We Must Obey’s Top Records of 2014

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A lot of end-of-year lists have short memories. A lot of end-of-year lists seem to forget the year begins in January as much as the statisticians in English football forget there was a top flight before the Premier League. Hence why one or two albums that made this list appear, and it’s not for the sake that they went under the radar, or because we don’t have to feature some multi-million selling band to sell our product. But enough of the snipper snapping.

My focus on this site has really ebbed away in recent months to the point where I don’t know how much longer it can last. But I wouldn’t be doing it right to ignore what has been another stunning year for rock and metal on all levels. The UK underground in particular has never been stronger and if there is one good thing to come out of doing this site for three and a half years on and off, it’s discovering that there’s a ton of bands in this country who if our rock and metal media gave as much a toss about them as the Americans seem to do, they too could wind up a little bit hipster – and would that really be a bad thing for just a little bit of attention?! The UK is in rude health for rock and metal and all its tentacles.

In previous years I’ve split the short releases – the EPs, the splits and the demos – into a separate list, but this year I’ve not had the time to get around to two lists and to ignore those releases would be a disservice as they stack up very well compared to most full lengths. So here is just one list of ten great releases to have rocked my ears and my ears alone. I’ll stop blabbering now and let you read on as to why these records are worth a damn.

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10. Mastodon – Once More ‘Round The Sun (Reprise)

Its become evident over the last few records that Mastodon were not content being the sludge behemoths of their Relapse days nor even being progressively minded as witnessed on ‘Crack the Skye‘. As their profile has increased, they’ve taken several steps to reach a more, what you might say, streamlined sound. What ‘Once More ‘Round the Sun‘ achieves is a balance between reaching that target and still retaining their core essence. The first half of the record is some of the most kick ass rock you will hear for ages, from the twerk-inspiring ‘The Motherload’ to the at-times dream state of ‘Asleep in the Deep’. It’s not an entirely perfect record but it does finish rather satisfyingly with the bullet train of ‘Halloween’ and the most old school track on record, ‘Diamond in the Witch House’. The record finally confirms Brent Hinds as a distinguishable soloist, but more importantly, it proves that Mastodon are on the next step to true greatness. I doubt we’ll get another Metallica in this lifetime, if any at all, but I wouldn’t bet against Mastodon being able to become more accessible and still making big ‘fuck you’ riffs and anthems.

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9. Cannabis Corpse/Ghoul – Splatterhash (Tankcrimes)

Tankcrimes have a knack of putting out killer split releases and ‘Splatterhash‘, a release combining reefer worshippers Cannabis Corpse and horror executioners Ghoul produced the victims in spades. These are two bands who eschew any notion of meer gimmickry through knowing how to write either slamming pit tunes or memorable refrains. CC once again channel their more infamous namesake Cannibal Corpse for their two tracks, ‘The Inhalation Plague’ and ‘Shatter Their Bongs’, which again highlights how far they’ve come – sure it’s all weed crimes and terrors lyrically, but musically it’s tighter than the stuffiest spliff; while Ghoul are on fire with their side, ‘The Inner Sanctum’ a 5-minute journey once again into Creepsylvania, carrying the command at one point to ‘kill’, finishing it off with the brutal slice and dice of ‘Spill Your Guts’. Horror on record is nothing new, but these two bands carry the B-movie schtick with righteous aplomb.

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8. Grey Widow – I

Featuring members of long time grimy sludge purveyors Parole, Dopefight, Thread and the Ergon Counsel, this is a band who on ‘I‘ lived out their mantra of ‘Nihilistic Putrid Fucking Hatred’ in such a way they swerved the word ‘predictable’ by committing sounds that even I could not have anticipated could sound so venomous and filthy. Mostly wallowing in sludge but capable of vomiting forth a blackened blast, yelling bloodied hardcore punk and occasionally a foreboding riff – but mostly violent black sludge. A lot of bands can profess to be as spiteful as this, but few can deliver on it the way Grey Widow did, it such a way it leaves an impression on the mind and an appreciation that some can still craft mastery out of that very word, ‘hate’.

