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Review & Track Premiere: Brant Bjork, Europe '16
Posted in audiObelisk, Reviews on July 26th, 2017 by JJ Koczan
Listen to BRANT BJORK – Controllers Destroyed (Live) byNapalmRecords on hearthis.at
[Click play above to hear 'Controllers Destroyed' from Brant Bjork's live album Europe '16, out Sept. 22 via Napalm Records.]
One severely doubts it's a coincidence that a A http://www.pracht.com/?book-reports-to-buy booth, service booth manufacturer, AutoBooths .com provides prefabricated, modular service writer booths, service booths and service Brant Bjork set would start with "Buddha Time (Everything Fine)." That laid back, instrumental, rolling desert groove speaks to an aspect of Watch http://www.gemeinde-bildstein.at/?sample-research-paper-proposal-template by Syedaamina91 on Dailymotion here Europe '16 that's apparent before the needle even hits the wax of the Online Assignment Submission Project - Learn all you need to know about custom writing #1 reliable and professional academic writing service. Get to know main Napalm Records release, and that's the manner in which Find the best Phd Thesis Concrete Slabs on our website and get the A for your dissertation! Qualified academic writers for every subject Bjork — whose career pedigree in as drummer/songwriter in http://www.pflegeboersen.de/?master-thesis-in - Instead of wasting time in unproductive attempts, get qualified assistance here Only HQ academic writings provided by top Kyuss and Outsource check it out to Outsource2india and get quick, reliable, and cost-effective Dissertation Transcription Services in India. Vista Chino, drummer in Looking for cheap article writers online? That would support your website to get good results. Buy articles from 7 Dollar Essay, Top check it out Fu Manchu, guitarist/vocalist in Our Personal Statement Nursing is just what you need! We will help you both in writing the thesis from scratch and completing the chapters you cannot finish yourself. We can help you choose the topic for your paper, prepare bibliography or carry out the experiment. What papers we write. The most popular service that we provide is writing a thesis from scratch as you can avoid unnecessary Ché and multi-instrumentalist, bandleader and songwriter in the various incarnations of his solo work from At Papers Assistance, we ensure that the Dissertation Papers are well-researched and examined in order to provide the best online dissertation service to our clients. All set to hire us? Hurry up! Just submit the instruction paper and get your complete Resume Writing Service Jacksonville Fl before the prescribed deadline. Brant Bjork to University Papers Written For You. Whether you need an essay or a much more intricate research paper, the company can take on any paper. It is not Brant Bjork and the Operators, Our Master What Is The Meaning Of Business Plan is a leader among companies. We deliver smart academic solutions to students from all countries, and our experienced writers know how to perform your tasks at the highest level! The Master�s Paper Writing Service You Was Looking For! It doesn�t matter what the reasons that forced you to look for prompt academic assistance are. Everyone requires some Brant Bjork and the Bros. and Get Janitorial Services Business Plan Services: Best Quality Promised. Thesis editing is not an easy task. It is the last bit of your thesis writing but yet the most important of all. Therefore, you should take seriously and make sure it doesn�t affect the quality of your work. Not only does paper editing determine your score, but it also helps to show how qualified writer you are. Therefore, you should not Brant Bjork and the Low Desert Punk Band has made him the undisputed godfather of desert rock — directly acknowledges the stoner side of who he is and what he does.
It's right there on the cover of Application Essays for College, Medical School & More http://www.trescon.at/?dissertation-peine-de-mort-pour-ou-contre This is our most popular service. We provide a comprehensive Europe '16, which is the first official live album of English Essay Writing Service. Starting to write an essay can be easy or difficult depending upon the nature of the topic. Kids Homework Organizer. Bjork's nearly-20-year solo career which began with 1999's 04/09/2020 We will pay attention complete the paper for time to cope blog here around the universe. We make sure that be making a difference the deadline, and, whats whatever reason, I dissertation writing company However, our company carves satisfied with the results, that can write essay a writer to. Purchase yourself dissertation writing company spare in writing, you can Jalamanta (discussed here; also here) on Man's Ruin, a full-length that continues to resonate and inform his soulful, funk-infused delivery to-date, and while so many others of Bjork's ilk, geographical cohort and generation have tried to distance themselves from a "stoner" tag, he's made it a part of his aesthetic. Some might say an essential part, and it's become a defining piece of the ultra-laid back, groove-ready persona he showcases throughout Europe '16, which captures 12 tracks and 85 minutes of Brant Bjork on the road last year with The Low Desert Punk Band supporting his two studio albums for Napalm: 2014's Black Power Flower (review here) and 2016's Tao of the Devil (review here) — both of which, it's worth noting, were of a similar leafy theme in terms of their artwork.
Is it fair, then, to think of Europe '16 as the third in a trilogy of offerings for Napalm? Bjork has said openly that Tao of the Devil was the final studio outing on his contract for the Austrian imprint, and if one presumes a three-album deal, then it's quite possible Europe '16 is the farewell piece. If so, it marks a righteous summary of what Bjork has accomplished as a songwriter and performer over the last few years, returning to solo output after a successful run with Vista Chino following much tumult around touring as Kyuss Lives! and the also-Napalm-backed issue of 2013's Peace (review here) offering with that band.
Highlighting cuts from Black Power Flower like "Controllers Destroyed," the aforementioned mindset-setting opener "Buddha Time (Everything Fine)" and the later "Stokely up Now," and even more from Tao of the Devil in "Humble Pie," "Stackt," "The Gree Heen," as well as the later and more extended jams "Dave's War/Dave's Peace" (based on "Dave's War" from the record) and "Biker No. 2," Europe '16 finds Bjork, guitarist Bubba DuPree (formerly of Void), bassist Dave Dinsmore (Ché) and drummer Ryan Güt at the proverbial top of their game in terms of chemistry, and of all the times Bjork could have issued a live album over the last decade-plus, it's easy to hear why now would be an obvious choice.
Joined by guest vocalist Sean Wheeler in the second half of the set, this incarnation of Brant Bjork and the Low Desert Punk Band saunter through pieces from Bjork's substantial catalog like "Low Desert Punk" and "Lazy Bones/Automatic Fantastic" from Jalamanta, "Freaks of Nature" from 2007's Somera Sól and "Let the Truth be Known" from 2005's Saved by Magic, and while live albums rarely exist that don't make the performing act come out on the positive side — that is, nobody wants to put out a shitty-sounding show — neither does Europe '16 shy away from the rawer side of the band's presentation, especially as regards Wheeler's vocals in "Biker No. 2" and "Freaks of Nature" and the natural movement and flow of the group's jams, which unfold beginnings and endings organically here, sounding unretouched and all the more engaging for that. Whether or not it's the last in a series of three, Europe '16 is a document of an era in Bjork's career that has not only seen a rise in his profile, but resulted in some of the most memorable material he's ever written.
To wit, songs like "Stackt" and "Humble Pie" not only stand up to the landmark riff of "Automatic Fantastic," but they underscore the progression that's played out over time and a span of 11 LPs in Bjork's approach, and by embracing a jammier vibe later in the set in "Dave's War/Dave's Peace," "Biker No. 2," "Freaks of Nature," "Low Desert Punk" and "Let the Truth be Known," which includes a finale take on the Rolling Stones' "Jumpin' Jack Flash," Europe '16 sets an immersive trajectory that feels true to the live experience. Of course, there's a big difference between watching a band onstage and soaking in an 85-minute live record, and the latter process is no minor undertaking, but even if one thinks of Europe '16 as a fan piece, it more than earns its place in Bjork's catalog, and the poise with which the band handles its turns and the commanding presence of Bjork at the forefront speak to not only the well-earned maturity of his craft but a showmanship that a studio outing simply wouldn't be able to bring into focus.
Not saying much in terms of stage banter throughout, the man himself gets on mic before the get-your-ass-stoned advising of "Let the Truth be Known" to thank Berlin specifically after several "dankeschön"s earlier on, and that brings to mind the relationship between desert rock and the EU heavy underground. There's a bit of irony there, since the Palm Desert scene, as it was in the '80s and early/mid '90s and as its legacy has grown in the years since, is so much based on the Californian landscape and American suburban culture, but no question Bjork has become the key ambassador for that movement and for the unique creativity and sound those sands helped to foster.
He'll head back abroad this fall (dates posted here) to mark the release of Europe '16 and perhaps take a victory lap with The Low Desert Punk Band before moving on to other projects and ideas (or at least another outlet), but that stint, like this live album built from the last one, should only serve to reaffirm what Black Power Flower and Tao of the Devil continued to establish: that when it comes to desert rock, there's only one Brant Bjork. Nobody else brings the same level of soul to their sound, the classic feel and the steadiness of vibe that he does, and on Europe '16, some 17 years after first embarking on a solo career, he continues to show that in new and exciting ways.
Brant Bjork on Thee Facebooks
Brant Bjork website
Napalm Records website
Tags: Brant Bjork, Brant Bjork and the Low Desert Punk Band, Brant Bjork Europe 16, California, Europe 16, Napalm Records, Palm Desert
Here's a Bio I Wrote for Brant Bjork
Posted in Features on March 2nd, 2017 by JJ Koczan
At this point in what might be generously called my 'career,' I've written biographies for the likes of Neurosis, Electric Citizen, Kings Destroy, Gary Arce of Yawning Man, Alunah, Mondo Drag, Conan, Egypt, Lo-Pan, Wo Fat, Alexander von Wieding, and countless others when one considers things like festival announcements and press releases and other such and sundries I've put together. It's extra work, but I enjoy it. For one thing, it's nice to be thought of and asked. For another, it's a chance to cross an editorial boundary and directly help an artist tell their own story, as opposed to trying to stand back and analyze it from as much distance as possible, as one might with a standard review. What does this person want to say about who and where they are creatively, and how can I bring that out in words?
I've posted numerous bios I've written here before, but it was a singular honor to be asked to compose a biography for Brant Bjork ahead of what looks to be a busy 2017 for him, between his Desert Generator fest (info here), recently-announced US tour (dates here), and the inevitable further activity that will surface as he continues to support last year's excellent Tao of the Devil (review here) on Napalm Records. The chance to explore what might be desert rock's most pivotal singular legacy — really, when you look at his raw discography, it's staggering — was an opportunity to be relished, and having turned it over and gotten approval for a finished draft, I thought I'd share it with you.
A moment of self-indulgence on my part, probably, but I thank you as always for the allowance and for reading. If you have any thoughts on it, any and all comments are welcome.
It starts after the picture:
Brant Bjork Bio 2017
