Is It Karisma? • AGUSA - Panacea • RED KITE - This Too Shall Pass

Bei der Labelfamilie Dark Essence Records / Karisma Records / Is It Jazz? Records war neulich mal wieder Summer Sale und ich habe einige günstige Compact Discs abgegriffen. Solstein, Dwaal und Erland Dahlen waren dabei, aber auch zwei frische Alben von diesem Jahr.

AGUSA - Panacea (CD) (2026)

Meine herzallerliebsten Retropsychedelikproginstrumentalisten aus Schweden sind jetzt bei Karisma Records zu Hause und haben dort bisher ein Remaster ihres Debüts "Högtid", sowie nun dieses neue Livealbum rausgebracht.

Normalerweise genieße ich das epische, jazzrockig, folkloristisch eingefärbte Kraut von Agusa ja vorzugsweise auf Vinyl, doch ich bin eigentlich ganz froh, dass ich hier zum zweiten Mal eine Ausanhme gemacht habe, denn die Gestaltung des Booklets, durch das man einfach gerne durchblättert, erinnert mich daran, dass man mit etwas Liebe so eine CD auch sehr attraktiv geraten kann.

Musikalisch gibt es wie es wie immer maximale Wohlfühlekstase bei minimaler Tracklist. Diese im September 2024 aufgezeichnete Show bestand nur aus drei Stücken, zwei davon vom letzten regulären ("Noir" war ja ein Soundtrack) Album "Prima Materia". Beide Songs sind für die Verhältnisse des Quintetts erstaunlich nah an der Spielzeit der Studioversion, wahrscheinlich weil das Album damals noch ziemlich frisch war. Der von beiden eingerahmte Brocken "Den Förtrollade Skogen" vom selbstbetitelten 2017er-Album, der sich auf dem Livaalbum "Ekstasis" bereits von achteinhalb auf  elf Minuten verlängert hatte, strahlt dafür nun in orgelröhrender, trommelwirbelnder, gitarrenhexender, flötenzaubernder Pracht von beinahe einundzwanzig Minuten!

Im Grunde bleibt alles wie immer: Agusa lösen bei mir einfach unmittelbar Glückshormonone aus. Und diese Songauswahl könnte kaum besser sein. Und von Minute 7:19 bis 7:57 von "Ur Askan" zeigt sich eindrucksvoll, welchen Luxus sich die Band damit erlaubt, Frontfrau Jenny Puertas "nur" Querflöte spielen zu lassen. Denn was für ein magischer Moment ist diese einmalige Gesangseinlage? Verdammt, als ich die Band vor Ewigkeiten live kennenlernte, war die Dame ja mutterschaftsbedingt nicht einmal dabei... Hoffentlich kommt in absehbarer Zeit endlich mal wieder eine Gelegenheit, diese fantastische Gruppe wieder zu erleben! "Panacea" macht auf jeden Fall sehr viel Bock darauf.

RED KITE - This Too Shall Pass (CD) (2026)

Von Karisma zu Is It Jazz? und von Schweden hinüber nach Norwegen und was auch immer dort im Wasser ist! Wenn es darum geht, Heavy Rock und Jazz auf natürlichste Weise scheinbar mühelos in grandioser Meisterschaft zu verbinden, scheint das Land zwischen Berg und Fjord ja einen unerschöpflichen Quell zu besitzen. Und Red Kites neues Album "This Too Shall Pass" ist nicht einmal ein ständig verspielter Instrumentalrausch, sondern entstand unter dem Eindruck vieler bedrückender Ereignisse einschließlich des Abgangs eines Bandmitgliedes aus gesundheitlichen Gründen, und zeigt dies auch musikalisch.

Vieles von dem, was das Quartett aus Even Hermansen (Gitarre), Trond Frønes (Bass), Gisle Johansen (Saxophon) und Torstein Lofthus (Schlagzeug, spielte auch auf Hedvig Mollestads "Maternity Beat"), sowie ihr illustrer Gastkeyboarder und u.a. regelmäßger Motorpsycho-Kollaborateur Ståle Storløkken auf den acht Tracks dieses Albums präsentieren, geht sehr tief. Ausdrucksstarke emotionale Substanz trifft auf aufregend dynamische, kreativ explodierende Virtuosität.