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7. Nightfell – The Living Ever Mourn (Southern Lord/Parasitic)

An album featuring the collective talents of Tim Call and Todd Burdette, of acts such as Tragedy, His Hero Is Gone and Aldebaran to name a few, ‘The Living Ever Mourn‘ struck me as a pretty good album at first but has really grown on me in such a way that I cannot ignore it. It’s irresistibly compelling in many ways, from the black metal ugh of ‘The Last Disease’, the truly neck slamming ‘Altars of Wrath’, to the funeral dirge of ‘Empty Prayers’, this is an album thick with tarred riffs and pure hellfire and brimstone. I don’t need to say more than that, other than it fucking rules.

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6. Catholic Girls – Distant (Crown and Throne Ltd)

Bastard offspring of the likes of the Cancer Bats and Trash Talk, this Colorado crew lot have produced arguably the finest hardcore release of the year. That in my opinion nobody of their ilk topped this despite this one coming out early in the year says much for its quality. ‘Distant‘ is a tumult of manic riffing, occasional blasting intensity, and for 12 minutes, an impish batshit fury that only briefly lets up for the swaggering ‘Piston’, which is deserving of far bigger moshpit unions than what they are still likely getting right now. Someone sign them up please!

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5. Bast – Spectres (Burning World/Black Bow)

Another fine proponent of the UK underground, London’s Bast made one hell of a debut with ‘Spectres‘, a multi-spectral album that deviled in doom, sludge, black metal, atmospherics and more. From first second to last, ‘Spectres‘ was a masterclass in how to meld those elements together in high alchemy, whether the rage of ‘In the Beginning’, melding black metal with doom riffs, to the Neurosis-esque cauldron of ‘Psychonauts’ or the cavernous riffing on ‘Denizens’. Terrorizer magazine are marking them out for big things next year, and I wouldn’t bet against them following the likes of Conan into greater consciousness.

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4. Thee Silver Mt. Zion Orchestra – Fuck Off Get Free We Pour Light on Everything (Constellation)

I would argue that this is, emotionally, the most powerful album that could be said of the Western world today. In so much that we’ve seen a lot of austerity, a lot of cutbacks, and yet the rich get richer, and the poor get poorer. Thee Silver Mt. Zion Orchestra (or however you know or call them), released this six track call to arms early in the year and it is hard not to feel the slightest bit torn by the music and the lyrical content. It’s goddamn beautiful and yet so heavy, with austerity and the rich/poor divide so evidently the theme as it remains in day to day life. Tell me that by the time you reach ‘What We Loved Was Never Enough’ that you aren’t asking questions of your very own existence, and your very own situation, for it captures your concerns over the present and future. The album’s lengthy title is a bold one, but never truer – we already truthfully know what our country’s state is in, but it will shine a light on what it means to live in the modern era. A magnificent work from a truly visionary band.

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3. Megalodoom – Tectonic Oblivion (Witch Hunter/Tartarus)

The band that used to title demos after Indiana Jones films, and after lines from Predator, got a little bit more serious and received a serious beef up in production for the release of ‘Tectonic Oblivion‘, a four song warhorse of doom that is pretty much a flawless execution of nuclear riffs. ‘Sword of the Spirit’ perhaps best embodied this, shifting from ominous rolling thunder to compelling grooves to an apocalyptic tolling outro, without the need for words. Not many bands can conjure that serpent and convince it to act for them, yet ‘Tectonic Oblivion‘ works that beast a charm in a way to make you sit up and take notice beyond the riffing.

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2. Dephosphorus – Ravenous Solemnity (7 Degrees/Handshake Inc.)

If their previous record, ‘Axiom‘, was stratospheric, then ‘Ravenous Solemnity‘ is Dephosphorus gone interstellar. The Greek grinders’ astronomic approach to their music is one currently unparalleled within their scene, and this album is one that really should garner them more recognition than it has up to now. It melds numerous technical, blackened and deathly influences along with a literary tip of their hats to the late Scottish author Iain M. Banks to coagulate a marvellous text of extremity, from the apocalyptic tone of ‘Storming the Sloan Wall’ to the shadowy mystery of ‘Towards the Cold Dark Infinity’. What was big, big metal blogosphere hype a few years back is no fluke – Dephosphorus are a truly unrelenting force.

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1. Yob – Clearing The Path To Ascend (Neurot)

It turns out that not everything that comes attached with a bucket load of hype attached to it, hanging off the great deceiver of hope on a rope of salacious words, only to unravel and break upon the object in question’s deliverance. Outside of the mainstream, name me one album that really garnered more attention and gaze than Yob’s ‘Clearing the Path to Ascend‘.

