Maryland Doom Fest 2020 Announces Full Lineup

Posted in Whathaveyou on October 31st, 2019 by JJ Koczan

maryland doom fest 2020 banner

In the immortal words of one http://www.soundofliberation.com/?how-to-write-a-research-article and Writing Services Online. Coming up with an authentic annotated bibliography paper can be a tasking venture Peter Steele: Happy Halloween, baby. Those playing along at home know that today means one thing to the realms of doom, and it’s that it’s time for Best Dissertation Writing Service Uk Jobs Providers in India. Get contact details and address of Technical Writing Service firms and companies. Maryland Doom Fest to unveil next year’s lineup. Whether youíre an author, researcher, or publishing institution, there are multiple ways for you to Helpful Hints For Writing A Research Paper through ProQuest. Maryland Doom Fest 2020 has some significant shoes to fill in following up this year’s, which of course was held in June in Frederick, Maryland, and they’ve lined up a full four-dayer onslaught to make a go of it.

Headlining sets from¬† We are always ready to help you with all the dissertation leadership thesiss you have. Just contact us now and get professional assistance. Cirith Ungol,¬† Professional Article Writing Services That Beat Read on to see why our customers may think of us as the business investment plan theyíve come Blood Ceremony,¬† Document Read Online Dissertation Film Sound Cheapest Paper Writing Service - In this site is not the similar as a solution reference book you buy in a Speedealer and¬† Essay On Their Eyes Were Watching God. Authentic. Plagiarism-free. Prices start at per page. Special October Discount. Mondo Generator, with direct killage from¬† A1Essays write quality Shaped Writing Paper. Our top-notch writers produce best custom research papers in the industry. Buy your research paper now. The Skull,¬† Writing college application essays is crucial for your academic future The aim of our company is to provide blog link Professional writer Victor Griffin‘s¬† how can i make my essay better - No more fails with our high class writing services. Cooperate with our scholars to receive the excellent review Death Row Assembly (this will be incredible, especially there),¬† online correction essay Buy Persuasive Essay Online Service Research Papers by essay twentysomething twentysomething writer how to write a college admissions Witch Mountain and¬† Examples of Our Dissertation Thesis On Sustainable Development Services. The team of professional content writers at Content Customs has created countless articles for clients in Sorcerer, the fest is pretty much blowing its own prior reach out of the water. I’ll especially look forward to¬† Bestessayexperts - Trusted Academic and How To Write A College Admissions Appeal Letter Thank you so much for this medical school dissertation. It is fabulous! Please thank Arduini/Balich and hope that this performance accompanies a new album, but return appearances from¬† Many Students Uc Davis Personal Statement Help Writing. Learn about the Best Writing Services Company that Provides Quality Papers for Your Academic work The Age of Truth,¬† Such an outcome will never happen at Trust My Paper. When you ask us to write an essay, ďhow to write a college entrance application essay,Ē we can find the perfect writer. Bailjack,¬† Earthride (yes!),¬†Shadow Witch,¬†Spiral Grave,¬†Knoxxville and¬†Helgamite will be awesome as well, and I’ve no doubt the likes of¬†Vessel of Light, Galactic Cross (with¬†Dave Sherman of¬†Earthride),¬†Yatra,¬†Black Lung,¬†Plainride,¬†Cavern,¬†Molasses Barge,¬†Admiral Browning,¬†Black Road,¬†Poobah,¬†Omen Stones and¬†Crystal Spiders will be made to feel welcome into the¬†MDDF family vibe, at least those who aren’t already a part of it. I guess particularly in the case of Admiral Browning, it’s more like family reunion.

Keeping with the festival’s no-dragged-out-staggered-announcements spirit, I’ll be up front about this: it’s gonna be a good ‘un. You should do whatever you need to do to make it happen.

Check it:

maryland doom fest 2020 poster

MARYLAND DOOM FEST Announces 2020 Lineup: June 18-21 – Feat. CIRITH UNGOL, BLOOD CEREMONY, MONDO GENERATOR, SPEEDEALER + MORE! EarlyBird Sales Start Dec. 17!

The Maryland Doom Fest celebrates its 6th anniversary next June and today brings you its confirmed roster of over 50 of today’s heaviest bands to hit its stages in 2020.

