November 14, 2012 by A.S. Van Dorston

Golden Void’s addition to the Thrill Jockey roster has for some reason been regarded as a surprise, as the label was generally associated with avant rock and art pop releases that have been highly regarded in the indie rock community for over 20 years. It’s been hilarious to see hack writers inexperienced with heavy psych and proto-metal struggle with even the concept of Golden Void. Anyone with half a clue however should not be surprised, given the label’s long association with a wide variety of psychedelic music ranging from Japan’s OOIOO, fellow San Francisco psych rockers Wooden Shjips and Barn Owl, Tunng, White Hills, High Places to Eternal Tapestry, whose World Out Of Time was also released yesterday. The band merges the considerable guitar and songwriting talents of Earthless’ Isaiah Mitchell with Camilla Saufley-Mitchell from Assemble Head In Sunburst Sound, for whom he relocated to the Bay Area from San Diego to marry. The rhythm section of Aaron Morgan and Justin Pinkerton have played together in various local bands since they were in high school.

As impressive as his work was in Earthless with his free form, far out space rock guitar freakouts, some might be surprised at his concisely catchy songwriting and almost folky melodic vocals on this album, which bring to mind at times Cream’s Jack Bruce and Procol Harum’s Gary Brooker and even Magnus Pelander’s work on the first couple Witchcraft albums. Overall his vocal range is similar to classic Sabbath-era Ozzy, but like Freedom Hawk’s T.R. Morton, he manages to retain his own individual spin. Early 70s proto-metal is obviously a big influence on their sound, from Deep Purple’s heavy organ-fueled rockers, and or course Black Sabbath, particularly on the galloping “Virtue” where Pinkerman’s hard-hitting but swinging drum style recalls Bill Ward’s magical, jazzy touch. Some have viewed this as a negative thing, and I could never imagine why. Black Sabbath themselves should be so lucky to come up with songs as great as these on the album they’re currently beavering away at. While the band has a signature sound, they don’t repeat themselves on any of the album’s seven songs, none sounding like any of the others. “Art Of Invading” is an exceptionally dark, apocalyptic album opener with some stately vocal hooks. “Jetsun Dolma” is a liquidy psychedelic ballad that’s the album’s slightest song, but still packed with highly enjoyable sounds of ethereal organ and wah-wah guitar, providing a nice setup for the stunning “Badlands,” assisted by Camilla’s groovy organ parts and some juicy, proggy solos. The album’s poppiest moments arrive with “Shady Grove” and its sticky vocal melodies. “The Curve” might even be more accessible with a fast-paced rocker with cascading guitar leads that slows it down for a bluesy break before rubbing one out with another couple of killer choruses and solos. The album is topped off with the 7:47 psychedelic closer “Atlantis,” rich in dynamics, riffs and gorgeous harmonies.

I can certainly understand some of the more rabid raves that this is the very best heavy stoner-psych rock album of the year. But to be honest, there is some extremely stiff competition from the likes of Colour Haze, Graveyard and Witchcraft. Considering I didn’t even know about this band just a week ago, I am floored by how great this debut is, and am ecstatic to have a surprise new favorite band this year.