Habe ich in diesem Genre für dieses Jahr etwa schon wieder einen neuen Liebling? Die Auswahl ist echt hart. Dass mich nicht nur die Gitarre/Saxophon-Läufe hier häufig an Seven Impale erinnern, ist sicherlich nichts schlechtes. Red Kite kommen noch mehr aus der freien - eben jazzigen - und noch psychedelischeren Ecke. Vom Opener "Not To Be" bis zum versteckten Bonustrack hinter "All's Well That Ends" überzeugt mich jede einzelne der fünfzig Minuten dieses Albums. Besser geht's kaum.

MIDYEAR TOP 15: my favorite albums of 2024 (so far)

Same procedure as every July: Here's a spontanous selection of my fifteen favorite albums of the year so far. No distinction between studio and live releases - and only stuff which I have on vinyl, CD or cassette. Expect some of these to appear again in my more elaborated list at the end of the year - but don't be surprised if they're in a different order or some have disappeared!

The order ultimately doesn't matter anyway, because even if this list was twice as long, I would still highly recommend every single album on it! 

1. FULL EARTH
   Cloud Sculptors
   
   
   
   
   
   
2. KAMASI WASHINGTON
   Fearless Movement
   
   
   
   
   
3. SLIFT
   Ilion
   
   
   
   
4. SEAN ONO LENNON

   Asterisms
   
   
   
   
5. AGUSA

   Noir
   
   
   
   
6. LOUSIE LEMÓN
   Lifetime Of Tears
   
   
   
   
   
   
7. DOOL
   The Shape Of Fluidity
   
   
   
   
   
   
8. SOLAR TEMPLE & DEAD NEANDERTHALS
   Embers Beget the Divine
   
   
   
   
   
   
9. NICK HUDSON
   Kanda Teenage Honey
   
   
   
   
   
   
10. CARPET
    Collision
    
    
    
    
    
    
11. CHELSEA WOLFE

    She Reaches Out To She Reaches Out To She
    
    
    
    
12. IVAN THE TOLERABLE TRIO
    Infinite Peace
    
    
    
    
    
    
13. MONOVOTH
    Pleroma Mortem Est
    
    
    
    
    
    
14. ZAÄAR
    Musique Cryptique (Live In Liège)
    
    
    
    
    
    
15. TUSKS
    Gold
    
    
    
    
    

AGUSA - Noir

With not many shows on my schedule for a while I thought I could begin banging out album reviews from my ever-growing pile of purchases and promos last week, but then a malfunctioning motherboard made it impossible to write and completely stole my thunder before it could even begin to rumble. But now I'm back to get shit done!
My to-do-list is so long again though... where do I even start?

Hmm... why not in Sweden?

AGUSA - Noir (LP) (2024)

Yes, my - let's pretend I didn't use that exact phrasing before - favorite jolly Swedish Psych Folk Prog band is already back with another album, not even a full year after the fantastic "Prima Materia". This one is different though, not only in respect of it being darker than usual. (Who would have thought with that title?)

Of course I ordered "Noir" as soon as the distro of my choice offered it. Maybe I was a little too impulsive and should have at least taken a look at the different formats, because its one hour playing time is just in that range, which is too long for one LP yet too short for a double album - so the vinyl version misses five tracks compared to the CD and digital version. I'm still happy to have "Noir" on black gold, but I probably would have rather chosen the smaller silver version in this case.

Ok, if you're already a fan you probably stopped following my words after the number five. Five tracks? Isn't that a a whole album? - No, I told you this album is different!
"Noir" started as a conversation between two mailmen, one being Agusa's guitarist Mikail and his coworker being an independent filmmaker in need for a movie soundtrack. And because Augustin Sjöberg's scenes aren't exactly as long as Tarantino dialogues, his work hardly needed the epics the band is usually accustomed to, especially live.
So there are no long, even longer and never-ending tracks this time, but fifteen (including digital bonus twenty) tracks between one and five minutes each. And on these tracks Agusa explore the by far widest stylistic range they ever assembled on an album.

The Prog epicness with great flute, keys and guitar melodies is there, but it is condensed and concentrated. Similar to their 2021 album "En Annan Värld" most of it dwells more on the eery than on the cheerful side. And that is achieved in many ways. There are almost Ambient passages featuring spoken samples, lead instruments are pushed towards the foreground just that nudge too much which makes it a bit uncomfortable and intense. And often this album just suddely rocks way harder than one would expect. Most of "Noir"'s foundations were recorded without the drums before the previous two albums during the pandemic - and if you didn't know it you would never assume that the very motivated rhythmic performance here wasn't even part of the plan from the very beginning.