Through channeling the words of the great philosopher Alan Watts, Yob remind us it’s ‘time to wake up‘ in the opening chords of ‘In Our Blood’, and for the next 66 minutes they carry you through numeral states of thought as it literally does what it’s title says. It isn’t a slow plod as much as a death march, a journey of exploration. The trick of building up a lengthy song to a verge before quietly waiting on the precipice is one Yob have to a tee, and when Watts tells you to wake up again, the opener fittingly reaches its rise to the surface.

The great thing about this band is that just when you think they cannot conceive any more moments to behold, they turn up with an answer. The thunderous approach of ‘Nothing to Win’, the most anthemic track of this release by way of a chorus of sorts, is only briefly but magnificently halted by a midsection of swirling chaos and despair; ‘Unmask the Spectre’ again utilises a loud-quiet dynamic but on a humongous scale, Mike Schiedt again walking the line between sheer hell and quiet tension and introspection. It’s as if the elements of the opening three tracks literally clear the path for ‘Marrow’, a truly ascendary track – at nearly twenty minutes long it is almost perfect, with the band at times sounding, I daresay, uplifting. It retains the Yob heaviness but rarely has doom of this ilk met such an air of freedom that is able to stick its head above the clouds with a sense of unusual triumphalism.

After naming ‘Atma‘ the best record of 2011, I wasn’t sure I could find a way if enjoying Yob even more, but when the hype you so often buy into actually turns out to carry substance, the results are rarely short of phenomenal.

Peter Clegg

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Big Business @ The Key Club, Leeds, 21/11/2014

+ Black Moth + Blacklisters 

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When The Cockpit in Leeds closed down earlier in the year after 20 years in the business, it was a day of sadness for not just myself, but for many. The venue had been a hub for indie and rock in the city, hosting many gigs across the years which indeed saw many bands pass through en route to greater arenas. Sadly, it was deemed beyond economical repair and so the venue, situated underneath the busy railway station and affectionately resembling an air raid shelter, was closed down to perhaps the surprise of some. Indeed it was held in high regard and anyone who ever passed through that venue’s doors for a show will attest to that.

 

It seems endemic of the fate that seems to await many rock and alternative venues in this day and age, but in true testament to the adage that rock will never die (unless you’re Gene Simmons of course), venues tend to spring back up, in the big cities at least, and this is true of the Key Club, launched by former owners of the Cockpit, itself located where resided the club’s former Bassment and Subculture venues, in which I saw Darkest Hour years ago, and played as a member of a band respectively. Not much has changed about the place, bar the stage being moved from the back of the venue to the front, and a balcony overlooking the main floor now walled over, so you can’t see who’s off for a quick slash any more. Not that you’d want to anyway. Still, it holds some good memories for me and so I’m happy to see it back in use.

First up tonight are Blacklisters, whom are thankfully more focused on the task at hand than when I last saw them at the Brudenell Social Club supporting Dope Body. I want them to succeed at their craft and they aren’t too shabby tonight, even if the crowd aren’t too enthused at this point. The new material they play fits in neatly with older material including their destroying  rendition of Kasabian’s ‘Clubfoot’ and ‘Trickfuck’. Then there’s Black Moth, a local quintet who’ve made a few waves recently on bigger pages than this one. Their frontwoman adds a swagger to their proposition which isn’t exactly unique – driving dirty rock riffs amidst a slightly occult tone – but they know how to get a crowd going and there is enough life in their songs to consider them potentially outgrowing the confines of venues the size of the Key Club.

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Black Moth

Big Business, much like the Key Club owners, had their hand forced somewhat as back surgery for Scott Martin resulted in the guitarist sitting outside the band’s UK tour, which is currently ongoing as they support Mastodon. Alas, it’s the original two-piece of Jared Warren and Coady Willis, of Karp, Murder City Devils, the Melvins and just about anything righteous, who turn up, announcing themselves in showbiz style, before getting into material from their latest release, ‘Battlefields Forever’. It’s at frenetic pace to begin with, with ‘Chump Chance’ and ‘No Vowels’ quickly getting out of the traps before a fun run through ‘Hands Up’, which the front rows of the crowd duly take part in by raising their hands skywards to its refrain. The set seems a short one – only seven songs, which even an extended version of ‘Just As The Day is Dawning’ hardly filling up set time, but for whatever brevity the band make up for in effort and energy. Warren pumps out the low grooves and Willis just goes all animal like always, making this performance a particularly righteous one by the time ‘Lonely Lyle’ stomps to a conclusion.