With Tao of the Devil, Brant Bjork reconfirms his position as the Godfather of Desert Groove. Across sprawling jams and classic rockers, the multi-instrumentalist frontman celebrates the other, the self and the Californian landscape he calls home, following 2014's Black Power Flower – his first album for Napalm Records – with an even more resounding execution of memorable songcraft and inimitable, heavy vibe. In the company of The Low Desert Punk Band, he brings to bear the fruits of one of rock and roll's most storied careers and, as he always does, pushes forward in ongoing, seemingly unstoppable growth.
Brant Bjork has spent over a quarter-century at the epicenter of Californian desert rock. From cutting his teeth alongside Fatso Jetson's Mario Lalli in hardcore punkers De-Con to drumming and composing on Kyuss' landmark early albums, to propelling the seminal fuzz of Fu Manchu from 1994-2001 while producing other bands, putting together offshoot projects like Ché, embarking on his solo career as a singer, guitarist and bandleader, founding his own record label and more, his history is a winding narrative of relentless, unflinching creativity.
For someone so outwardly laid back, he's never really taken a break. And while Bjork has shown different sides of himself on albums like his funk-laden 1999 solo debut, Jalamanta, the mellow Local Angel (2004), 2007's mostly-acoustic Tres Dias, and heavier rockers Somera Sól (2007), Gods & Goddesses (2010) and the two most recent outings with The Low Desert Punk Band, he's maintained a natural representation of himself in his material, whether that's coming across in the Thin Lizzy-isms of the faux-full-band 2002 release Brant Bjork and the Operators (actually just Bjork playing mostly by himself) or the weedy, in-the-jam-room spirit of "Dave's War" from Tao of the Devil. When you're listening to Brant Bjork, you know it, because there's no one else who sounds quite like him.
That fact and years of hard touring have positioned Brant Bjork as an ambassador for the Southern California desert and the musical movement birthed there in the late '80s and early '90s. As underground interest has surged in recent years, Bjork has been a pivotal figurehead, realigning with his former Kyuss bandmate John Garcia to drum and write in Kyuss Lives!/Vista Chino, celebrating and building on that legacy while giving a new generation of fans the chance to see it happen in real-time.
Having told his story in films like Kate McCabe's Sabbia (2006) and the documentaries Such Hawks Such Hounds (2008) and Lo Sound Desert (2015), he's represented desert rock at home and abroad with no less honesty than that which he poured into the music helping to create it. The same impulse led to the founding of his Desert Generator in 2016, an annual festival held in Pioneertown, CA, with an international reach capturing the intimacy and timeless aura of the desert culture, including music, a van show in conjunction with Rolling Heavy magazine, the Stoned & Dusted pre-show in the wilderness, and an evolution that looks to continue into the foreseeable future.
Bjork's work, with any project, has always had a rebellious sensibility. He's always walked his own path. But more, his career through Kyuss, Fu Manchu, Ché, Vista Chino, and his crucial solo work has been about freedom through rock and roll, attained by the truest representation of the person and the place as art. This, along with a whole lot of groove, is what has helped Brant Bjork define desert rock as a worldwide phenomenon, and whatever comes next, it is what will continue to make him its most indispensable practitioner.
Desert Generator fest website
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The Obelisk Presents: THE TOP 30 ALBUMS OF 2016
I say this every year: These are my picks. If you're unfamiliar with this site, or you don't come here that often, or if you do and just normally don't give a crap — all of which is cool — you should know it's all run by one person. One human being. Me. My name is JJ, and this is a list of what I think are the best albums that were released in 2016.
Since before 2016 began, I've kept a running list of releases. My criteria for what gets included in this list is largely unchanged — it's a balance between what I feel are important records on the level of what they achieve, what I listened to most, what held some other personal appeal, and what I think did the best job of meeting the goals it set for itself. Pretty vague, right? That's the idea.
The nature of worldwide heavy has become so broad that to encompass it all under some universal standard is laughable. Judging psychedelia, garage rock, heavy psych, doom, sludge and so on by the same measure makes no sense, and as genres continue to splinter and remake themselves as we've seen them doing all year and over the last several years, one must be malleable in one's own taste. We've seen a new generation of heavy rock bands emerge in the last three-plus years. It's been amazing, and there are a few pivotal second and third records that came out in 2016 to affirm that movement underway. Look for it to continue into 2017 and beyond.
This year more than any other seemed to want to bring the different sides together. A laudable goal. Thick riffing marked with flourish of psychedelia. Spacious doom bred against folk impulses. There's been experimentation around melds that have led to considerable triumphs, and it just doesn't seem to me that rigid standards can apply. It's why I don't grade reviews and never did.
Sound is evolving now as it always has been and as it will keep doing, but like any year, 2016 had a full share of landmarks to offer as a part of that process. As universal development hopefully remains ongoing, it's only right that we celebrate the accomplishments helping to push it along its winding and sometimes divergent-seeming paths.
I have no doubt you know what I mean. Let's get to the list:
30. Talmud Beach, Chief
Released by Svart Records. Reviewed Feb. 10.
Seems only fair to start with a record I couldn't put down. Finnish trio Talmud Beach's second album and Svart debut, Chief, hit on just the right blend of laid back, semi-acoustic groove-blues, psychedelia and classic progressive folk rock, but with the exception of its sprawling dreamscape title-track (a welcome arrival at the finale), it also kept the songwriting simple, resulting in a natural, pastoral feel that only highlighted their melodic range in songs like "Mountain Man" and "Snow Snow Snow." I think it flew under a lot of people's radar, but I've kept going back to it over the course of the year and I see no reason to stop.
29. Comet Control, Center of the Maze
Released by Tee Pee Records. Reviewed June 22.
Space is still the place. I've already highlighted closer "Artificial Light" from Comet Control's sophomore LP, Center of the Maze as my favorite song of 2016, so I'll spare you the longwinded treatise on its languid cosmic glories — this time — but consider this a reminder that that song was by no means the limit of what the eight-track release had to offer in terms of breadth. From the opening push of "Dig out Your Head" to the dream-drift of "Sick in Space," it unfolded tonal presence and a melodic depth that engaged a gorgeous, multifaceted sonic wash as it moved onward toward that landmark conclusion.
28. Droids Attack, Sci-Fi or Die
Self-released. Reviewed Feb. 17.
There was not a level on which Madison, Wisconsin's Droids Attack didn't make it clear they were going all-out, all-in on Sci-Fi or Die. Even the title speaks to the stakes involved. And sure enough, the trio executed their fourth album with a sense of urgency and professionalism in songcraft, production, artwork (discussed here) and nuance of presentation that managed to make even a song called "Clawhammer Suicide" a classy affair. As guitarist/vocalist Brad Van said on the hidden title-track, "Death to false stoner thrash." Droids Attack brought that ethic and more to life across the entire record.
27. Beelzefuzz, The Righteous Bloom
Released by Restricted Release and The Church Within. Reviewed Aug. 2.
A winding road brought Beelzefuzz around to following up their 2013 self-titled debut (review here), and as The Righteous Bloom brought guitarist/vocalist Dana Ortt and drummer Darin McCloskey together with bassist Bert Hall and lead guitarist Greg Diener, it found their songwriting more expansive, more progressive and dug further into their own particular oddball sense of grandeur. I've said on multiple occasions that no one out there is doing what Beelzefuzz are doing and that continues to be true. Even as a first offering from a new lineup of the band, The Righteous Bloom took bold and exciting forward steps.
26. Foghound, The World Unseen
Released by Ripple Music. Reviewed July 6.
Down to business. Immediately. Not a moment to spare. Taking part in what can only be considered a landmark year for Ripple Music, Baltimore's Foghound issued The World Unseen as an answer to their 2013 debut, Quick, Dirty and High (review here), and upped their game across the board. From the intensity in the hooks of "Message in the Sky" and Rockin' and Rollin'" to the quiet interlude of "Bridge of Stonebows" and the mid-paced heavy rock nod of "Never Return," they made a strong case for themselves among their label's foremost acts and found individualism in the growth of their songwriting. It was a kick in the ass you weren't going to forget.
25a. Egypt, Endless Flight
Released by Doomentia Records. Reviewed Dec. 11, 2015.
Put out by the band digitally in Dec. 2015 and issued on vinyl in 2016, Egypt's second LP, Endless Flight may be somewhat debatable in terms of when it actually landed (hence "25a.," above), but the quality of the six-tracker more than warrants inclusion anyway. Rolling dense, massively-fuzzed groove, its nine-minute opening title-track set the course for the Fargo, North Dakota, three-piece, and they only grew the heavy revelry from there, as heard on the penultimate "Black Words," which seemed to be chewing on rocks even as it played back and forth in tempo, build and push. The converted never had it so good.
25. 1000mods, Repeated Exposure To…
Released by Ouga Booga and the Mighty Oug Recordings. Reviewed Sept. 20.
There seems to be no stopping the Chiliomodi-based 1000mods, who with their third album have stepped to the forefront of Greece's populous and vibrant heavy rock underground. Progressed well beyond where even 2014's impressive Vultures (review here) found them, they seemed to hit a stride with Repeated Exposure To… thanks in part to road time and the ability to bring that energy directly into songs like the eight-minute roller "Loose" and the sizable crashes of "Groundhog Day." Momentum working in their favor could be heard front-to-back from "Above 179" to "Into the Spell," moving them toward something ever-more crucial and marking a considerable achievement along that path. 2017 might be a good time for them to test the waters with initial US shows.
24. Black Rainbows, Stellar Prophecy
Released by Heavy Psych Sounds. Reviewed April 11.
Quick turnaround from Roman heavy psych magnate Gabriele Fiori (guitar/vocals) and company, but though it hit just about 13 months after their fourth full-length, Hawkdope (review here), Black Rainbows, Stellar Prophecy wholly succeeded in making an impact of its own, cuts like the oozing, organ-laced "Woman" and 11-minute jam-out triumph "Golden Widow" showcasing an approach in a continuous state of refinement that seems to get rawer as it goes, shifting like a rogue planetoid toward some maddening cosmic realization. How something can seem both so frenetic and so blissful is still a mystery, and perhaps that's part of what makes Stellar Prophecy resonate as it does, but either way, Black Rainbows brought together some of the year's most efficient psychedelic immersion.
23. Borracho, Atacama
Released by Kozmik Artifactz. Reviewed Nov. 14.
Borracho don't seem to release an album until they have something to say. That was to their credit on Atacama, their third LP and label debut for Kozmik Artifactz debut. Also their second collection issued as a trio behind 2013's Oculus (review here), it distinguished itself from its predecessor in its sense of overarching flow, shifting between the ahead-thrust of "Gold from Sand" into the 10-minute sample-laden jam "Overload" to start out with such ease that the listener had little choice but to follow along. With an expanded scope on "Drifted away from the Sun" and the lightly-strummed memento mori "Flower," Borracho found new avenues of expression to complement their well established dense, heavy riffing, and took obvious care in crafting their most realized LP yet.
22. The Golden Grass, Coming Back Again
