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Cobalt - "Gin"

I'm a little behind on this one. "Gin" was released back in March of '09 to pretty much great reviews across the board. They had been a band that had been in my periphery for some time, but I had never really taken the time to give them a good listen (so many bands, so little time, you know how it goes). That changed after reading a handful of year-end lists which once again showered Cobalt with praise and seeing Cobalt's singer, Phil McSorley on Fox News (see video below). I found him to be a pretty bright guy on the program and the small snippet of music they played made me eager to seek out "Gin".

My initial reaction to "Gin" is pretty rare these days. I hit play and a hear a loose riff played. I'm digging it just fine, waiting for the song to kick in. It does and I'm liking what I hear. All of the instruments seem at odds with each other. Then everything instantly tightens up and I'm absolutely smitten (I mean, um, brutally smitten).

Cobalt know how to keep it simple and loose and then bring it all back together in a fury of drums, buzzing guitars, and blackened screams. I can't think of being this instantly blown away by a band in a long time. There's just something really special going on within the confines of this album. I saw an Interview with Phil McSorley and I think this bit sums up some of the intense emotion coming from the speakers:

Nearly every song has a reference to liquor…is there any specific reason for that?
Eater of Birds was a very introspective piece about total loss and depression. It was a very bleak time in my life. Erik and I worked from different angles on this. I was secluded in a town where I knew no one and stayed in my one bedroom apartment by myself for a very long time reflecting and pushing myself to the edge of a very real breakdown. With Gin you can feel and experience the natural outlash that occurs after so much self hatred and seclusion. Gin in its simplest definition is an album about excess; fucking, hallucinations, animal behavior, fighting and of course ritualized alcohol intake. The album is meant to edify the spirit in man that seeks to consume and take and feel absolutely nothing. Alcohol was a major factor in our forward movement as mammals and beasts, and it is accurately reflected in the lyrics and aura of Gin.

(from an interview @ Basement Galaxy read the entire interview here)

I was driving home after a long day of meetings this evening. I started playing "Arsonry". I turned the volume up. Then, I felt the need to turn it up again. And again. And again. Before 60 seconds of the song had past the speakers in my Volvo were turning the music into a distorted, almost unrecognizable version of itself. My ears began to hurt. It didn't matter, I just needed to listen to it that way, in that moment. I guess it was my little way of being excessive. This record really is something special I highly encourage anyone who hasn't listened to it to give it a spin.

Visit Cobalt here.

Red Eye interview:

"Gin":

Beefy

In 2008 Torche released "Meanderthal". Since then it's never strayed far from any listening source that I own. It's an interesting listen, even now. The album is heavy, the guitars have really thick tones, and there are even some sludgy moments scattered about. But, at the same time, the record has a really sunny vibe to it and it's extraordinarily catchy. It all gels together fantastically and I think it's one of the best albums of the past few years.

So, ANYWAYS, the point of all this is that there's a new Torche album due in July and there's a new song and video available from an upcoming split with the mighty Boris. The song retains much of what I love about Torche, but it also sounds different from "Meanderthal". I really cannot wait to hear more. No info on the Torche / Boris split (apparently due in Feb.) on the Hydra Head website yet, be sure to check back for pre-order info.

Torche - King Beef from Scion A/V on Vimeo.

On a side note I guess this video was paid for by Scion. For a really interesting piece about their growing presence in the "underground" music scene read this.

Hit Somebody

As a music, film, and sports fan, this really excites me.

Sounds like Kevin Smith's hockey film based on theWarren Zevonsong "Hit Somebody" might already in the works.
In an interview with the song's writerMitch Albom (via JoBlo), the two discuss the film's development and reveal that shooting will place in Michigan at Joe Louis Arena, home of the Detroit Red Wings.

(excerpt taken from theplaylist.blogspot.com , read the entire piece here)

Here's the song:

and here's an interview with Kevin Smith and the song's writer Mitch Albom:

2009 - Top New Releases of the year (Ghoulager)

Another year is over, time to let the reflecting begin:

Top five new releases of 2009:

5) Goes Cube "Another Day Has Passed"

I read a lot of good stuff about this record before I finally broke down and bought it and it was one of the few times that a record has actually lived up to the hype that preceded it. They're finishing up a new record that should be released sometime in 2010 and it's easily one of my most anticipated records of the coming year. "Another Day Has Passed" starts off with a bang and then eases into it's groove and before you know it the record is over. "Saab Sonnet", the centerpiece of the record (and catchy as hell) really stands out. Awesome introduction to a band that I hadn't even heard of this time last year.

4) Agoraphobic Nosebleed "Agorapocalypse"

Before I picked up this record the only other time I'd listened to this band was on the "Poacher Diaries" split with Converge. I thought the drums sounded straight off a Nintendo and quite frankly, the Converge half of the record flat out slayed, leaving the ANB half forgettable to my ears. So, I pick up this record out of curiosity and man, this record absolutely killed any doubts I had right off the bat. Scott Hull (Pig Destroyer) pretty much put this entire record together himself and deserves most the credit. The record sounds fantastic (thanks to Hull's production), especially the programmed drum beats (there's even a killer programmed drum solo at the end of "Question of Integrity"). Also the vocal duties are split between Jay Randall, Richard Johnson, and Katherine Katz. All do outstanding jobs, but I found myself especially impressed with Katz vocals, I really need to check here other band Salome out sometime. Between this record and the new Brutal Truth I got my loud, fast, and angry on in a big way this year.