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During that last song I rocked out a little too hard and my glasses flew off my head. Alas, they were found minutes later, trodden on and no use to man nor beast. Ah well. It didn’t detract from an enjoyable evening as neither did the rain that poured into the night.

Peter Clegg

XII Boar unleash cover of Motörhead’s ‘Damage Case’

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It’s always good to see a UK band going from strength to strength despite the ignorance of the masses, and XII Boar are a fine example of such exponence, having released several killer EPs and singles including this year’s 7″ ‘Truck Stop Baby‘. The band have now revealed a previously unreleased recording from that record’s sessions, in the mold of a tribute to the legendary Motörhead’s ‘Damage Case’, hallmarked by the trio’s wicked blend of sludge, stoner rock and blues, marks of which are left all over this version. It rocks from one style to enough, dropping into the bluesy section with an ‘eins, zwei, drei, vier!‘ and the result is emphatic enough for this to be considered one of my favourite Motörhead covers around.

The cover is available on their Bandcamp page and can be streamed and downloaded for free. You can stream it below here too. Get on it!

Old Skin – :consume:

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Old Skin
:consume:

Owing very much to my lack of activity towards the end of last year, I missed the debut release by Mancunian hardcore/metal crew Old Skin, highly anticipated for it containing members of Esoteric Youth and the brilliant Knife Crimes, who we reviewed posthumously after they left the world behind with, for my money, one of the best demonstrations of hardcore of recent years. So Old Skin came with a degree of expectation, but they showed that anyone expecting Knife Crimes mark II on ‘Mære’ that they’re anything but – what this band and that band have in common is an eye for darkness; but Old Skin were open to elements of post-metal, Old English folklore and a slight air of mystery. Whatever your take, Old Skin quickly became a flagbearer for UK hardcore, a scene which is bulging at the seems as it stands. That’s partly what makes the release of ‘:consume:’ such an interesting one.

Anyone following underground hardcore and metal right now, and everyone with an interest in the digital format should take note. For Old Skin have decided this release will only be available from 26/05/2014, up until 01/06/2014. It’s now 29/05/2014, which means there’s only a few days of this left before you properly miss out. And while these two songs don’t open up in the way that ‘Mære’ did, certainly not by way of experimentalism or reflection, it’s still a release worthy of the frenzied hype going around the social networks in a bid to get as many people to check it out before the band take it down forever. ‘Swordcharmer’ starts with a slow build-up, vocalist Michael Ribeiro showing exactly what a beast of a roar he has as the riff coarses and pumps up until 2:23 when it’s very veins explode in a brief crusty shred n’ blast out before dropping back into the main riff. The B-side, if you will, entitled ‘Snakeswallower’, is a more usual affair, albeit a corker, going at the jugular acrest a slight technical lick, before dropping into a mid-paced chug-groove and a satisfying hardcore rodeo to ride out to the finish.

This release will undoubtedly please fans of the genre and anyone into acts like Converge, Integrity, Oathbreaker, etc. who might be looking for something new can’t really do much better than this right now. A full length is planned by the end of the year and the blogosphere is sure to lose theirselves in it all again. One day, we’ll all have old skin, an inevitability, but we could all do with Old Skin in our lives, and the time is now to consume ‘:consume:’, or to watch it disappear forever. Time is ticking.