So these are the big strengths of "Noir": As it jumps between Prog playfulness, experimental Noise bits and typical droning movie score sounds, Rock explosions, Folk melodies, Classical influences ("Sk​å​nsk rapsodi nr​:​1" was inspired by Franz Liszt's "Hungarian Rhapsody"), but also instances of smoky Detective Jazz or even galloping Country this album just doesn't even think of allowing one dull moment.

It's a lot, it's diverse and Agusa are constantly making the most of every idea, even without the usual space for developing and exploring it further. To be honest - and without any disrespect to the low-budget movie:
"Noir" may be a good soundtrack, but it actually works a lot better purely as a music album by itself. I'm itching to aks if this could even be one of the best the Swedes have ever done, but I know it's too early to set it into perspective. And of course everything Agusa has ever done so far has always been amazing, so what would even be the point of ranking their discography?

What you actually just have to remember from this review is that "Noir" is not the most typical Agusa release, but in no way a "lesser" work. If you're as addicted to the band as I am you cannot skip it anyway - and if you've never listened to Agusa before this is a starting point as good as any other of their albums. 

The movie "Malmö Noir" can be watched for free on YouTube:

Veil of Stuff feat. AGUSA, BLOOD INCANTATION, DISIMPERIUM and FOSSA MAGNA

Ok, I think it's established now that after every four reviews from me on Veil of Sound I'm also featuring those releases in this shorter format here. Which means I'm a little late with this one, because there are actually already six new write-ups online over there. But I just wanted to wait until the last physical copy of these albums/EPs had made its way to me.

BLOOD INCANTATION - Luminiscent Bridge (gold vinyl 12" Maxi Single) (2023)

[MY REVIEW ON VEIL OF SOUND.COM ]

One side consists of one track of esoteric Sci-Fi Death Metal, further developing their sound from "Hidden History of the Human Race", the other side features pink floydish Ambient in continuation of "Timewave Zero", yet this time also including guitars and drums. That's all. And that's all you need, because Blood Incantation prove themselves as masters in both fields, no matter how hard certain poor hurt egos in the true Death Metal community keep crying their eyes out.

A special brand of retro-futuristic cover artwork plus the golden vinyl, which asks to be sent out into space to introduce us to extra-terrestrial lifeforms, top off the release perfectly.

DISIMPERIUM - Grand Insurgence Upon Despotic Altars (CD) (2023)

[MY REVIEW ON VEIL OF SOUND.COM ]

But if you insist on wanting a hundred percent pure, sheer obliterating Death Metal aussault, I can help you too! Not that much longer than the Blood Incantation "single", Disimperium's full (or is it half?) length debut album makes maximum use of its duration. More of this ferociously blasting Vernichtungsfeldzug probably wouldn't be healthy. After decades of Death Metal history here's a monstrosity which still makes you wonder how the hell human minds can come up with something that extreme. Delightfully over the top!

Sentient Ruin Laboratories mostly is a tape label if you're judging by my collection, but they're actually capable of CDs, too. Only the dark red on black layout of the lyrics is hard on the eyes and could be more readable.

AGUSA - Prima Materia (LP) (2023)

[MY REVIEW ON VEIL OF SOUND.COM ]

Unsurpringly the new album of my favorite jolly Swedish Psych Folk Prog band Agusa is a radically antithetically experience to Disimperium. As always the quintet paints a vivid picture in highly addictive longtracks which just burst of love and joy for music.

In addition to the timeless beauty of their organs, flutes and guitars the band even surprises with a couple of moments which include sung vocals. Those are damn short, barely more than a tease showing that Agusa being an instrumental groups is not a necessity, but rather a luxury. Ultimately they don't need words to take you into far away fairytale places. And the are always so incredibly good at that!

I cannot image a world where I don't love everything this band does. I only wish there would be more chances to see them live and outside of Sweden. It has been a long time, you know.

FOSSA MAGNA - Fossa Magna フォッサマグナ  (clear smoke vinyl LP) (2023)

[MY REVIEW ON VEIL OF SOUND.COM ]

And finally we're going back to brutal stuff with the most harrowing album of this bunch. This Japanese/American/Phillippinean sonic collaboration for a harsh reality by Astro, Many Blessings and Coalminer is an assault of Harsh Noise, which accumulates and layers infernal sound layers of human civilization and unleashes them upon us in relentless waves. 
While doing so Fossa Magna offers neither escapist trance nor hypnotic elevation, just the sheer unvarnished reflection of our hubristic non-nature as a species and our inevitable downfall. It's a score to this self-made demise, a merciless beating with the the bleak bat of existenc. It doesn't get more real and unforgiving than this.