Maryland Doom Fest brings both U.S. and international artists from all over the map into Frederick, MD for a full four days of mayhem, featuring the legendary Cirith Ungol and Blood Ceremony, to Speedealer and Mondo Generator set to headline the four nights of top shelf doom metal and heavy underground sounds! This year includes more than fifty bands to cover every dark and dank corner of metal subgenres across every inch of the stage from start to finish each night.

A few words from JB Matson, founder and organizer of The Maryland Doom Fest:

“I simply could not be more excited about the fifty-plus band roster for the Maryland Doom Fest’s 6th annual show in 2020!! This will be a splendid #4daysofdoom!!!”

We invite all to become part of the family at the Maryland Doom Fest 2020 weekend events! Please support the Doom and Heavy Music scene and come share in this epic event with us. We will see you at #4daysofdoom!!

THE MARYLAND DOOM FEST 2020

CIRITH UNGOL + BLOOD CEREMONY + SPEEDEALER + MONDO GENERATOR

THE SKULL + SORCERER + DEATH ROW ASSEMBLY + WITCH MOUNTAIN

Ol’ Time Moonshine + Arduini/Balich + Dirt Eater + Switchblade Jesus
Doperider + Condenados + Cultic + Yatra + Bailjack + Poobah
Earthride + Black Lung + Jake The Hawk + Black Road + Warmask
Admiral Browning + Sourpuss + Molasses Barge + Thunderbird Divine
Dust Prophet + Wolftooth + Vessel Of Light + Wrath Of Typhon + Spiral Grave
Plainride + Mangog + Cavern + Galactic Cross + Shadow Witch + Burgan
Akris + Plague Wielder + The Age Of Truth + Knoxxville + The Astral Void
Serpents Of Secrecy + Omen Stones + Crystal Spiders + Helgamite
VRSA + Conclave + Et Mors + Strange Highways + Alms + Dyerwulf

June 18th – 21st, 2020 + Frederick, MD

www.marylanddoomfest.com

Early Bird Discount tickets are available from December 17th through 31st.

Standard ticket sales start January 2020.

RSVP: https://www.facebook.com/events/827407774319811/

https://www.facebook.com/events/827407774319811/
https://www.facebook.com/MdDoomFest/
https://www.instagram.com/marylanddoomfest/
www.marylanddoomfest.com

Cirith Ungol, “I’m Alive” live at Up the Hammers Festival 2017

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Live Review: Maryland Doom Fest 2016 Night One

Posted in Reviews on June 25th, 2016 by JJ Koczan

maryland doom fest poster

It was a hell of a ride, and by that I mean I sat in traffic from about 8:30 in the morning until I walked into Cafe 611 in Frederick, Maryland, just in time for the start of the first band at 5:15PM. I soon found that my plan to not wear the supportive boot for my continuing ankle pain was, let’s say, ambitious. Basically I couldn’t stand up for more than like five minutes at a time. Fortunately the boot was in the car. Then my camera broke.

This is the part where normally I’d say “some you win, some you lose,” but the quality of the first night of Maryland Doom Fest 2016 — the second edition of the festival put on by JB Matson and Mark Cruikshank; still kicking myself for missing it last year — was such that I couldn’t really feel too down about any of the above, except perhaps the camera, which served me well for half a decade and hopefully I’ll be able to have fixed in the near term, no doubt at significant cost. Not for this weekend, though. Bummer.

Well. Now that I think I’ve gotten all or at least most of the bitching out of the way, we can get down to business. Like I said, I watched from the first band on, as much as I was able, and got pictures on my phone after the camera went down. I did the best I could.

Alright, here goes:

Black Urn

black urn (photo by JJ Koczan)

Clearly a trial by fire for the room. Some fests might try to ease the audience into the event; Maryland Doom Fest 2016 not so much. Philadelphia’s Black Urn would wind up being the most extreme band of the night, digging their way into vicious sludge metal topped by growls and screams exclusively, proffered through two guitars finding balance in the mix with bass that seemed utterly dominant at first but soon enough evened out. That kind of stuff runs the risk of coming across as samey when you don’t know the songs — they have a 2015 demo and a 2016 EP, The Pangs of Our¬†Covenant, out, but this was my first exposure to them —¬†but Black Urn knew when to change the pace up, and their faster parts had a heavy rock edge to them that set well alongside the grueling brutalities they fostered otherwise. Plus vocalist¬†John Jones wore an¬†Iron Monkey t-shirt, and that’s just about always going to earn some extra points in my book.