Peter Clegg

Buy ‘:consume:‘ here (name-your-price, until 01/06/2014)

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Megalodoom – Tectonic Oblivion

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Megalodoom
Tectonic Oblivion
Witch Hunter

Some records are so heavy, you feel the weight of their delivery in your ears. Megalodoom’s ‘Tectonic Oblivion‘, quite appropriately, will do just that. Having previously impressed with their demo jam ‘Indiana Jones and the Temple of Grief‘ (later properly released through Tartarus Records), their debut EP, recently released through Witch Hunter Records, sees them truly accomplish what you’d expect from a band whose mantra is ‘No words. Just riffs‘. The opening track ‘Polar Vortex’ sounds just evil, in an ominous, Sabbathian way, but such is the boom coming out of every groove from the low end of the guitars and the thunderous bass that it isn’t just a superlative. And as the EP progresses, the Nottingham quartet show they’ve not just enhanced their ability to drag out a riff without losing its appeal, but also to create moments of such cacophony that they might well register on the Richter scale. The opening rumbles of ‘Sword of the Spirit’, the longest track here, are slightly reminiscent of High on Fire or Grief before they throw in another truly monstrous and devastating riff. The superb production ensures Megalodoom’s quaking delivery is pushed to the fore – overall ‘Tectonic Oblivion’ is another fantastic release that should belonging in your already bulging collection and confirms Megalodoom’s belonging in this frankly stupendous stoner/sludge/doom scene we have on these shores.

Peter Clegg

Buy/download ‘Tectonic Oblivion‘ here (name-your-price)
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Employed to Serve – Change Nothing, Regret Everything

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Employed to Serve
Change Nothing, Regret Everything
Holy Roar

Employed to Serve first emerged onto the scene in 2012 with the release of ‘Long Time Dead’, but it wasn’t until their second EP ‘Counting Crows’ and a subsequent announcement for ‘Kin Hell Fest 2014 that they arrived to my attention. The release of ‘Change Nothing, Regret Everything’ continues upon the very trail they’ve blazed for themselves. If there is such a thing as a title for best up and coming band right now, Employed to Serve are striving for it and then some. 

In contrast to their earliest release, ‘Change Nothing’ focuses less on the melodic aspect of their sound and more on all out brittled rage. Overall these six tracks are shorter and showcase a monstrous, strident beast lurking deep within this lot, now a full blown quartet after starting life with just founder members Justine Jones – who is furious as a vocalist, her chaotic roar sounding just as intense as I imagine Employed to Serve are a crazy act to watch live – and Sammy Unwin (he of Regurgitate Life/Oblivionized), who here delivers more bludgeoning riffs with some occasional technical flair. It’s hard not to want to go apeshit listening to this band, and this record in particular. A band like this should make you want to flip out and destroy things. Listening to tracks such as ‘No One’s Child’ and ‘Heavy Limbs’, this ticks every box in that department and thus pleases me greatly.

Influence wise, this release marks Employed to Serve close enough to the likes of The Dillinger Escape Plan and Agoraphobic Nosebleed, but this is a band who are carving an opening for themselves, showing their varied sound over the course of three releases. Just that this is easily their most formidable and frenzied yet. A full length is in the offing and it surely it won’t be long before they’re dominating bigger stages. Get yourselves onto this band now, and regret nothing in the process.

Peter Clegg

Buy ‘Change Nothing, Regret Everythinghere (multi-format download) or here (vinyl options)
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Grey Widow – I

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Grey Widow
I

A band with members of Dopefight, Parole, Thread and The Ergon Counsel should rightly get anyone with half a brain and/or indeed knowledge of the lush UK underground rather excited, and that is exactly the case with London-based tyrants Grey Widow. Their debut album ‘I’ was released early this year, and while it offers no real surprises (from the cover art to the music itself), it is nonetheless doom/sludge metal done right. The opening, self-titled track builds up into appropriately filthy, groovy doom/sludge, and ticks every box you like depending on how you like your riffage – equal parts nihilistic, filthy, just downright heavy. ’IV’ provides a nice swerve; one of the album’s stand-out tracks, it chucks in some nice blackened misery, full of rolling beats and chaotic howls, before slowing down the riffage and playing out in suitably forboding fashion, and ‘VII’ flirts with hardcore punk at one point before punching you squarely in the face with more swampy dredging sludge riffs. And the last track – surprise, titled ‘VIII’ – is one of the most hateful dirges committed to audio this year, and you will find it absorbing every inch of your barely alive corpses.

Their mantra is ‘Nihilistic putrid fucking hatred. Worship nothing. Follow no one. Destroy everything’. Without question this record proves they lift and breathe that statement of their sound and their mission objective, and ‘I’ is a living embodiment of all that is great and wholly impure about downtempo worship.

Peter Clegg

Buy ‘I’ here (download), or here (CD/cassette/LP)
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