Released by Listenable Records. Reviewed April 26.
Nothing Brooklyn's The Golden Grass does feels like happenstance, and though their classic-styled boogie is imbued with a vibrant, friendly positive energy, there's an underlying meticulousness in their arrangements and in their songwriting that came further into focus on Coming Back Again, their sophomore release 2014's self-titled debut (review here). A more progressive take showed itself in "Reflections" and "Down the Line," and taken in combination with the bookends "Get it Together" and "See it Through," the three-piece stood on ground that was even more their own than on the first record, striking a careful balance between the willful exploration of new elements and the outright need for tracks to directly engage their listeners with catchy hooks and upbeat vibes. They did it. Expect continued growth.
21. Curse the Son, Isolator
Released by Snake Charmer Coalition and The Company Records. Reviewed March 1.
For something so awash in fuzz, so nodding in its rhythms, so let's-push-the-vocals-back-under-this-huge-awesome-fucking-riff, Curse the Son's Isolator was also remarkably clearheaded in its purposes. With the added vocal harmonies of "Callous Unemotional Traits," the far-off spaces of "Hull Crush Depth" and the stoner metal despair of "Aislamiento," the Connecticut three-piece of guitarist/vocalist Ron Vanacore, capital-'d' Drummer Michael Petrucci and newcomer bassist Brendan Keefe drew a direct, intentional line to sometimes-grueling (hello, "Sleepwalker Wakes") weighted tonality and found justification for their largesse in its own being. Like 2012's Psychache (review here), I expect to be returning to Isolator over a longer term than this single year of release.
20. Neurosis, Fires Within Fires
Released by Neurot Recordings. Reviewed Sept. 21.
I feel like I need to explain myself here. Make no mistake, Neurosis' Fires Within Fires is among the year's most accomplished offerings. There's just about no way it wouldn't be. So why not top 10? Top five? It's a question of timing. With the long-running post-metal progenitors, it's always a longer digestion period. It was about two years before 2012's Honor Found in Decay (review here) really sunk in, and I expect Fires Within Fires will work similarly over the greater term. Maybe a little guilt on my part for the disparity between its quality and its placement, but rest assured, Neurosis remain among the most imperative bands walking the earth, and as they took on the full brunt of 30 years of unmitigated progression through Fires Within Fires, they were no less brazen in pushing themselves creatively than they've ever been.
19. Conan, Revengeance
Released by Napalm Records. Reviewed Jan. 19.
Though the narrative of Conan has remained largely unchanged since their inception — hack, slash, kill, riff — and they still bask in nigh-on-unmatched tonal slaughter, their third full-length brings a few key developments. Perhaps most notable from opener "Throne of Fire" onward is the vocal interplay between guitarist/founder Jon Davis and bassist/longtime-engineer Chris Fielding, who joined after 2014's Blood Eagle (review here). Adding Fielding's deeper growls allowed Davis to subtly move into a cleaner shout, and the emergent dynamic between them made Revengeance a decidedly expanded affair compared to Conan's past work. Adding drummer Rich Lewis to the mix was no minor shift either, and as much as Conan had already established their sheer dominance, they also sounded refreshed and set themselves up to keep growing.
18. Baby Woodrose, Freedom
Released by Bad Afro Records. Reviewed Aug. 18.
Some records just feel like gifts, and though many of its lyrical positions were cynical — "Reality," "21st Century Slave," "Mind Control Machine," "Red the Sign Post," etc. — Freedom marked the 15th anniversary of Danish garage-psych rockers Baby Woodrose with dripping lysergic aplomb, reminding some four years after their last LP, 2012's Third Eye Surgery (review here), that bandleader Lorenzo Woodrose is unparalleled when it comes to manifesting his take on the psychedelic victories of 13th Floor Elevators and classic-era Hawkwind — firmly at home levitating on the edge of time. Its swirl and underlying foundation of songwriting, its Richie Havens cover title-track, and its sprawling interstellar "Termination" were like a welcome check-in from another dimension, and I only hope it's not four years before Woodrose sends the next signal. Earth needs this band.
17. Geezer, Geezer
Released by Ripple Music and STB Records. Reviewed Nov. 10.
I'm not going to discount the shuffle of "Sunday Speed Demon" or sleeze of "Sunday Speed Demon," but where Geezer's self-titled third full-length really showed how far the New York heavy blues-psych trio have come was in its extended midsection jams, "Sun Gods," "Bi-Polar Vortex" and "Dust," each of which showed a distinct approach while feeding into an engaging flow between them, offering a blend of trailmarker hooks as they drifted into realms of organic chemistry previously uncharted by the band. The slow-motion swing of "Hangnail Crisis," raucous push of "Superjam Maximus" and concluding bounce of "Stoney Pony" brought them back down to earth to finish out with a symmetry to the album's opening, but Geezer kept a collective hand on the controls the whole voyage and when they landed, it was an arrival indeed, and very much what their two previous records were building toward.
16. EYE, Vision and the Ageless Light
Released by The Laser's Edge. Reviewed Nov. 17.
Beautifully experimental with its 27-minute finisher "As Sure as the Sun," EYE's Vision and the Ageless Light seemed throughout its whole 46-minute run to be executing a cohesive vision in its synth-soaked progressive textures. Between the intro "Book of the Dead" and the subsequent "Kill the Slavemaster," "Searching," "Dweller of the Twilight Void" and the already-noted closer, each piece had something different to offer that added to the full impact of the whole, and with guitarist Jon Finely and bassist Michael Sliclen joining founding drummer/vocalist Brandon Smith and synth/Mellotron/Moog-ist Lisa Bella Donna (also vocals and acoustic guitar), EYE added to the scope of 2013's Second Sight (review here) and found a place for themselves where prog complexity didn't need to come at the expense of memorable songwriting and spaced-out vibes. An absolute joy, front to back.
15. Fatso Jetson, Idle Hands
Released by Heavy Psych Sounds. Reviewed Oct. 3.
Even Fatso Jetson themselves would probably have to admit that six years — even a six years that saw several splits, singles, etc. — was too long between albums. Fortunately, Idle Hands saw the desert rock forebears in top form as regards their quirk-fueled songwriting, angular approach to punk and inimitable groove. Following 2010's Archaic Volumes (review here) was no easy task, but with additional depth to the material from the contributions of guitarist Dino von Lalli — son of founding guitarist/vocalist Mario Lalli and nephew of founding bassist Larry Lalli — guest spots from his sister Olive Lalli as well as Sean Wheeler (the latter moves second cut "Portuguese Dream" into high-echelon strangeness) and the ever-propulsive drumming of Tony Tornay, Fatso Jetson were both all over the place and right at the core of where they most ought to be sonically. At 56 minutes, it hardly seemed long enough.
14. Hexvessel, When We are Death
Released by Century Media. Reviewed Feb. 5.
Each song was like a different persona the band adopted momentarily, whether it was the Bowie-goes-proto-goth-prog of organ-ic opener "Transparent Eyeball" or the grim pastoralia of "Mirror Boy" and the condemnations/proclamations of "Drugged up on the Universe," but wherever Hexvessel went on their third full-length and Century Media debut, When We are Death, that unifying theme went with them. Death. It was everywhere in the Finland-based genre-benders' deeply varied approach, though its presence made their material in no way off-putting, and in the case of cuts like "Cosmic Truth" or the later "Mushroom Spirit Doors," not even dark, and as it drew the tracks together despite working in different sounds and style, it became apparent that When We are Death worked because of a universal quality in songwriting and presentation allowing for such drastic shifts without any risk of losing the audience.
13. Zun, Burial Sunrise
Released by Small Stone Records. Reviewed Feb. 16.
Yawning Man guitarist Gary Arce — a key figure in the development of desert rock and a player of unmatched tone, period — had quite a year, between Zun's Burial Sunrise, his main outfit and his collaboration with Fatso Jetson vs. HifiKlub, but it was the dreamscape drift of songs like "Come Through the Water" and "All that You Say I Am" as well as the subtle hooks of "Into the Wasteland" and "All for Nothing" that, for me, made this the highlight. Sure, bringing in vocalists Sera Timms (Ides of Gemini, Black Mare) and John Garcia (ex-Kyuss, Slo Burn, Vista Chino, etc.) and having them swap back and forth between the tracks didn't hurt either, but the wash of ethereal presence in Arce's guitar was an excellent showcase for his patience and improvisational sensibilities, and the spaces Burial Sunrise covered seemed to have an infinite horizon all their own. Will hope for a follow-up, will hope Garcia and Timms return, and will hope for a duet.
12. Elephant Tree, Elephant Tree
Released by Magnetic Eye Records. Reviewed Jan. 29.
One had reasonably high expectations for the debut full-length from London's Elephant Tree after their 2014 EP Theia (review here) so deftly blended spacious, sitar-laced heavy psychedelic rock with more visceral sludge impulses — a difficult mix to pull off — but I think it would've been impossible to see the quality of this self-titled outing coming in any substantive way. Gone were the screams, in was a depth of tone and nigh-on-perfect tempo — see "Dawn" and "Aphotic Blues," as well as the acoustic "Circles" between them — and where some first albums have a kind of tentative, feeling-it-out vibe, guitarist/vocalist Jack Townley (interview here), bassist/vocalist Peter Holland, drummer Sam Hart and sitarist/vocalist/engineer Riley MacIntyre took utter command of the proceedings. They won't have the element of surprise working for them next time, but as Elephant Tree made perfectly clear in its biggest surprise of all, neither do they need it.
11. Mos Generator, Abyssinia
Released by Listenable Records. Reviewed July 12.
If you were to ask me to summarize in one word the last four-plus years of Mos Generator's tenure, since their reactivation with 2012's Nomads (review here) and the subsequent lineup changes and hard-touring that followed 2014's Electric Mountain Majesty (review here), I'd say "go." I might say it three times: Go-go-go. One of three LP-ish offerings out this year, the studio album Abyssinia embodied this ethic as it started with immediate momentum on "Strangest Times" and "You've Got a Right" and seemed to push itself into new ground as it went. Guitarist/vocalist/founder Tony Reed brought heavy boogie to bear at a frenetic clip, but Abyssinia offset its early mania with later progressive stylization on "There's No Return from Nowhere," "Time and Other Thieves" and harmonized closer "Outlander," so that in addition to representing their furious creativity, it also brought them to places they've never been before in sound.
10. Slomatics, Future Echo Returns
Released by Black Bow Records. Reviewed June 29.
In some ways, Future Echo Returns was simply picking up where Belfast's Slomatics left off with 2014's Estron (review here), as heard on the riff of lead-in track "Estronomicon," but as the third in a purported trilogy following that record and 2012's A Hocht, it also brought the tonecrushing three-piece to Skyhammer Studio to work with producer Chris Fielding (Conan) and presented a linear storyline that, while rife with standout moments in cuts like "Electric Breath," the ambient "Ritual Beginnings" and ultra-catchy "Supernothing," found a genuine sense of resolution in the finale "Into the Eternal" that spoke to the scope the entire work was meant to represent — not just itself, but an entirety spanning three albums. Not a minor feat, but what also made Future Echo Returns so resonant was how well the material stood on its own, so that even without the narrative context, it was immersive, hypnotic and unbridled in its heft.
9. Wo Fat, Midnight Cometh