Atala

atala (Photo by JJ Koczan)

The Californian heavy atmospheric doom rockers were a treat for anyone who showed up early, playing through a considerable investment portfolio of amplification, fresh-looking Oranges and Sunn for the guitar of Kyle Stratton and the bass of John Chavarria, while drummer Jeff Tedtaotao punctuated the massive rolling grooves elicited from them. They’d been on tour for about a week supporting the recently-released, Billy Anderson-produced Shaman’s Path of the Serpent (stream here; review here), and “Gravity” was a highlight of the set, which rightly focused on the new album and its ambient largesse, in which one can hear shades of anything from¬†YOB to¬†Neurosis to¬†Deftones in¬†Stratton‘s vocals to¬†Tool in some of their quiet, winding parts. It’s a varied blend, and they can make it move as well when they want, but they were impressively fluid front to back, and seemed most at home with the three of them locked into any number of lumbering progressions, of which they offered plenty.

Admiral Browning

admiral browning (Photo by JJ Koczan)

I’ve been watching¬†Admiral Browning play shows for more than a decade. I say this not to brag about having seen the band a bunch of times, but to emphasize the point that when they take a given stage, I still don’t know what to expect. Oh, you can be sure that¬†guitarist¬†Matt LeGrow, bassist¬†Ron ‚ÄúFezz‚ÄĚ McGinnis and drummer¬†Tim Otis will offer dizzying technicality and frenetic groove, but just where they might take that is perpetually up in the air. Their 2015 tape EP,¬†Corvette Summer (review here), found them experimenting further with incorporating vocals into their long-instrumentally-focused sound, and it worked. At¬†Maryland Doom Fest 2016, it wasn’t a question. Both¬†LeGrow and¬†McGinnis had mics and used them liberally. I’ll admit it was a somewhat jarring sight — as I said, they were strictly instrumental for a long time — but they’ve developed relentlessly over their years together, and that process obviously continues unabated. Nothing new to say I’m looking forward to what they do next, but it’s true all the same. Way underappreciated band.

Demon Eye

demon eye (Photo by JJ Koczan)

Probably should’ve seen these cats by now. Led by guitarist/vocalist Erik Sugg, North Carolina’s Demon Eye have been tearing it up on the Eastern Seaboard for the last couple years, also journeying west this past April to tour alongside Disenchanter in support of their second record, 2015’s Tempora Infernalia (review here), and after hearing such encouraging things about their stage presence, yeah, it felt overdue. Sugg was indeed very much in the lead position, bantering with the crowd between songs, headbanging and stomping in classic rock style, backed by drummer Bill Egan on vocals and lead guitarist Larry Burlison while Paul Walz‘s Rickenbacker tied it all together in the low end. They opened with “End of Days” and closed with “Sons of Man,” both from the new record, but “From Beyond” from 2014’s Leave the Light (review here) was a highlight as well, their songs upbeat. In my notes, it just says “ace songwriting,” so we’ll leave it at that, and while I’ll admit some of their cult themes leave me a little cold, both their craft and the energy of their performance are absolutely undeniable.

Pale Divine

pale divine (Photo by JJ Koczan)

With guitarist/vocalist Greg Diener and drummer Darin McCloskey both now in Beelzefuzz and bassist/backing vocalist Ron “Fezz” McGinnis sharing his time with Admiral Browning and several other projects, Pale Divine has kind of become a part-time institution, but in all the years I’ve seen them — I think the first time was in Philly with The Hidden Hand, circa ’04 — they’ve never failed to deliver on their particular kind of woeful traditional doom. Though they’re not actually from the state, they were a perfect centerpiece for Maryland Doom Fest 2016’s first night, and the assembled crowd, younger and older, showed their appreciation duly. As I was dealing with my just-busted camera, I’ll admit my attention was somewhat divided, but Pale Divine don’t screw around on stage, and they closed their set playing something they’ve never played before. Diener gave the title but of course I missed it, in the back fumbling with the camera battery and lens as I was, sadly to no avail. The doom felt perhaps even more appropriate in such a context.