3) Kylesa "Static Tensions"

Another great record from one of my favorite bands. I had the pleasure of seeing these guys twice this year and they just never cease to amaze me. I really loved "Time Will Fuse It's Worth" and while Static Tensions looses some of the immediacy and growling found on that record, it doesn't have any of the gaps that I felt held "Time" back a bit. From beginning to end Static Tensions works. The two drummers are put to better use on this record, the playing on all fronts are excellent, and the melodies really shine through without sacrificing any of Kylesa's heaviness. Really, really, great record.

p.s. If you can come across the 7" for "Unknown Awareness" the b-side is an incredible drum jam.

2) Mastodon "Crack The Skye"

O.k. so, either you embrace the direction they're taking or you're pissed they're not screaming as much anymore. Look, Mastodon belted out the screams on "Remission", "Leviathan", and "Blood Mountain". I for one, am really happy they decided to go into a different direction. It's a dynamite record that hasn't left my side since I bought it. Excellent work, I can't wait to see what's next.

1) Baroness "Blue Record" & Converge "Axe To Fall"

So sue me, I've got a tie for my #1. Here's why.

First off I love both of these bands immensely and both were records that I highly anticipated when they were released. Also both bands had previously released records that I absolutely adored and I feel that both the "Blue Record" and "Axe To Fall" were just as good if not better than anything the bands had previously put out.

For Baroness it was the "Red Album"that I first fell in love with. I was really pleased when I popped the "Blue Record" in and it didn't sound like a repeat of their debut. It sounds rawer than the "Red Album". The musicianship on this record is top notch. They've even got some seriously catchy tracks such as "A Horse Called Golgotha". But, perhaps the most important aspect to me is that I felt an extension of the chemistry these four guys enjoy while I was listening to the album. I really can't wait to grow with this record.

As for Converge, well, I can't believe I'm saying this, but, they made an album that at this moment, I feel is better than "Jane Doe". Jane Doe is an album I've got serious respect for and personal connection to. I though that they would never top it. Axe to Fall is perfectly executed in every way. From the manic explosion of the first four tracks to "Cruel Bloom" featuring Neurosis's Steve Von Till and the albums closer. It's just jaw dropping how good these guys are at this point in their career. Just amazing.

Honorable mentions:

Coalesce "Ox"

I'm fairly new to this band, but quickly catching up. Really great, progressive hardcore.

Wilco "Wilco"

I know, doesn't really fit in with the other stuff I mentioned up until now, but I do love this band. This record is not my favorite by them by a long shot, but it does contain their funnest song to date, "Wilco".

Shrinebuilder "Shrinebuiler"

I really just haven't had enough time to properly listen to this record. But considering it has Dale Crover (Melvins, Altamont), Scott Kelly (Neurosis), Wino (St. Vitus, Hidden Hand), and Al Cisneros (Om, Sleep) make up the band, I'm really looking forward to diving in.

Like Rats - Demo

I've written about them before and it's free to download. Check them out!

Them Crooked Vultures - S/T (2009)

Late 2009: time for those silly moments when you think about the best album of the year (or of the decade which is about to end)… I know, it’s just a game and you always end up forgetting about some good record you listened to in February and have to change the chart over and over again... Well no doubt this year the record that thrilled me the most is Them Crooked Vultures’ self-titled debut. For those who still don’t know who they are I’d just mention those three names: John Paul Jones, Dave Grohl, Joshua Homme. I’ve been hating the idea of super-groups probably since the eighties, when all the classic bands split up and started forming new bands, switching names and band members like we now change jobs. And what about Zwan in more recent times? Ugh. This record has been on my mp3 player for weeks; in the meantime I’ve changed playlists and added more albums but I keep going back to this one and listen to it non-stop. And I publicly want to thank Mr. Robert Plant for dumping his old mates after that single reunion gig because otherwise JPJ would have been too busy with that Led Zeppelin reunion and we wouldn’t be listening to this phenomenal record. I guess the perspective of touring with Alison Krauss is more attracting than joining two old mates and Bonzo’s kid for months playing the same old stuff. Anyway, some might say this is the record Led Zep’s could have made had they entered the 80’s wanting to kick some ass (and had John Bonham not died of course). Their final album was running in all directions, on occasions foolishly, but featured a few epics like In the Evening and Carouselambra that showed what they were still able to build after the sonic assault of Presence. Them Crooked Vultures is obviously indebted to mid-to-late seventies Zeppelin but instead of the sometimes boring tones of Plant’s voice we get the more subtle Homme’s endeavors which take you to a whole different planet. You may say I’m obsessed with King Crimson comparisons but his vocals sound a lot like Adrian Belew’s and some titles like Elephants (an homage to Elephant Talk?) and New Fang would be perfect for 1981’s Discipline. I won’t even start on the musicianship of these three guys, it would be trite… But they sound like they’ve been playing together for years now this could also be Queens of the Stone Age’s best album and the best project Dave has been in since the end of Nirvana. Another long one, the sumptuous Bandoliers, has a Spanish theme and a short insert of synths in the instrumental part which rend it very grandiose. Scumbag Blues is Psychokiller meets Trampled Underfoot: the clavinet is used sparingly in this case but when it enters it’s proved to give you goose-bumps. Warsaw or the First Breath You Take after You Give Up is definitely closer to QOTSA’s style with its long psychedelic rambling. If Stoner derives from Black Sabbath, than this is really the perfect meeting between the darker side of the Birmingham band and the more eclectic side of hard rock by the Zep, replacing certain sexist overtones of the past with some pure 90’s nihilism…