Released by Ripple Music. Reviewed April 21.
After two landmarks issued by Small Stone in 2014's The Conjuring (review here) and 2012's The Black Code (reviews here and here), Texas forerunners of riff Wo Fat gave a concise rundown of their appeal in the six-track Ripple debut and sixth LP overall, Midnight Cometh. Their ongoing development as found them bringing together a two-sided personality of memorable songs and open, fluid jams, and cuts like "There's Something Sinister in the Wind," "Of Smoke and Fog," "Three Minutes to Midnight" and "Nightcomer" emphasized the next stage of this process, while the shuffling "Riffborn" and swaggering blues rock of "La Dilleme de Detenu" gave listeners a chance to touch ground every now and again. Over the last two-plus years, Wo Fat have become a point of influence for other, particularly American, acts — see labelmates Geezer — and Midnight Cometh assured that will be the case going forward too; a status well-earned.
8. King Buffalo, Orion
Released by Stickman Records. Reviewed July 29.
Offered up this summer as a limited self-release and picked up by no less than Stickman Records (Motorpsycho, Elder), Orion might be the most molten inclusion on this list. It's also my pick for 2016 Debut of the Year, and to hear cuts like "She Sleeps on a Vine," "Kerosene," the sprawling closer "Drinking from the River Rising," or even just to take the whole record front-to-back, which was clearly how the band intended it be experienced, there's just about no competition in that regard that stands up. The Rochester, NY, three-piece showed marked promise on their 2013 demo (review here) and 2015 split with Lé Betre (review here), but the listenability of Orion — which earned every single one of its repeat visits — made it a triumph on a different level entirely, and distinguished King Buffalo as a formidable presence in the sphere of US heavy psychedelia, fostering a sound no less soulful for its outward cosmic reach and to-be-measured-in-lightyears scale of potential.
7. Wight, Love is Not Only What You Know
Released by Fat and Holy Records, Kozmik Artifactz, Import Export Music and SPV. Reviewed Sept. 7.
German outfit Wight answered significant anticipation on their third album, Love is Not Only What You Know, some four years after 2012's Through the Woods into Deep Water (review here) and undertook a significant evolution in sound. A transition from a trio to a four-piece and adding a strong current of funk to their heavy psych groove and boogie resulted in cuts like "The Muse and the Mule," the jammed-out "Kelele" and "The Love for Life Leads to Reincarnation," which were as danceable as they were nod-ready, and when complemented by shorter classic rockers like "Helicopter Mama" and "I Wanna Know What You Feel" (still plenty funky) and the Eastern-tinged interlude "Three Quarters," gave Love is Not Only What You Know scope to match its ass-shaking encouragement. It was a spirit unto itself among 2016 releases, but ultimately, the key to understanding the record was right there in the title: It was all about love, and wherever Wight went in a given track, they never lost sight of that.
6. Greenleaf, Rise Above the Meadow
A decade and a half after 2001's Revolution Rock (discussed here), Sweden's Greenleaf most embodied that ethic with Rise Above the Meadow, their sixth long-player and Napalm Records debut. 2014's Trails and Passes (review here) represented the key step of founding guitarist Tommi Holappa (interview here) bringing vocalist Arvid Johnsson into the lineup, but Rise Above the Meadow built exponentially on what that album achieved, bolstered by work as a touring band and a revitalized songwriting process heard in "Howl," "A Million Fireflies," "You're Gonna be My Ruin," the stomping "Golden Throne" and "Tyrants Tongue," among others. I refuse to discount the quality of Trails and Passes, 2012's Nest of Vipers (review here) or 2007's landmark Agents of Ahriman (review here), but as Greenleaf shifted toward a style more reminiscent of Holappa's later output with Dozer, they also seemed to stake their claim on the forefront of European heavy rock and roll, which was just waiting for them to do so.
5. Brant Bjork, Tao of the Devil
Released by Napalm Records. Reviewed Sept. 15.
Perhaps the most believable lyric of 2016 was the opening line of leadoff cut "The Gree Heen" from Brant Bjork's Tao of the Devil: "I got all that I need. I got the gree-heen." From the prominent pot leaf on the cover to that single clause — which set the tone for that song's mega-nod as much as everything that followed in the boogie of "Humble Pie" and "Stackt," the so-laid-back-it's-almost-unconscious title-track and the longer-form explorations of "Dave's War" and the wah'ed-out "Evening Jam" — the inimitable Bjork seems to have embraced the role of stoner guru and the Godfather of Desert Rock. Tao of the Devil was his second release through Napalm behind 2014's Black Power Flower (review here), which introduced the Low Desert Punk Band, and far from hanging its hat on the man's historical accomplishments from his days in Kyuss, Fu Manchu, Che, Vista Chino, etc., the 50-minute eight-tracker came fueled by the soul most typified in Bjork's solo catalog, which it's increasingly easy to argue is his greatest contribution to the desert aesthetic. Definitely in his wheelhouse, but what a wheelhouse.
4. Asteroid, III
Released by Fuzzorama Records. Reviewed Oct. 21.
What a relief it was to have Asteroid back, and what a relief it was to have III arrive some six years after II (review here) and find the Örebro, Sweden, trio's certified-organic chemistry undulled by that long stretch. The songs — "Pale Moon," "Last Days," "Til Dawn," "Wolf and Snake," "Silver and Gold," "Them Calling," "Mr. Strange" — there wasn't a miss in the bunch, and in addition to the reignited craftsmanship, III made clear a progression as players and the intent to move forward from guitarist/vocalist Robin Hirse, bassist/vocalist Johannes Nilsson and drummer Elvis Campbell (since replaced by Jimmi Kolscheen), so that the material didn't just let listeners know Asteroid was a band again after having unceremoniously faded out for a half-decade, but gave a signal that perhaps they were just getting started. One can only hope that turns out to be the case, but either way, III felt like a reward dolled out to their fanbase after a long absent stretch, and one that, like II and their 2007 self-titled debut (discussed here) before it, will reverberate its echoes for years to come. Hands down 2016's most welcome return.
3. Gozu, Revival
Released by Ripple Music. Reviewed May 19.
Though it would carry the context of its scorching opener "Nature Boy" with it for the duration and, accordingly, hit with a more intense feel than its 2013 predecessor, The Fury of a Patient Man (review here), Gozu's fourth album overall and Ripple label debut was a kick in the ass on more than just that one level. It found the Boston foursome with the finally-solidified lineup of vocalist/guitarist Marc Gaffney, guitarist Doug Sherman, bassist Joe Grotto and drummer Mike Hubbard, and while one could argue they still wound up under the banner of a heavy rock band, that became happenstance to the songs themselves. That is, even more than The Fury of a Patient Man or 2010's Locust Season (review here), Gozu came across as writing not to style, but to their own impulses, as demonstrated in "Big Casino," the echoing soul of "Tin Chicken" and shuffle-thrust of "Oldie," and as they moved beyond their initial swath of influence into this individualized sonic persona, they reaped the benefits of the locked-in lineup and a process of craft that never sounded so purposeful. Revival was indeed typified by its vitality, but it was also the sound of a band maturing as a unit, becoming who they were meant to be, and there is almost nothing more exciting than that for a single album to represent. Plus, it had a song called "By Mennen," and, you know, references.
2. Mars Red Sky, Apex III (Praise for the Burning Soul)
Released by Listenable Records. Reviewed Feb. 24.
It was unreasonable to expect the third full-length from Bordeaux, France, trio Mars Red Sky to surpass 2014's Stranded in Arcadia (review here) and the progressive crux that album brought to the warm tones and sweet melodicism of their 2011 self-titled debut (review here), but Apex III (Praise for the Burning Soul) reinforced the elements that worked so well on previous outings while pushing inarguably onto what the band seemed to know was "Alien Ground" if the title of their intro was anything to go by. More over, it did so with a natural fluidity and poise that were as striking as they were encompassing in sound. Tying to earlier 2016's Providence EP (review here) in concept and execution through that intro and the title-track following it, Apex III presented the to-date pinnacle of Mars Red Sky's growth in songs like "The Whinery," "Mindreader," the tear-inducing "Under the Hood," the swing-happy "Friendly Fire," the willful atmospheric crash of closer "Prodigal Sun" — each one a crucial advancing step from the trio of guitarist/vocalist Julien Pras, bassist/vocalist Jimmy Kinast and drummer Mathieu "Matgaz" Gazeau — and brilliantly fed them one into the other, so that in addition to the standout impressions of each, there developed a personality to the whole span of the album; a world of Mars Red Sky's own creation, where they dwelt for what seemed too short a time before returning to earth and on from here to who knows where next.
1. SubRosa, For this We Fought the Battle of Ages
Released by Profound Lore. Reviewed Aug. 26.
Most of all, For this We Fought the Battle of Ages was fearless. For their fourth album, Salt Lake City's SubRosa adapted themes from 1924's We by Yevgeny Zamyatin, which laid out a futuristic dystopia wherein all identity is subsumed to the state and even love is outlawed when not properly sanctioned. This framework, obscure if influential, gave guitarist/vocalist Rebecca Vernon, violinist/vocalist Sarah Pendleton, violinist/backing vocalist Kim Pack, bassist/vocalist Levi Hanna, drummer/engineer Andy Patterson (formerly of Iota, among others), and a range of other contributors, a space in which to explore gender and LGBT issues across the six included tracks, and from the opening build and crush of the chorus to "Despair is a Siren" through the depiction of privilege in "Wound of the Warden," the 97-second Italian-language ballad "Il Cappio" (translated: "the noose") and into the gut-wrenching finale of "Troubled Cells," their musical accomplishment was no less stunning than lyrics like, "Isn't it good to be acquainted with darkness?/To caress it gently/To slit its throat," from "Black Majesty." Tense in its quiet stretches, harmonized vocally, given orchestral presence through its use of strings, flute, French horn, and so on, For this We Fought the Battle of Ages worked fluidly in what for most acts would be a contradictory modus of careful, meticulous arrangements and raw, emotional realism. No matter how deep it dove — and by the time identity was being erased and the state was taking control of the body on "Killing Rapture," it was diving pretty deep — SubRosa never lost their sense of poise, so that the defiance in the last movement of "Troubled Cells" in which Heaven itself is rejected with the clearest of justifications, "Paradise is a lie if you're not by my side," the band seemed to stand as straight and tall as their multi-tiered righteousness would warrant. But even if one took For this We Fought the Battle of Ages with politics aside, its achievement in marrying post-metallic structures, gothic texture and progressive atmospherics was on a plane of its own making, operating under its own rules and in its own definitive space. Albums like it do not happen every year, and forward motion for genre as a whole is rarely so visible as it was in this special offering, which seems only fair to regard as a landmark for the band and anyone whose ears and hearts it touched.
The Next 20
Like any good Top 30, mine goes to 50. Here is the next batch:
31. Blaak Heat, Shifting Mirrors
32. Truckfighters, V
33. West, Space & Love, Vol. II
34. Seedy Jeezus with Isaiah Mitchell, Tranquonauts
35. Yawning Man, Historical Graffiti
36. Causa Sui, Return to Sky
37. Vokonis, Olde One Ascending
38. Hotel Wrecking City Traders, Phantomonium
39. The Wounded Kings, Visions in Bone
40. It's Not Night: It's Space, Our Birth is but a Sleep and a Forgetting