Released by WV Sorcerer Productions you should almost automatically expect an extremely fine looking and sounding vinyl edition - and that's definitely what's delivered. So all in all this is just a very impressive release!

AGUSA - En Annan Värld

Es ist wieder an der Zeit, sich wie ein kleines Kind zu fühlen, welches mit großen Augen und Ohren alles in der Welt zum ersten mal entdeckt.

Vier Jahre nach dem selbstbetitelten vierten Album sind die Schweden Agusa mit einer neuen Langrille zurück!

AGUSA - En Annan Värld (green vinyl LP) (2021)

Die Musik von Agusa, dieser herrlich ausschweifende, aber dabei immer mehr auf Freude an sich selbst als auf Angeberei gebügelte, rauschhafte 70er-Jahre-Instrumentalprogrock hat auch auf diesen beiden Longtracks - "Sagobrus" bringt es auf fünfundzwanzig Minuten, "Uppenbarelser" immerhin auf einundzwanzig - nichts von ihrer magisch entrückenden Erzählkraft eingebüßt.

Wie der Titel auch ohne Schwedischkenntnisse leicht übersetzbar verrät, versetzt einen auch "En Annan Värld" wieder in eine andere Welt. Und was Agusa mit Orgeln, Gitarre und vor allem der unverkennbaren Querflöte für eine ehrliche, spürbar aus dem Herzen kommende Bildgewalt entfalten, ist für mich in dieser einmaligen Magie mit kaum einer ähnlich klingenden aktiven Band vergleichbar.

Doch Vorsicht! Das glücklich staunende Kind kann sich hier durchaus mal erschrecken und ein wenig gruseln, denn der dunkle, durch ein großartiges Stillleben auf dem Cover repräsentierte Wald, hält doch ein paar äußerst dichte, dunkle, einem weniger Luft zum Atmen lassende Täler bereit!

Wenn bedrohliche Trommeln mögliches Unheil ankündigen oder unerwartet gespannte Jazzrock- und sperrige Krautrockelemente in die Harmonie platzen, dann läuft das Kind besser schnell in Sicherheit zum nächsten Feentanzplatz, an dem die spanische Gitarre einen in vermeintlich mediterrane Sonnenwärme taucht.

Eine Unsicherheit bleibt jedoch immer. "En Annan Värld" ist diesmal kein Ort der vollkommen sorgenvergessenen Flucht aus unserer Welt. Der Effekt von Agusa ist hier also ein wenig anders als vom Großteil des vorherigen Materials gewohnt, Er ist jedoch nicht minder wirkungsvoll, gerade weil er ein wenig dichter an der psychologischen Erfahrung unserer tatsächlichen Realität liegt. Und doch erfolgt die Vermittlung dieses Gefühls so wie der Fan es kennt, auf mystischen Märchenpfaden.   

Nein, auch dieses Album kann und will nicht losgelöst von seiner emotionalen Wirkung seziert und überanalysiert werden. Es geht nach wie vor allem darum, sich in die wortlose Geschichte zu versenken - und dies gelingt intensiver denn je zuvor. Denn irgendwie scheint dieses Quintett es fertigzubringen, ein immer noch dichteres Zusammenspiel, eine immer noch fassbarere, geradezu mit einem Messer durchschneidbare Atmosphäre zu entwickeln.

Wahnsinnig gut.

AGUSA - Ekstasis - Live In Rome

I think it has been established in this blog by now that the Swedish quintet Agusa is one of those bands that I just fucking love love love without any need of over-analysing them. There just isn't much to say, but oh so much joy to feel!

And here they are again with a new live album:

AGUSA - Ekstasis - Live In Rome (CD) (2018)

Ok, so the Agusa short summary is: These guys rock a classic line-up of guitar, bass and drums plus organ and - very prominently, almost as a substitute for vocals - flute.
No matter whether you label them under prog, psychedelic, folk or kraut rock; they play mammoth instrumental songs, which combine excellent musicianship with a joyous sense of naivity and timeless melodies.

If you love Colosseum's "Valentyne Suite" you cannot do wrong giving this a listen.

These compositions cry for extensions and improvisations  on stage - and Agusa know exactly how to deliver those! They proved it on their first official live recording "Katarsis" in 2016 and now on "Ekstasis" they are doubling down on that.
There has been a personell change last year, so this is the debut for new organ player Jeppe Juul, and he fits in excellently.

The track list of this new live document consists of the first four (out of five) songs of their self-titled third studio album from 2017, all about one, two, three minutes longer than the original version.
The last song, "Uti Vår Hage" from the 2014 debut "Högtid" already grew from eleven to over seventeen minutes on "Katarsis". The new version however clocks out after almost twenty-four minutes. And it's glorious!