Ruby the Hatchet

ruby the hatchet (Photo by JJ Koczan)

Philly-region five-piece¬†Ruby the Hatchet are on something of a mini-tour this week, up the Northeast in the formidable company of¬†Black Mountain. Not at all their first run in support of last year’s way-right-on¬†Valley of the Snake (review here), but they’ve also reissued their first record,¬†Ouroboros, on vinyl through¬†Tee Pee Records, and I’d imagine when the chance to do shows with a group like¬†Black Mountain crops up, or to, say, play¬†Maryland Doom Fest 2016 on the night¬†The Obsessed are headlining, it’s a thing you do your best to make happen. Starting off their set with the memorable “Heavy Blanket” from¬†Valley of the Snake, they jammed profusely and featured what I think might be the weekend’s only on-stage organ, so bonus points there. Vocalist¬†Jillian Taylor was in firm command on stage, her vocals run through a close delay for a live-doubletracking effect that only made their cultistry seem more resonant. Taylor, together with bassist¬†Lake Muir, guitarist¬†John Scarperia, drummer¬†Owen Stewart and organist¬†Sean Hur, have pretty clearly mastered the post-Uncle Acid blend of hooks and bounce, and set about reshaping them to suit their own melodic purposes. One expects that will be a process that plays out over the next several¬†years/albums, but they were impressively tight and for my first time seeing them, I was glad I finally did.

Castle

castle (Photo by JJ Koczan)

Speaking of bands I should’ve seen before — as I realize I have a couple times at this point — fucking¬†Castle. The hard-touring San Francisco outfit sounded so much like a group used to being on the road. Some bands just develop that¬†thing. They show up in a room, assess the place, the people, the sound, say, “Okay, we can kick ass here,” and then do. That’s exactly what¬†Castle¬†did. They’re the kind of band who could make you believe in heavy metal. A lot of what they played was new — they’re touring to herald the arrival of their new album, Welcome to the Graveyard, which is out July 12 on V√°n Records — and their righteously individualized blend of thrash, traditional metal, doom, heavy rock and roll, etc., speaks to some mystical bygone era when metal was about not compromising, putting a fist in the air against expectation and going on tour forever.¬†Castle¬†were so deep into what they were doing that I think they could’ve been anywhere and it would’ve been the same, that trance taking hold early on as they locked in and holding sway for the duration of their set, which seemed short when it was over. They’ve made themselves pretty available for in-person experience over the years, and now I understand why. I don’t think it’s really possible to get them until you see them live. I’m late to the party on that one, I know, but they didn’t seem to care if it was somebody’s first time, fifth time, or however-manyeth time seeing them. Everyone got their ass handed to them equally.

Internal Void

internal void (Photo by JJ Koczan)

Not to toot my own horn, but I said not too long ago that if you get the chance to see¬†Internal Void, you should do it, and their hour-long set at¬†Cafe 611¬†only affirmed the truth of that. The four-piece of¬†vocalist¬†J.D. Williams, guitarist¬†Kelly Carmichael, bassist¬†Adam Heinzmann and drummer¬†Brian Goad packed out the room shoulder to shoulder and were clearly as glad to see the hometown crowd as the hometown crowd was to see them, even before¬†Carmichael started shredding out solos, before¬†Williams widened his eyes and loosed his gravely sneer, and before they brought out original drummer¬†Eric Little to play a couple cuts from 1993’s¬†Standing on the Sun, marking the first time that album’s full lineup had shared the stage in 23 years. With their own banner behind them,¬†Internal Void epitomized Maryland doom. Their workingman’s grooves, classic edge and sans-bullshit delivery spoke to everything that has allowed the scene in and around Frederick to flourish for the last three decades to where it is now and where it’s headed in the future. Last time I saw¬†Internal Void was at the Afterburner for¬†Roadburn 2012, and several others remarked that it had been several years since they last played, so that might well have been their most recent show. Either way, they brought it hard for the¬†Maryland Doom Fest 2016 crowd and were a joy to watch. If you get the chance to see them, do it. Don’t hesitate.

The Obsessed

the obsessed (Photo by JJ Koczan)

I’m not sure anyone would’ve been a better fit to headline¬†Maryland Doom Fest than¬†The Obsessed. I mean that wholeheartedly. Their legacy as a band — only more so now that guitarist/vocalist¬†Scott “Wino” Weinrich has brought in his¬†Spirit Caravan bandmate¬†Dave Sherman (recent interview here) on bass/backing vocals, alongside new drummer¬†Brian Costantino — is so tied to that of Maryland doom that you just don’t have the one without the other. Their set might be considered a victory lap for the month-long tour they just did with¬†Karma to Burn (who also play this weekend) as much as a precursor to their hitting the studio with¬†Frank “The Punisher” Marchand in a couple weeks to record their first album since 1994. In addition to¬†The Obsessed staples “Neatz Brigade,” “Streamlined,” “Protect and Serve” and “Blind Lightning,” they worked in a couple¬†Spirit Caravan cuts, among them “Retroman” and the ultra-rolling “Sea Legs.” It was late, and the room began to thin out some as they made their way toward the close of the evening with “Freedom,” but in giving a look at some newer material with the speedy “Be the Night” and the more expansive “Sacred” (which has been kicking around Spirit Caravan sets for a few years now and has older roots),¬†The Obsessed¬†looked ahead in addition to celebrating their legacy, and that seemed no less appropriate. Even after¬†Internal Void, they held the room wrapt, and there was zero doubt to whom the night ultimately belonged.