41. Beastwars, The Death of all Things
42. Naxatras, II
43. Holy Grove, Holy Grove
44. Worshipper, Shadow Hymns
45. Wretch, Wretch
46. Colour Haze, Live Vol. I: Europa Tournee 2015
47. Zaum, Eidolon
48. Bellringer, Jettison
49. Young Hunter, Young Hunter
50. Mammoth Weed Wizard Bastard, Y Proffwyd Dwyll
From the kinetic desert artistry of Blaak Heat to Mammoth Weed Wizard Bastard's ethereal synth-laden doom, there are more than a few essentials here. I've never before done a year-end list that had so many releases on it, but my motivation in doing so this time around couldn't have been simpler: They were simply too good and had too much to offer to leave out. It would've been an oversight to do so.
Even a Top 50 fails to grasp the full scope of what 2016 brought about musically, so here are even more, alphabetically:
Ancient Warlocks, II
Black Moon Circle, Sea of Clouds
Sergio Ch., Aurora
Lamp of the Universe, Hidden Knowledge
Mondo Drag, The Occultation of Light
Øresund Space Collective, Visions Of…
-(16)-, Lifespan of a Moth
Spidergawd, III
The Well, Pagan Science
Wovenhand, Star Treatment
And if that's still not enough, here are 60-plus more names who shouldn't be left out of the discussion, also alphabetically:
Akris, Atala, Atomikylä, Backwoods Payback, Beastmaker, BigPig, Black Cobra, Black Lung, Blood Ceremony, Blues Pills, Bright Curse, Bus, Dee Calhoun, Captain Crimson, Child, La Chinga, Church of Misery, Conclave, Cough, Devil to Pay, Domkraft, Dot Legacy, Electric Citizen, Estoner, Eternal Elysium, Fatso Jetson & Gary Arce vs. Hifiklub, Fox 45, Goatess, Goblin Cock, Graves at Sea, Heavy Temple (they'll be back on next year's list), High Fighter, Holy Serpent, Hotel Wrecking City Traders, Inter Arma, Joy, Kaleidobolt, Khemmis, King Dead, Lord, Lord Vicar, Merchant, Mirrors for Psychic Warfare, Helen Money, Monkey3, Moon Coven, Mother Mooch, Necro, New Keepers of the Water Towers, T.G. Olson, Oranssi Pazuzu, Pooty Owldom, Russian Circles, Salem's Pot, Samavayo, Seremonia, Skuggsjá, Sourvein, Spirit Adrift, Stone Machine Electric, Suma, Surya Kris Peters, Swans, Throttlerod, Virus, Wasted Theory, Wretch, and Zaum.
In case none of the above has made it clear, I'll just say flat out that 2016 has been an amazing year for music, and that every time I feel like maybe underground heavy has hit a wall and there's nowhere left for it to go, sure enough about three minutes later another record shows up that slaps me in the face with a reminder of just how wrong that notion is.
If you're still reading — how could you be? — thank you so much for your incredible support throughout 2016 and all the years The Obelisk has been in progress. I already know that 2017 is going to bring some incredible music as well, but that's another list for another time, so I'll just say again how much I appreciate your being a part of this ongoing project, how much it means to me to have you here. Thank you, thank you, and thank you.
And please, if there's anything I forgot, got wrong, misspelled, or if you just think I used the word "breadth" too many times, please let me know about it in the comments.
One more time: Thank you.
Tags: 1000mods, 1000mods Repeated Exposure To, Abyssinia, Apex III (Praise for the Burning Soul), Asteroid, Asteroid III, Atacama, Austin, Australia, Baby Woodrose, Baby Woodrose Freedom, Bad Afro Records, Bad Omen Records, Beastwars, Beastwars The Death of all Things, Beelzefuzz, Beelzefuzz II The Righteous Bloom, Bellringer, Bellringer Jettison, Blaak Heat, Blaak Heat Shifting Mirrors, Black Bow Records, Black Rainbows, Black Rainbows Stellar Prophecy, Bordeaux, Borlange, Borracho, Borracho Atacama, Boston, Brant Bjork, Brant Bjork and the Low Desert Punk Band, Brant Bjork Tao of the Devil, Burial Sunrise, California, Canada, Candlelight Records, Causa Sui, Causa Sui Return to Sky, Center of the Maze, Century Media Records, Chief, Chiliomodi, Cincinnati, Columbus, Comet Control, Comet Control Center of the Maze, Coming Back Again, Conan, Conan Revengeance, Connecticut, Copenhagen, Curse the Son, Curse the Son Isolator, Dallas, Darmstadt, Denmark, Doomentia Records, Droids Attack, Droids Attack Sci-Fi or Die, Egypt, Egypt Endless Flight, Eidolon, El Paraiso Records, Elephant Tree, Elephant Tree Self-titled, Endless Flight, Eye, EYE Vision and the Ageless Light, Fargo, Fatso Jetson, Fatso Jetson Idle Hands, Finland, Fires Within Fires, Foghound, Foghound The World Unseen, For this We Fought the Battle of Ages, France, Freedom, Future Echo Returns, Fuzzorama Records, Geezer, Geezer Self-titled, Germany, Goatess, Goatess II Purgatory Under New Management, Gozu, Gozu Revival, Greece, Greenleaf, Greenleaf Rise Above the Meadow, Heavy Psych Sounds, Hexvessel, Hexvessel When We are Death, Holy Grove, Holy Grove Self-titled, Hotel Wrecking City Traders, Hotel Wrecking City Traders Phantomonium, I Hate Records, II, II Purgatory Under New Management, II The Righteous Bloom, III, Indiana, Indianapolis, Ireland, Isaiah Mitchell, Isolator, It's Not Night It's Space Our Birth is but a Sleep and a Forgetting, It's Not Night: It's Space, Italy, Jettison, King Buffalo, King Buffalo Orion, Kozmik Artifactz, Lay Bare Recordings, Listenable Records, London, Los Angeles, Love is Not Only What You Know, Madison, Magnetic Eye Records, Mammoth Weed Wizard Bastard, Mammoth Weed Wizard Bastard Y Profwydd Dwyll, Mars Red Sky, Mars Red Sky Apex III (Praise for the Burning Soul), Maryland, Massachusetts, Melbourne, Midnight Cometh, Mos Generator, Mos Generator Abyssinia, Napalm Records, Naxatras, Naxatras II, Neurosis, Neurosis Fires Within Fires, Neurot Recordings, New Haven, New York, New Zealand, North Dakota, Norway, Oakland, Ohio, Olde One Ascending, Ontario, Oregon, Orion, Our Birth is but a Sleep and a Forgetting, Ozium Records, Palm Springs, Phantomonium, Port Orchard, Portland, Profound Lore Records, Repeated Exposure To, Restricted Release, Return to Sky, Revival, Ripple Music, Rise Above the Meadow, Rochester, Rock is Hell Records, Rome, Salt Lake City, Sci-Fi or Die, Seedy Jeezus, Seedy Jeezus with Isaiah Mitchell, Seedy Jeezus with Isaiah Mitchell Tranquonauts, self-titled, Shadow Hymns, Shifting Mirrors, Slomatics, Slomatics Future Echo Returns, Small Stone Records, Snake Charmer Coalition, Space Rock Productions, Spidergawd, Spidergawd III, STB Records, Stellar Prophecy, Stickman Records, SubRosa, SubRosa For this We Fought the Battle of Ages, Svart Records, Sweden, Talmud Beach, Talmud Beach Chief, Tao of the Devil, Tee Pee Records, Texas, The Death of all Things, The Golden Grass, The Golden Grass Coming Back Again, The Laser's Edge, The World Unseen, The Wounded Kings, The Wounded Kings Visions in Bone, Toronto, Tranquonauts, Trondheim, Turku, UK, Utah, Valley of the Sun, Valley of the Sun Volume Rock, Vision and the Ageless Light, Visions in Bone, Vokonis, Vokonis Olde One Ascending, Vol II, Volume Rock, Wales, Washington, Washington D.C., West Space and Love, West Space and Love Vol II, When We are Death, Wight, Wight Love is Not Only What You Know, Wisconsin, Wo Fat, Wo Fat Midnight Cometh, Worshipper, Worshipper Shadow Hymns, Wretch, Wretch Self-titled, Y Profwydd Dwyll, Yawning Man, Yawning Man Historical Graffiti, Young Hunter, Young Hunter Self-titled, Zaum, Zaum Eidolon, Zun, Zun Burial Sunrise
Brant Bjork and the Perils of "Luvin'"
Posted in Bootleg Theater on October 24th, 2016 by JJ Koczan
Who the hell's gonna have a problem taking a couple minutes out of their day to watch Brant Bjork roll around the desert in a primo boogie van with a soundtrack featuring a choice cut from his latest album? Obviously not me. "Luvin'" is the second video to come from Tao of the Devil (review here), which is out now on Napalm Records, behind one for "Stackt" (posted here), and it works on much the same theme vis a vis Bjork being in the desert, going to a bar with a shorty-shorts ladyfriend and ensuing whatnot. In this case, said ladyfriend swipes his van and the relationship would seem to come to an unceremonious conclusion — perhaps in part because of her propensity for littering that beautiful landscape with his maps — but Bjork gets his in the end, reclaiming the van and driving off into the sunset.
All told, it's a cool track and a good bit of fun and I don't think it aspires to be anything more than that or necessarily needs to. As much as Bjork has become an ambassador and figurehead for California's desert rock legacy over the last several years — and even more since hooking up with Napalm before issuing Black Power Flower (review here) in 2014 — he's maintained a level of cool to his persona that I think extends both to the music he makes and the visuals that come with it. Shit, at this point, you don't need me to tell you to check out Tao of the Devil. If you haven't already done so, that's probably a conscious decision on your part and almost certainly your loss. Imagine being 17 years out from your first solo record and coming around with some of your best work yet. Really. Take a second and think about that. However you feel about the style or whatever, the dude is doing something special.
That's my spiel. Brant Bjork and the Low Desert Punk Band head back to Europe next month, hooking up with Italy's Black Rainbows (ambassadors in their own right) for a couple weeks of touring. You'll find those dates listed under the video below.
Brant Bjork, "Luvin'" official video
The wait is finally over, as BRANT BJORK has released his brand new masterpiece! Tao Of The Devil is more focused than its predecessor Black Power Flower and boasts a more song-oriented and groovy stoner sound, with a healthy dose of 70s style greatness.
Get your copy of Tao Of The Devil HERE.
Low Desert Punk Brant Bjork, king of the sweetest flow and forever kissed by the burning sun of Southern Cali will be hitting the road all over Europe quite soon. Find all dates listed below:
BRANT BJORK European tour:
03.11.16 DE – Osnabrück / Bastard Club
04.11.16 NL – Deventer / Burger Weeshuis
05.11.16 DE – Erfurt / Stadtgarten
06.11.16 BE – Hasselt / Mod
07.11.16 UK – London / Garage
08.11.16 FR – Paris / Divan Du Monde
09.11.16 DE – Wiesbaden / Schlachthof
10.11.16 DE – München / Backstage
11.11.16 AT – Graz / PPC
12.11.16 GR – Athen / An Club
14.11.16 AT – Wien / Arena
15.11.16 CH – Zürich / Rote Fabrik
16.11.16 DE – Karlsruhe / Substage
17.11.16 DE – Köln / Live Music Hall
18.11.16 DE – Dresden / Beatpol
19.11.16 DE – Berlin / Columbia Theater
20.11.16 DE – Hamburg / Logo
Brant Bjork at Napalm Records
Tags: Brant Bjork, Brant Bjork and the Low Desert Punk Band, Brant Bjork Tao of the Devil, California, Napalm Records, Palm Springs, Tao of the Devil
Brant Bjork, Tao of the Devil: Desert Iconic (Plus Lyric Video Premiere)
Posted in audiObelisk, Reviews on September 15th, 2016 by JJ Koczan
[Click play above to watch a lyric video premiere for Brant Bjork's 'The Gree Heen.' Tao of the Devil is out Sept. 30 on Napalm Records.]
Brant Bjork didn't invent desert rock, but there's nobody who more closely epitomizes it or whose work has become so synonymous with it. Whether one is considering his pioneering work in Kyuss and Fu Manchu, the stylistic exploration undertaken with Ché or his 17-year solo career, which has undoubtedly become his greatest contribution at this point, in songwriting, style and persona, Bjork is a singular icon and a touchstone of the desert underground — by now a worldwide phenomenon long grown out of the confines of its initial Southern California home.
His second through Napalm Records after 2014's righteous Black Power Flower (review here), the newest outing, Tao of the Devil, is also the second to feature the backing of The Low Desert Punk Band, with guitarist Bubba DuPree (formerly of Void), bassist Dave Dinsmore (Ché) and drummer Ryan Güt (who makes his debut here replacing Tony Tornay), and it presents eight songs/50 minutes in a spirit of celebrating the laid back, soulful groove of which Bjork has long since established himself a master, while tightening the songwriting some from the last outing, so that tracks like opener "The Gree Heen" — with a roll worthy of Goatsnake — and "Luvin'" stand out early and the later section of the record gives way to longer-form jamming on "Dave's War" and "Evening Jam," which run nine and 13 minutes, respectively, and are smartly divided with the ultra-languid mega-vibe of the title-track between them.