This band, this album... they just make me fucking happy, man. It's just all-out fantastic!

Ok, I'm not too keen of the cover artwork, which may have contributed to me only buying the CD version this time (but truthfully it was more me saving money - and also wanting to have some Agusa for those compact disc occasions, which still do happen). There are several double vinyl versions - including deluxe box sets with alternative artwork - out there.

And by the way this album finally reveals, why Agusa's music might feel so timeless. Appearently it's music from the past, but recorded... *drum roll* ...in the future:

[And yes, this is one of the rare cases which last happened to me a couple of years ago, when Blogger just shitfucking insists on turning an image ninety degrees around, no matter what the fuck I try to do. It's a mystery. It's complete bullshit. It's bullshytstery!]

Highlights: Den Förtrollade Skogen, Uti Vår Hage

MUSIC 2017: top albums and concerts

And here they are! After already sharing my favorite EPs, live albums, downloads and some other stuff here, it's time for the "main categories", those being studio albums and live shows.

For the albums I've stuck to the odd number of 22 from last year.

Of course many more releases are worth mentioning.

And even more interesting albums are simply not in my possession. Maybe they are somewhere on my wishlist, even some I was totally sure I would grab as soon as possible, but then didn't for some reason. In some cases I just didn't find myself in the mood for the artist or musical style yet (like The Hirsch Effekt, Tori Amos, Ayreon and prog metal releases in general), in others I was dissappointed by what I had heard so far (Avatarium), content with the memory of the live experience for the time being (Papir, Monolord) or maybe I was a little bit insulted that the band toured everywhere but in Northern Germany (Paradise Lost).


The live concerts are divided into the categories club/solo and festival shows again.

Album TOP 22:

 

1. BELL WITCH - Mirror Reaper

   

   If this ranking was solely determined by how often I spin an album, this would certainly not be here at the top.The funeral doom duo Bell Witch was never too fond of traditional song structures and radio-friendly lengths, as proved on their previous work (my album of the year 2015) "Four Phantoms". But "Mirror Reaper" takes their ability to freeze time to a whole different level, with just one coherent track spanning 83 (eighty-three) minutes. It's not a casual listen. You need to immerge into this monumental, sad, crushing, beautiful effort. When you do it's worth every minute.

2. MOTORPSYCHO - The Tower

   

   Epic double albums are no novelty in Motorpsycho's history. But even for a rich oevre like that of Norway's finest the sheer amount of diversity, perfect songwriting and flawless arrangements on "The Tower" is a noticeable achievement which lets their first work with new drummer Tomas Järmyr tower over most of the ant-like music world benath them. But no worries: besides their sublime musicianship Motorpsycho are still just fucking cool.

3. DOOL - Here Now, There Then

   

   Let me repeat what I've said before:
   "Here Now, There Then" is a future classic and will go down as one of the most powerful debuts of this decade. That's not an opinion, it's a promise!
   I said that in February and nothing happened to change my opinion since then. No, quite the contrary: their live shows even amplified this feeling.

4. LOSS - Horizonless

   

   Two funeral doom double albums in my top four? Yes, because it is the doomiest of all doom. In scope, concept and execution "Horizonless" is almost on par with Bell Witch's historical colossus, in several aspects it is even better. But honestly: Ranking two masterpieces dealing with death and grief, which on top of that are both dedicated to the memory of the same person, seriously sucks. For the uninitiated this one is probably easier to get into.

5. TEMPLE OV BBV - Temple Ov BBV

   

   The price for the greatest and most zeitgeisty album title of 2017 hands down goes to Gnod's "Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine". But as much as the music on that thing lives up to the title, I prefer the even darker, angst-driven soundscapes and primal, swans-like mantras of their cooperative work with Radar Men From The Moon under the moniker Temple Ov BBV.

6. LAIBACH - Also Sprach Zarathustra

   

   After the pop appeal on "Spectre" there's no "Tanz mit Laibach" at all on this rework of what initially was the soundtrack for a Nietzsche-based theater play. "Also Sprach Zarathustra" shows an ambient, industrial, often minimalistic, sometimes orchestral side of Laibach, which is old-school and yet another reinvention of the Slovenes at the same time.
   For the german fan the album also offers a treasure chest of highly quotable lines in Milan Fras' majestic throaty snarling.

7. ULVER - The Assassination Of Julius Caesar

   

   With these ever-transforming, norwegian chameleons almost anything can happen with each new release. This time it's an album bathing in (pop-)cultural and historical references. A journey through the known history of civilization and the human condition. A stunning eighties art pop masterpiece. 