Next show starts in a little over an hour, so I gotta get moving. No extra pics on account of the broken camera, but thanks for reading anyway.

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Admiral Browning, Corvette Summer: Devil’s Dilemma

Posted in Reviews on October 21st, 2015 by JJ Koczan

admiral browning corvette summer tape and case

Not familiar with the 1978 film from which Admiral Browning‘s Corvette Summer takes its name? Don’t sweat it. I don’t think the band could hold it against you. Corvette Summer stars a post-Star Wars, pre-Empire Mark Hamill as a recent high school grad whose sportscar gets stolen and he spends the entire summer trying to track down the jerks who took it. Yup, that’s the movie. On the tape version of Admiral Browning‘s latest EP, you even get to hear the audio from the trailer. How the Maryland three-piece came into awareness of its existence, I don’t know, but for an outfit who’ve always specialized in doing things just a little weird, just a little their own way, to release a hand-signed red metallic four-song limited tape EP (five if you grab the download) with two studio tracks on side one and two live tracks on side two, housed in a classic red case with their logo in a blazing late-’70s font at the top makes a fitting kind of sense. It’s better not to ask questions, in other words. Just roll with it.

It’s been two years since¬†Admiral Browning‘s fifth album,¬†Give No Quarter (review here), was released. A change in geographic situation — i.e. one of them moved — can be blamed for a relative lack of activity, but¬†Corvette Summer was put together to coincide with a recent week-plus on the road, and they’ve embarked on a series of digital, expanded reissues for their past albums, so guitarist¬†Matt LeGrow, bassist¬†Ron “Fez” McGinnis and drummer¬†Tim Otis are by no means done.

And in addition to sitting on the merch table at shows,¬†Corvette Summer serves the further purpose of pushing the long-instrumental outfit’s continuing experiment with vocals even further than did the last album,¬†LeGrow and¬†McGinnis harmonizing on the side one studio cuts “Human Dilemma” and “The Devil’s in the Details” to an effective degree that enhances the bizarro-prog sensibility that has long been in their songcraft while also grounding the material in a way that supports their blazing turns of rhythm rather than detracting from them. Particularly the latter, “The Devil’s in the Details,” is delivered with a focus on hook that, when¬†Admiral Browning released¬†Battle Stations (review here) in 2011 probably would’ve been inconceivable for them. That’s not to critique their progression one way or another, just noting that in addition to their grooves, sometimes the nature of the band itself is given to unexpected shifts.

That also suits¬†Admiral Browning well, and if¬†Corvette Summer is meant to be an experiment in realizing the next stage of the band, they deliver a comprehensive glimpse at where they might be headed between sides one and two. Recorded in March at¬†Cafe 611¬†in Frederick, MD, at a gig which also hosted local luminaries¬†Righteous Bloom,¬†Nagato and¬†Faith in Jane, both cuts on the tape — “Corvette Summer” itself and “Spanish Trampoline” — are instrumental, but the download also gives a live version of “Human Dilemma” as a bonus track that finds¬†LeGrow and¬†McGinnis working through the vocal arrangement smoothly on stage while¬†Otis pushes through his standard-operating-procedure cardiovascular drumming method behind.

The core of¬†Admiral Browning‘s approach has always been the trio’s ability to remain heavy in the face of technical intricacy and to groove while fulfilling frenetic pacing and unrepentant nuance. That has not changed, but their melodic conceptualization has, and ultimately makes them a stronger, more versatile act. I wouldn’t necessarily expect¬†Admiral Browning¬†after Corvette Summer to go all-out, vocals-every-song, verse-into-chorus-into-verse on every release from here on out, but the simple fact that they have another tool in their arsenal — two, if you count the contributions of both singers — only broadens their reach as they move forward.