Counting outings with The Operators (not quite a full band, but still some other players involved), The Bros. and The Low Desert Punk Band, as well as those solely under his own name — the most recent of which was 2010's Gods and Goddesses (review here) — Tao of the Devil is upwards of the 11th full-length to bear Bjork's name, and longtime fans will to some extent know what's in store.
Hard to imagine seeing that as anything other than cause for jubilation, and be it the classic '70s boogie of "Humble Pie" that takes hold after the massive stoner-is-as-stoner-does riff of "The Gree Heen" or the in-conversation-with-the-blues slow-motion shuffle of "Biker No. 2" later on, which gets a sleek pulled-string solo as it moves into its second half and boasts one of the album's many resonant hooks, if it's a familiar form, it's one still changing and progressing as well.
In that way, "The Gree Heen" sets the tone for a lot of what follows it, in that it's instantly memorable, though its thicker tones are actually something of an aberration in themselves and go unmatched throughout, despite a more aggressive lyric and rhythmic push on "Dave's War" before the jam takes hold — marked out by lines like, "No ass left to fuck/No cock left to suck/Well you must be on top" — but if it's the songwriting that stands out across Tao of the Devil as much as Bjork himself, the songwriting feels like it's more than up to that considerable task.
I've jumped around a bit in the tracklisting to this point, but it's also worth pointing out the flow from one song into the next and just how easy Bjork and company make it to traverse the album from to back. From "The Gree Heen" through the funk hypnosis of "Evening Jam," it's a collection that speaks directly to its audience with a complete lack of pretense about needing anything more than a good time and maybe to crash for a couple days if that's cool? Won't be more than a couple days, I swear? Awesome. You're the best.
To the point, the early personality that comes through in "Humble Pie," "Stackt" (video posted here) and "Luvin'" digs deep into quality, classic songwriting after the opener's larger push and weedian anthemic — the first lines, "I got all that I need/I got the gree-heen," tell the tale — and it's probably fair to put "Biker No. 2" in that category as well to comprise an A-side that hits its target head-on without fail. I don't actually know where the vinyl split is, but it's likely with "Dave's War" leading off side B, and between that track, "Tao of the Devil" and "Evening Jam," which by the time it hits nine minutes in has morphed into minimalist progressive bass noodling, only to surge forward again in grander-finale fashion — still pretty laid back, which works — side B opens wide from the crisp delivery of Tao of the Devil's first half, only really letting go when it wants to as it jams out toward natural-sounding purposes.
"Evening Jam" may just be that — the jam they recorded that evening — but it's also the perfect closer after the moody, bluesy title-cut, and the liquefied transition from "Dave's War" to it and into the wah-twang intro of the closer isn't to be underappreciated. Not that Bjork needed to demonstrate he knows how to put a record together, but such stretches, particularly when paired with the depth of songwriting, organic tones and spirit of the earlier tracks, only serve to reinforce his position as the Godfather of Desert Rock.
Tao of the Devil's greatest victory might be in how much of Bjork's own it seems to be even as it expands that definition from its predecessor, and its honesty is crucial to that success. It's a rare figure who earns that kind of hyperbole, but it's even rarer to find someone who 17 years on from their first LP is continuing to grow and refine their craft in the way Bjork does on Tao of the Devil, adding to his signature approach here and reveling in a full-band dynamic there as he presents yet another piece in his catalog that should be considered essential to longtime fans and novices alike. Very clearly one of 2016's best albums.
Brant Bjork Announces Fall European Tour; Streams New Track "Dave's War"
Posted in Whathaveyou on August 1st, 2016 by JJ Koczan
Uh, hey Europe. Go see Brant Bjork. That's probably not something you really need me to tell you, Entire Continent of Europe, or one assumes Brant Bjork wouldn't be headed over in the first place, but I will anyway. His new album, Tao of the Devil, is fucking awesome, has seriously screwed up my under-construction Albums of the Year list, and will be out Sept. 30. For a sampling of the kind of jammy finery with which Brant Bjork and the Low Desert Punk Band get down this round, they've got the new song "Dave's War" streaming now in its nine-minute glory. Go on and dig in, whatever continent you might live on. Shit's all imaginary anyway. Borders and whatnot.
The impending run is presented by Sound of Liberation, who sent the following info along the PR wire:
Brant Bjork joins the SOL roster! Album & Tour coming this fall
Low Desert Punk Brant Bjork is back on the SOL Roster!! The king of the sweetest flow and forever kissed by the burning sun of Southern Cali comes to Europe in November to promote his amazing new album "Tao of the Devil". The release date for the new album is set for September 30th via Napalm Records. Pre-orders can be done here! Check-out the first video here, check-out the tourdates below and don´t miss his show full of "Sweetest flows, groovy stoner sounds with a healthy dose of 70's style greatness"!
03.11.16 | DE | Osnabrück | Bastard Club
04.11.16 | NL | Deventer | Burger Weeshuis
05.11.16 | DE | Erfurt | Stadtgarten
06.11.16 | BE | Hasselt | Mod
07.11.16 | UK | London | Garage
08.11.16 | FR | Paris | Divan Du Monde
09.11.16 | DE | Wiesbaden | Schlachthof
10.11.16 | DE | München | Backstage
11.11.16 | AT | Graz | PPC
12.11.16 | GR | Athens | An Club
14.11.16 | AT | Vienna | Arena
15.11.16 | CH | Zürich | Rote Fabrik
16.11.16 | DE | Karlsruhe | Substage
17.11.16 | DE | Köln | Live Music Hall
18.11.16 | DE | Dresden | Beatpol
19.11.16 | DE | Berlin | Columbia Theater
20.11.16 | DE | Hamburg | Logo
www.facebook.com/BrantBjorkOfficial
www.brantbjork.com
http://label.napalmrecords.com/
https://www.soundofliberation.com/
Brant Bjork, "Dave's War"
Tags: Brant Bjork, Brant Bjork and the Low Desert Punk Band, California, Napalm Records, Palm Desert, Sound of Liberation
Interview with Brant Bjork: Party in the Desert
Posted in Features on March 31st, 2016 by JJ Koczan
Next weekend, April 9, the first Desert Generator festival will be held. Put together by Rolling Heavy magazine, Allnight Allnight and Brant Bjork himself, it brings groups from the desert and beyond to Pappy and Harriet's Saloon in Pioneertown, California, to play on an outdoor stage in the tradition of the parties held in the middle of nowhere (also the center of everywhere) of yore that helped shape the Palm Desert scene and thus American heavy rock as a whole. In addition to a van show and camp-out, the lineup is Red Fang, Brant Bjork and the Low Desert Punk Band, Acid King, Golden Void and Ecstatic Vision.
Sounds like weirdo heaven? Yeah, it just might be. For Bjork, it's another manifestation of the commitment to a desert art scene that has seen him become one of its most recognizable ambassadors. As the drummer for Kyuss, he played those parties alongside the likes of Yawning Man and Fatso Jetson, and across his solo material and even up to Black Power Flower (review here), the 2014 debut from Brant Bjork and the Low Desert Punk Band, he's remained
a defining feature of what the rest of the world has come to think of as the sound of that place, of that desert. His work is inseparable from that.
It makes sense in that way that Desert Generator should both exist and should take its name from the by-now-legendary parties that gave Bjork and many others their start, since in its very concept, the one-day fest feeds into and expands on that tradition much as Bjork's work has done with desert rock as a whole. From his years in Kyuss and Fu Manchu and his earliest solo work with the Jalamanta album on Man's Ruin, through time with Brant Bjork and the Bros. on tour in the US and abroad and continuing through the forthcoming Tao of the Devil LP that will complete his current contract with Napalm Records, he's been far more relentless than the laid back vibe of so much of his output might suggest.
But of course, that's part of the atmosphere Bjork and his compatriots are hoping will play into the goings down at Desert Generator. In the interview that follows, the godfather of desert groove talks about the origins of this perhaps-inaugural festival, how it all came together with the bands involved and the legacy it's working from. He also looks forward, not only to the Tao of the Devil release and potential European touring, but to revisiting his substantial back catalog and other projects in the offing.
Complete Q&A follows the jump. Please enjoy:
Tags: Brant Bjork, Brant Bjork and the Low Desert Punk Band, Brant Bjork and the Low Desert Punk Band Tao of the Devil, California, Desert Generator, Desert Generator 2016, Napalm Records, Pioneertown, Tao of the Devil
Brant Bjork and the Low Desert Punk Band Touring with C.O.C., Saviours and Mothership
Posted in Whathaveyou on October 19th, 2015 by JJ Koczan
I could and just might get the exact same list of tour dates from each of these bands' perspective, but seriously, a tour this good, I don't care if it's the same shows being plugged four different times. It's a point worth reiterating. Brant Bjork and the Low Desert Punk Band will head out across the US and into Canada to support their 2014 release, Black Power Flower (review here), and they'll be traveling in the righteous company of Corrosion of Conformity, Saviours and Mothership. The thing about this tour? There isn't one band on it who, if they were coming around alone, wouldn't be worth going to see. It's not like if you showed up and just Mothership were playing they wouldn't hand you your ass. Same thing with Brant Bjork, C.O.C. and Saviours. So yeah, if the dates come through two or three more times, I'll be posting them again. Keep an eye out.
To the PR wire:
BRANT BJORK AND THE LOW DESERT PUNK BAND To Tour North American With Corrosion Of Conformity and Saviours
BRANT BJORK and The Low Desert Punk Band released their latest album Black Flower Power last November on Napalm Records. In support of the record, BRANT is hitting the road again in North America this fall alongside the legendary Corrosion of Conformity and Saviours. The tour begins November 12th in Atlanta, GA and will run through December 10th in Raleigh, NC. A complete list of dates can be found below.
No one can fool this man anymore: As a cult figure of the Palm Desert scene, as founder and drummer of the unfortunately no longer active Stoner-Rock legends Kyuss and a permanent member of Vista Chino (formerly KYUSS Lives!), the formation around Kyuss colleague John Garcia, BRANT BJORK is washed with all (musical) waters. Now he is sailing under his own flag and proves once again that his multi-instrumental skills know no creative boundaries. With his excellent occupied Low Desert Punk Band, BJORK lets the scorching heat of California shimmer in his songs. He also scrubs his guitar through all sorts of psychedelic effect pedals and skillfully mixes Stoner Rock, Blues and Doom-bonds to a feverish hazy brew. The Desert Rock Band has reached their oasis.
Black Flower Power is available for purchase on iTunes and Amazon.
BRANT BJORK W/ COC, Saviours:
11/12: Atlanta, GA @ The Loft**
11/13: Shreveport, LA @ Riverside Warehouse##
11/16: Scottsdale, AZ @ Pub Rock
11/17: Los Angeles, CA @ Teragram Ballroom
11/18: San Francisco, CA @ Slim's
11/20: Vancouver, BC @ Venue Nightclub
11/21: Seattle, WA @ Neumo's
11/23: Denver, CO @ The Summit Music Hall
11/24: Kansas City, MO @ The Riot Room
11/25: Minneapolis, MN @ Mill City Nights
11/27: Racine, WI @ Rte 20
11/28: Cleveland, OH @ The Odeon
11/29: Philadelphia, PA @ Underground Arts
12/1: Toronto, ON @ Opera House
12/2: Flint, MI @ The Machine Shop
12/3: Pittsburgh, PA @ Altar Bar
12/4: New York, NY @ Gramercy Theater
12/5: Allston, MA @ Brighton Music Hall
12/7: Washington, DC @ 9:30 Club
12/8: Asheville, NC @ The Orange Peel
12/9: Virginia Beach, VA @ Shaka's Live
12/10: Raleigh, NC @ Lincoln Theater
**YOB, BRANT BJORK, BLACK COBRA**
##BRANT BJORK, Local Support##
http://www.brantbjork.com
http://www.napalmrecords.com
http://www.facebook.com/napalmrecords
Brant Bjork, "Controllers Destroyed" official video
Tags: Brant Bjork, Brant Bjork and the Low Desert Punk Band, California, Napalm Records


