heat Dust
Heat Dust play traditional post-punk really hard and really fast, and I liked this album a lot more than the similarly inspired recent release from Protomartyr. Your results might vary. They’re both incredible, high-octane albums, even if this is the one that made my final list.
6. Ceremony – The L-Shaped Man
Some people might see this album as a contentious choice. It’s pretty generic, and looking at reviews after the fact, it feels like mine is one of the only ones that presents the album in a positive light. But nostalgia is powerful thing, and my nostalgia for the indie pop-infused post-punk revival of the early 2000s is very strong indeed. The mix of that and Ceremony’s lingering hardcore influences gives this album a novel sound that keeps me coming back for more.
7. Deafcult – Deafcult
As far as dream pop goes, these guys are the reigning kings. Dense, melodic shoegaze with great production, played at ear-shattering volume from a Brisbane band. What’s not to love?
8. Mourn – Mourn
Everything about this band is so unlikely. Their place of origin, their age, their musical inspirations: everything that makes them who they are. But that’s why this release is so important. It’s got a youthful sound to it. A sense that anything is possible. And it largely succeeds at all things it’s set out to do. A truly inspiring album.
9. JuliaWhy? – Wheel
I reviewed this album once for 4ZZZ and never mentioned it again, probably because it falls between the lines of various genres, and was hard to compare with anything I wrote about for LIFE IS NOISE this year. But I wanted to mention it here, because it’s a fantastic album, combining high energy delivery with lo-fi production, and subtle feminist politics. My choice for sleeper hit album of the year.
10. Metz – Metz II
Sure, it’s a little shallow and not too different from the first Metz album, yet the brutal but fantastically melodic noise rock of Metz still brings a smile to my face whenever I hear it, and that’s enough for me.
The Elder guitarist gives us the next in our series of end-of-year lists.
1. Anekdoten — Until All the Ghosts are Gone
Mellotron heavy, brooding, melodic and emotional progressive rock from this long-running Swedish group. I love every album but have waited so long for a new one from them that it immediately made it into the heaviest rotation on my stereo.
2. Hills — Frid
I love this band for their unique brand of droney, analog psychedelic jams. They’re also from Sweden so it’s easy for me to picture a blissed out acid jam session happening in a farmhouse in the picturesque countryside, so that mental picture always makes me enjoy it even more.
3. Spidergawd — II
Members of Motorpsycho play in this relatively new and totally kick ass rock and roll group. Pretty straightforward but totally killer songs all the way through on this one.
4. Eternal Tapestry — Wild Strawberries
Another droney psych band, this time from the States, who has been putting out music for a while but this is the first I heard of them (thanks Dave Cutbush). This is exactly the kind of stuff I’m listening to a lot these days; very lush and hypnotic music without the riffs that saturate a lot of heavy music I’m surrounded by.
5. Dungen — Allas Sak
I am always listening to the entire catalog of Dungen and this album is no different. It’s jazz, psych, and folk all wrapped up into a totally unique package.
6. Dreadnought — Bridging Realms
I think this band is relatively new, but I really enjoyed this totally eclectic and very heavy release. Dreadnought mixes Graves at Sea-style doom with classical instrumentation in all sorts of interesting ways. Our own Lore got compared in a side-by-side with this album and I see some interesting parallels.
7. Kind – Rocket Science
Matt from Elder drums in this band but I really dig them for their unique take on stoner-y rock. Honestly I haven’t listened to the album as much as I’ve seen these guys jamming in their space and playing live, but I love the way they mix krautrock and freeform space jams with heavy riffs, and none of it is stock material.