We all knew this was going to be a kick ass album, so it was no surprise that it did in fact kick serious ass. What was surprising was the direction that The Sword went with 'Warp Riders' - bypassing the shreddier-than-thou principles of today for more complicated vocal work and a death-grip on their signature mid-tempo groove. In fact, the only really predictable element of 'Warp Riders' is its requisite concept album (however loosely) time and space manipulating plot. If I had to pick a number one for this year, The Sword gets it without a second thought.
How the fuck did these two hook up? And why did they only put four songs together?! Honestly, I feel cheated. This has to be the single most brilliant and unexpected release of the year, simultaneously redeeming Boris from their boring 'Japanese Heavy Rock Hits' seven-inch series while reinforcing Astbury's prominence as one of rock's greatest voices. But it's only four tracks. Fuck. Let's hope they do something else next year so I can put 'em on the list without having to qualify it.
Metal, and maybe music in general, has evolved into being comprised of primarily (but mostly kick ass) musical cliches and posturing. Every now and then shit gets pushed further. In this case the push came in the form of a guitarist who also shreds like Coltrane on sax mashed up with sonic abrasion bordering on industrial, some weird number-driven experimental sounding shit and a King Crimson cover to boot. Sound like you might dig it? Quit wasting time and get this damn album.
Emil Amos can't miss. Dude is in Grails. Dude is in Om. Now, 'Survivalist Tales!' is the most recent in a string of amazing Holy Sons releases. Anyone who calls Holy Sons lo-fi is in idiot. There is nothing lo-fi about Amos' incredible vocal layering and precise guitar and piano tones. Score another one for Portland. Look out for Holy Sons to be putting on some killer shows in the coming year.
This one isn't a best of per se, meaning it's not on the list for the merit of the music alone. However, AFCGT (being the amalgamation of Seattle rockers A Frames and psychadelic duo Climax Golden Twins) is too cool on too many fronts not to mention. The LP/EP (shame on you if you didn't score the vinyl) packaging is comprised of kick ass spirograph-style graphics on fold out sleeves for both pieces of white vinyl. The music itself is fucking awesomely weird and varies from noisy rock to shit that defies classification outright. Add it all up and you've got one of the few records I bought sight-unheard this year.
Words by Matt Abramson
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