A new app released Thursday will allow Californians to report video footage of alleged police misconduct straight to the American Civil Liberties Union. The ACLU announced that its "Mobile Justice CA" app, available for Android and iPhone, will allow users to record and automatically send footage to their local ACLU chapter.
What's the point of a separate app when you could always just record the incident using your phone's native video app? A look at the app's promo video, launched in line with its release, suggests that the purpose is to ensure that your video is quickly in the ACLU's hands before it lands in someone else's.
The 30-second promo for the Mobile Justice CA app shows a montage of various incidents of alleged police brutality being captured by the app. The final scene shows an app user filming a young man being strong-armed by a police officer. The officer yells at the user repeatedly to stop recording, before eventually charging over and grabbing the phone.
The app allows you to flag the location of the incident you are filming and alerts nearby users, with the idea seeming to be that they can go to the scene and record their own video. This feature may be plenty useful for protests or other events with large numbers of people in attendance. A text report option allows users to explain what they saw in words. ACLU officials then review the reports and video for any incidents that qualify as police misconduct.
According to The Los Angeles Times, similar apps are in use in New York, Oregon, and Missouri. Roughly 30,000 videos have been generated by the New York version of the app, Hector Villagra, executive director for the ACLU of Southern California told the Times.
That can make all the difference in the world for would-be victims of police violence, and over time, can help our communities feel more empowered and safe.