8. GODFLESH - Post Self
   

   
   

   
   

   

   Three years after "A World Lit Only By Fire" Godflesh return with a wider, more eclectic sound palette. While it's still enormously heavy, "Post Self" shows a greater focus on synths, elaborate electronic rhythms and also a wider vocal range from borderline harmonic clean singing to some of the most aggressive stuff Justin Broadrick has ever done. As great as "Fire" was - this new album undoubtly is a less formulaic work with even deeper impact.

9. AGUSA - Agusa

   

   Most bands courting for my attention under the umbrella of prog, psychedelic and... let's call it classic or "retro" rock will have a hard time against the flute-fronted instrumentals of Agusa. And I can't even offer those bands any precise formula to possibly change that. The simple truth still is: Agusa's music just makes me perfectly happy.

10. GLERAKUR - The Mountains Are Beautiful Now

    

    The icelandic post metal force GlerAkur truly is a larger-than-life entity. The slow, but unstoppable build-ups, from beautiful dreamscapes over deep ambient and drone, to relentless, endless walls of the most crushing guitar riffs possible: this music is not solely made for our mortal ears, but also to crush mountains and raise islands from the ground of the ocean.

11. ZOLA JESUS - Okovi

    

    How did I put it in my review?

    "Okovi" is the crossbreed of Florence + The Machine's "Ceremonials" with the Björk albums "Vulnicura" and "Homogenic" under admixture of the darkness from Chelsea Wolfe's "Pain Is Beauty". A captivating, moving piece of majestically emotional, deep and heartfelt electro pop.

12. YAZZ AHMED - La Saboteuse

    

    I've only just discovered this British/Bahraini trumpet and flugelhorn player in November, so the album came to me super late, when most of this post was already written. And even if this might prove to be a move too bold in hindsight, I feel pretty confident placing "La Saboteuse" so high amidst my favorites. Because seriously: This fusion of modern jazz with traditional arabic folk is some Davis/Hancock style next level stuff.

13. MYRKUR - Mareridt

    

    Be it scandinavian folk, lush choirs, duets with Chelsea Wolfe, harsh black metal outbursts or alluring Lana Del Rey pop - with "Mareridt" multi-instrumentalist and singing  fairy/banshee Amalie Bruun goes all over the place, embosoming and defying genres at the same time. As always when he's involved, the production by Randall Dunn is the icing on the cake.

14. KRISTEEN YOUNG - Live At The Witch's Tit

    

    Nope, despite the title this is indeed a studio album. Direct, combative, aggressive as ever Kristeen Young hammers the keys and stretches her lungs to one of her finest collections of songs to date. From the lyrics to the raw sound "Live At The Witch's Tit" is a punch in the face - and for some guys surely also a kick where it hurts even more. But it's delivered with purpose and in style.

15. TAU CROSS - Pillar Of Fire

    

    Rob Miller and his all-star crust metal crew take no prisoners on the follow-up to their self-titled debut from 2015. Steering between hardcore, post punk, thrash and folk, pushed forward by Voivod's never-tiring Away, this double album is packed with urgent, mostly extremely headbangable killer tracks. It showcases not only Miller's evocative lyricism and inhumane gargling voice, but also his unmistakable sense for catchy, but never shallow songwriting.

16. CHELSEA WOLFE - Hiss Spun

    

    The enigmatic goth singer / songwriter fully embraces droning doom metal and gives us an album which has a stronger "band vibe" than any of her previous works. Whilst "Hiss Spun" doesn't dive into such nightmarish depths as 2015's "Abyss", it still combines eeriness and honesty in a way only few artists are capable of doing.

17. BIG|BRAVE - Ardor

    

    With two guitars plus drums the Canadian trio Big|Brave builds a thick wall of noise and drone rock (now sometimes backed up my strings), with each of the three long tracks growing in monumentality and emotional depths. The latter is pre-eminently provided by the headstrong high voice of Robin Wattie. Especially her singing makes "Ardor" stand out.

18. DEPECHE MODE - Spirit

    

    One spot on this list is reserved for my favorite mainstream pop album. Right now Lana Del Rey's "Lust For Life" is in heaviest rotation. In the greater picture however there's no way I can deprive Depeche Mode this entry. "Spirit" is their darkest, angriest and best produced album since a really, really long time ("Playing The Angel"? "Ultra"?). Anyway, this is great work, gentlemen!

