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There are creepy guitar lullabies, carnival-ride keyboards, and cracked electronics that would make Merzbow grin. Like that sense of having little idea of where you’ll be from one instant to the next? An Albatross’ We Are the Lazer Viking is an eight-minute outburst of total zigs and zags, switching from a pure punk-party anthem to weirdo synth-and-sample jams about excitable urban cowboys. The ghoulish and shrieking doom of “Nosferatou” relents to the shout-along thrash of “Ruins,” the assailant squeal of “Chained” to the bent piano balladry of “(not) Last song,” which is, well, the last song. Heavy Rocks is a 42-minute simulacrum of Boris’ last 30 years in the sense that it, much like them, could go anywhere.

The Ecstasy of Total Disorientation An Albatross Still thrilling, a quarter-century later. The Luttenbachers have never strictly been a metal band, but very little “strict metal” goes harder than “Demonic Velocities,” either. Drummer Weasel Walter and guitarist Dylan Posa clash, wrestle, and cavort with a monstrous horn triumvirate that includes an especially urgent young Ken Vandermark. Though a slew of metal acts have harnessed horns over the years, few bands have created more sparks by mixing metals quite like The Flying Luttenbachers, whose 1995 album Destroy All Music is the sound of chaos pretending it’s under control. He counters the malevolent sprint of “She is burning,” strangles the melody until it wheezes for air during the rumbling “Blah Blah Blah,” and howls into the abyssal “Nosferatou.” Interested in hearing that brass go even harder? He appears on just three tracks, but his bits elevate everything. There’s a novel and scintillating fold to this Heavy Rocks: saxophone courtesy of Kazuya Wakabayashi. Though the core trio of Boris has been steadfast since the start, the band has long been big on collaborations, from massive slabs with Sunn O))) and Michio Kurihara to jams alongside Ian Astbury and Keiji Haino. The Sparks of Metal on Metal The Flying Luttenbachers

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On Earthless’ second and most absorbing album, Isaiah Mitchell leads his power trio as though it were a free jazz unit booked at a biker bar-that is, the drums and bass thunder ahead while he follows wormholes created by acid trips and Coltrane studies to see where his guitar can lead, dropping just enough melodic breadcrumbs so no one is left behind. Well, there’s Earthless, whose 2007 LP Rhythms from a Cosmic Sky is an unabashed testament to the power of guitar solos bound only by vinyl sides. Imagine where Wata and Takeshi might roam with a little more room… The riffs and solos on this version of Heavy Rocks, though, feel only like taunts, squeezed into whatever cracks they can find amid the tantrums. Though often stock-still and even stoic on stage, Wata is a dynamo of versatility, riding waves of drone into splenetic leads like the Silver Surfer her improvisatory tandem with Takeshi, who wields a customized double-neck chimera of bass and guitar, is beautifully volatile. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackīoris is one of the greatest guitar bands of its generation.

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