text:
Q: How to delete value on variable I am new to Android and I have a question.
I have a recyclerview that can be clicked and will send a query. When clicked, it will get a number/ID of each position that is clicked,
like this:
fno = arrivals.get(position).flightno;
codeCity = arrivals.get(position).arr;

When clicked for the first time it succeeds, but when clicked for the second or third time, it gets an error. I think this because the variable fno and codeCity has been filled. So how to delete the value on the variable?
This my code when the recyclerview clicked:
mRecyclerView.addOnItemTouchListener(new RecyclerView.OnItemTouchListener() {
            GestureDetector gestureDetector = new GestureDetector(mContext, new GestureDetector.SimpleOnGestureListener() {

                public boolean onSingleTapUp(MotionEvent e){
                    return true;
                }
            });

            @Override
            public boolean onInterceptTouchEvent(RecyclerView rv, MotionEvent e) {
                View child = rv.findChildViewUnder(e.getX(), e.getY());
                if (child != null && gestureDetector.onTouchEvent(e)){
                    int position = rv.getChildAdapterPosition(child);

                    fno = arrivals.get(position).flightno;
                    codeCity = arrivals.get(position).arr;

                    final Bundle i = new Bundle();
                    i.putString("city", codeCity.toString()); // Key1
                    i.putString("flightno", fno.toString()); // Key1
                    open2(i);
                }
                return false;
            }

            @Override
            public void onTouchEvent(RecyclerView rv, MotionEvent e) {

            }

            @Override
            public void onRequestDisallowInterceptTouchEvent(boolean disallowIntercept) {

            }
        });

This the query

public void open2(Bundle args) {
        codeIata = args.getString("city");
        String flightdate = args.getString("flightdate");
        fno = args.getString("flightno");
        ArrivalActivity.detail(codeIata, flightdate, fno);
    }

public static void detail(String s, String date, String fno) {

        DateFormat df = new SimpleDateFormat("yyyy-MM-d");
        date = df.format(Calendar.getInstance().getTime());
        Call<GetArrivals> arrCall = mApiInterface.getArr(s, "2019-03-04", "", fno);
        arrCall.enqueue(new Callback<GetArrivals>() {
            @Override
            public void onResponse(Call<GetArrivals> call, Response<GetArrivals>
                    response) {
                System.out.println("status code "+response.code());

                arrivals = response.body().getResult();
                mAdapter = new ArrivalAdapter(mContext, arrivals);
                //mRecyclerView.setAdapter(mAdapter);
            }

            @Override
            public void onFailure(Call<GetArrivals> call, Throwable t) {
                Log.e("Retrofit Get", t.toString());
            }
        });
    }

Thank you!

A: There are two approaches you can capture a click event on item of a recyclerview:
First approach
override onClick method instead of onInterceptTouchEvent.
I am providing you with an example.
mRecyclerView.addOnItemTouchListener(new RecyclerTouchListener(this,
        recyclerView, new ClickListener() {
    @Override
    public void onClick(View view, final int position) {
        fno = arrivals.get(position).flightno;
        codeCity = arrivals.get(position).arr;
    }

}));

class RecyclerTouchListener implements RecyclerView.OnItemTouchListener{

    private ClickListener clicklistener;
    private GestureDetector gestureDetector;

    public RecyclerTouchListener(Context context, final RecyclerView recycleView, final ClickListener clicklistener){

        this.clicklistener=clicklistener;
        gestureDetector=new GestureDetector(context,new GestureDetector.SimpleOnGestureListener(){
            @Override
            public boolean onSingleTapUp(MotionEvent e) {
                return true;
            }

            @Override
            public void onLongPress(MotionEvent e) {
                View child=recycleView.findChildViewUnder(e.getX(),e.getY());
                if(child!=null && clicklistener!=null){
                    clicklistener.onLongClick(child,recycleView.getChildAdapterPosition(child));
                }
            }
        });
    }

    @Override
    public boolean onInterceptTouchEvent(RecyclerView rv, MotionEvent e) {
        View child=rv.findChildViewUnder(e.getX(),e.getY());
        if(child!=null && clicklistener!=null && gestureDetector.onTouchEvent(e)){
            clicklistener.onClick(child,rv.getChildAdapterPosition(child));
        }

        return false;
    }

    @Override
    public void onTouchEvent(RecyclerView rv, MotionEvent e) {

    }

    @Override
    public void onRequestDisallowInterceptTouchEvent(boolean disallowIntercept) {

    }
}

Second Approach(a more conventional one)
override the OnClickListener of the viewholder of your adapter:
public class MyAdapter extends RecyclerView.Adapter<MyAdapter.MyViewHolder> {

    LayoutInflater inflater;
    Context context;

    private MyAdapter.RecyclerViewClickListener mListener;

    public MyAdapter(Context context, RecyclerViewClickListener mListener) {
        this.context = context;
        this.mListener = mListener;
        inflater = LayoutInflater.from(this.context);

    }

    public class MyViewHolder extends RecyclerView.ViewHolder implements View.OnClickListener {

        public MyViewHolder(View item, RecyclerViewClickListener listener) {
            super(item);
            mListener = listener;
            item.setOnClickListener(this);
        }

        @Override
        public void onClick(View view) {
            mListener.onClick(view, getAdapterPosition());
        }
    }

    @Override
    public MyViewHolder onCreateViewHolder(ViewGroup parent, int viewType) {
        View itemView = LayoutInflater.from(parent.getContext())
                .inflate(R.layout.mylayout, parent, false);

        return new MyViewHolder(itemView,mListener);
    }
    @Override
    public void onBindViewHolder(MyViewHolder holder, int position) {

    }

    @Override
    public int getItemCount() {
        return youylist.size();
    }

    @Override
    public int getItemViewType(int position) {
        return position;
    }

    @Override
    public long getItemId(int position) {
        return 0;
    }

    public interface RecyclerViewClickListener {
        void onClick(View view, int position);
    }
}

and in your Fragment/Activity:
myadapter = new MyAdapter(getContext(), new MyAdapter.RecyclerViewClickListener() {
            @Override
            public void onClick(View view, int position) {
                fno = arrivals.get(position).flightno;
                codeCity = arrivals.get(position).arr;
            }
        });
        recyclerView.setAdapter(MyAdapter);
        MyAdapter.notifyDataSetChanged();

Hope this helps you.

redpajama_set_name: RedPajamaStackExchange


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