19. THE PICTUREBOOKS - Home Is A Heartache

    

    There's no question about it: The super heavy power blues of guitarist / singer Fynn Grabke and the maddest drum animal of our times Philipp Mirtschink is best experienced live. Being well aware of that, The Picturebooks recorded most of "Home Is A Heartache" live - in their rehearsal space, which is also their motorcycle garage. Its raw unfiltered sound is the perfect enironment for the record's strong tracks.

20. THE BUG VS. EARTH - Concrete Desert

    

    Kevin Martin aka The Bug drives us through vast, bleak electro soundscapes of monumental scale. The tempo is slow. The frequency is low. And the view depressingly grey. However Earth guitarist Dylan Carlson joins him and tricks us into perceiving our post-apocalyptic "Concrete Desert" as something actually cool you willingly want to lose yourself in. The bonus 12" featuring two tracks with hoarse aggressive vocal performances by Godflesh's Justin K. Broadrick is indispensible.

21. YOUN SUN NAH - She Moves On

    

    Youn Sun Nah goes americana. Backed by a brand new band of first-class jazz musicians the exceptional Korean singer explores the folk and rock of North America with her interpretations of classics by Fairpoint Convention, Lou Reed, Jimi Hendrix and others. Most of this album is a relaxing, easy listen. So YES, I occasually DO like female singers, who are not all gloom and doom.
    

22. DEAD NEANDERTHALS - Craters
    DEAD NEANDERTHALS - Womb Of God

    

    In the spirit of the jazz legends of old this dutch duo isn't content with putting out only one album per year. And by the trick of contextualizing the drone of "Craters" with whatever the fuck that brutal shit on "Womb Of God" is, they actually managed to kick my other favorite new free jazz record, Black Cube Marriage's "Astral Cube"  from this list. Sorry guys, these two Dutchmen are just too loud.

Furher apologies to all those artists from Bone Man to Spidergawd and from Electric Moon to Pallbearer whose fantastic albums only barely didn't make the cut!

There's one band among "the rest" however which stands out in a special way and thus deserves an...

Honourable special mention:

KING GIZZARD AND THE LIZARD WIZARD - Polygondwanaland
(plus four more albums)

This band is very possibly the hottest shit from Australia right now. One year ago the stylistically open psychedelic rock group announced no less than five new studio albums for 2017. They delivered four as of now, but number five is already teased with videos and will surely come some day in the remaining two weeks of this year.
Now I can't really comment on this whole effort, because I only just acquainted myself with the Lizard Wizard via their latest work "Polygondwanaland". But I've listened to bits of their other 2017 albums with especially "Sketches Of Brunswick East" and "Flying Microtonal Banana" promising to be just as exceptional and all over the place as this party beast.

SOLO / CLUB SHOW TOP 9:

1. MOTORPSYCHO - Markthalle, Hamburg

   More than two and a half hours of epic excellence with Motorpsycho (plus guest on keys and guitar) left only one conclusion: this is one of the very best live bands in existence right now.

2. VOIVOD - Logo, Hamburg
   

   There can never be enough praise for the thrash and beyond innovators Voivod. They always deliver. They always kill it. This show - the first show with new bass player Rocky for me - was no exception.

3. THE NEAL MORSE BAND - Markthalle, Hamburg
   

   In a year that had me not too interested in classic prog rock stuff this concert was the beaming exception. The full live execution of "The Similitude Of A Dream" was a superlative in band chemistry and musicianship.  

4. MONOLORD + CONAN - Bambi Galore, Hamburg
   

   What a killer package of stone-age super-fuzzed barbaric ear-shattering battle doom to end all doom!

5. MONSTER TRUCK + THE PICTUREBOOKS - Uebel & Gefährlich, Hamburg
   

   The sweating-under-the-denim-jacket-on-the-highway heavy blues rock'n'roll equivalent to what the Monolord/Conan package was to doom. (The Picturebooks also delivered a killer headlining show in Kiel in December.)

6. BLUES PILLS + DEWOLFF - Orange Club, Kiel
   

   Accompanied by a perfectly fitting support act Blues Pills justified the hype surrounding them once again. Even if the band was shitty, Elin Larsson's energy would probably save them. But they're not shitty at all, so this thesis will remain unproven.

7. TAU CROSS - Hafenklang, Hamburg
   

   Best thing to do while not attending the Wacken Open Air for the first time in years? Getting battered amebix-style by Rob Miller, Away and Co. at a packed, sweaty Hafenklang club concert!

8. THE DILLINGER ESCAPE PLAN - Markthalle, Hamburg
   

   One last excess of mind-boggling insanity. After a year-long farewell tour Ben Weinman and Greg Puciato have sent an irreplaceable chapter of extreme music history into retirement. We had a blast! And several seizures and fractures.

9. SÓLSTAFIR + MYRKUR - Grünspan, Hamburg

   Even though they are definitely a rock'n'roll band, Sólstafir have this cinematic grandiosity which makes each song feel like it tells the story of a lifetime. With Myrkur as support act this was undoubtly a night to remember.
   (Admittedly Sólstafir's show at Prophecy Fest was even better, but in favor of featuring as many artists as possible/reasonable I gave their spot in that list to another band.)

10. RADARE - MS Stubnitz, Hamburg
    

    Cinematic doom-jazzy post rock inside the belly of a big boat. Always a fascinating excercise in slowing time and expanding the sight of your mind's eye.

FESTIVAL SHOW TOP 15:

 

1. MAGMA - Roadburn

   To be fair: Magma shouldn't even be on this list at all. More like "TOP extraterrestial encounters". Still, after all those decades, Christian and Stella Vander and their Zeuhl companions prove that they are one of the most amazing bands in this cosmos.
   

2. DOOL (Hell Over Hammaburg + Prophecy Fest + Sankt Hell)

   2017 was a prolific year for Dool. What a killer live band, bringing a unique energy to every show. Both Hell Over Hammaburg and Prophecy Fest saw them playing shows you just have to call call historic. And Sankt Hell was very great, too. [EDIT, because the festival took place after this post]
   

3. ZEAL & ARDOR (Roadburn)

   Manuel Gagneux really hit a nerve with his slave chant / metal crossover project. Seldom have I seen a brand-new band with so much unknown material receiving so much love from its audience. Without exaggaration - this was a historic performance.

4. ESBEN AND THE WITCH (Roadburn)

   magically mesmerizing, enchanting Roadburn magic to die for, part 1 - and already available on vinyl!

5. GRAVE MIASMA (Hell Over Hammaburg)
   

   Grave Miasma put the HELL in Hell Over Hammaburg. Their performance opened a maelstrom to the netherworld and transformed the Markthalle into a fiery pit of chaos. One of the best death metal shows I've ever survived.

6. EMMA RUTH RUNDLE (Roadburn)
   

   magically mesmerizing, enchanting Roadburn magic to die for, part 2 - just one woman and her guitar spellbinding and silencing a packed room

7. GNOD vs. KURO (Roadburn)
   

   A one-hour masterclass in suspense and release. The perfect drone.

8. SUBROSA (2 shows, Roadburn)
   

   magically mesmerizing, enchanting Roadburn magic to die for, parts 3 and 4, because as we all know all good things come in... uhm, forget it, just keep in mind that Subrosa is one of the finest doom bands of our times, no matter if they are playing "For This We Fought The Battle Of Ages" in full or performing a quieter "subdued" set. 

9. MISþYRMING (Hell Over Hammaburg)
   

   Ever been sprayed with whale blood and then brutally kicked into an active icelandic volcano? ok, I guess you haven't experienced the black metal inferno of Misþyrming yet.

10. ULVER (Roadburn)
    

    "Hit me! Hit me! Hit me with your laser beam!"
    A full performance of their synth pop masterpiece "The Assassination Of Julius Caesar"  - and lots of lasers! 

11. TEMPLE OV BBV (Roadburn)

    Gnod and Radar Men From The Moon transforming the 013 main stage into a massive noise agitation zone with a phenomenal rendition of their joint album.

12. HEDVIG MOLLESTAD TRIO (Roadburn)
    

    Wow! When you already expected a very good blues / rock / jazz fusion / prog power trio, but your expectation are surpassed in spades. The Extase venue was ablaze.

13. TYGERS OF PAN TANG (Hell Over Hammaburg)
    

    I'm not exactly a NWoBHM guy and apart from their ridiculous big cat imagery my familiarity with Tygers Of Pan Tang leant towards zero. What a welcome surprise that these elder metal heroes from the age of rockstars totally won me over!

14.  HORISONT (Rock Spektakel am Rathausmark)
    

    While the masses gathered at the batshit crazy expensive Rolling Stones show in the city park there also was a smaller open air right next to Hamburg's townhall - for free! And when Horisont delivered their epic shades of Deep Purple type time traveller hard rock show, there was no doubt that I was at the right concert. All power to the moustache!

15. BIG BUSINESS (Droneburg)
    

    One of the most badass noise rock duets out there.
    Big Business = huge entertainment!