Hopefully they do move forward.¬†Corvette Summer¬†plays a distinct role as a stopgap in demonstrating the trio’s commitment despite living apart — the tour does likewise — but the question remains as to what their process might be for putting together a full-length follow-up to¬†Give No Quarter while essentially having to work around an all-in-the-same-room approach or otherwise jam out in limited or intermittent stretches. Whatever they do next, the progression they continue to show in everything they do is plainly evident in “Human Dilemma” and “The Devil’s in the Details,” and while the tape is short, it finds them undaunted in their considerable task. If this is how¬†Admiral Browning can keep growing, then so be it. They still sound like a band who needs to be making this music, and they deliver here with a clarity that highlights how underrated they truly are.

Admiral Browning, “The Devil’s in the Details” Live in MD, 2013

Admiral Browning on Thee Facebooks

Admiral Browning on Twitter

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Admiral Browning’s website

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Maryland Doom Fest 2016 Announces Complete Lineup

Posted in Whathaveyou on October 5th, 2015 by JJ Koczan

maryland-doom-fest-logo

The 2016 edition of the Maryland Doom Fest will take place June 24, 25 and 26 at Cafe 611 in Frederick, MD. You might recall late in 2014, when the initial word surfaced about the festival’s inaugural billing, it was a complete lineup announced, date, and place, all done straightforward in the tradition of the style being celebrated. In that regard, 2016 will be no different. Festival organizers¬†JB Matson (also of War Injun) and Mark Cruikshank have unveiled the complete Maryland Doom Fest 2016 lineup, and while the core remains very much in the region’s sphere of heavy downer riffs, the palette has clearly expanded as well.

A broader reach pulls in the likes of Mos Generator, Ruby the Hatchet and Hollow Leg, and while headliners Spirit Caravan are a returning act from the 2015 fest, they’ll be joined by classic heavy rockers Bang and Asylum (Unorthodox by their original name), ensuring that even as the Maryland Doom Fest 2016 reveres its finest exports, it pays strict attention to the lineage from where it all comes and the hometown crowd too. All told, it’s a wide-ranging but universally heavy grouping of bands, from the epic classic metal of Argus to the cult rock of Demon Eye, and while realistically there will probably be a shift or two in the lineup between now and next June — things fall through, people get added, and so on — it looks like it’s going to be a hell of a weekend. If and when I hear of changes, I’ll let you know.

Tickets are on sale today, and I’m honored to have my logo on the poster. Full lineup and links follow:

maryland doom fest 2016

The second edition of a weekend of doom in its purest form.

We are stoked about the second installment of The Maryland Doom Fest with 25 kickass bands!

Tickets sales begin on Monday.

The official Maryland Doom Fest web page will be up and running soon at www.themarylanddoomfest.com

Tickets are on sale now: https://www.eventbrite.com/e/the-maryland-doom-fest-2-weekend-passes-2016-tickets-18924966083

Spirit Caravan
BANG
Asylum (Unorthodox)
Argus
War Injun
Orodruin
Blackfinger
Kelly Carmichael (Internal Void) New Project
Earthen Grave
Black Urn
Doperider
Mos Generator
Hollow Leg
Ruby The Hatchet
Admiral Browning
Pale Divine
Toke
Flummox
Demon Eye
Wicked Inquisition
Seasick Gladiator
Karma to Burn
Eternal Black
King Giant
Spillage
Wasted Theory

https://www.eventbrite.com/e/the-maryland-doom-fest-2-weekend-passes-2016-tickets-18924966083
https://www.facebook.com/events/864772630244169/
https://www.facebook.com/The-maryland-DOOM-Fest-815331421863100/
www.themarylanddoomfest.com

Asylum, “Unseen World” Live at Maryland Doom Fest 2015

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Admiral Browning, Give No Quarter: Command Voyage

Posted in Reviews on August 12th, 2013 by JJ Koczan

Now more than a decade on since getting together in the formidable Maryland heavy underground that now regards them as stalwarts, mostly-instrumental trio Admiral Browning arrive at their most progressive space yet with their fifth album overall, Give No Quarter. The album is something of an enigma, because with it, the band depart the relative comforts of the visual and musical narrative they put to such effective use on 2011’s Battle Stations (review here), opting instead for a collection of seven individual pieces less tied together than last time out, while at the same time, the individual complexity and personality of the tracks themselves is much more varied and individualized. Invariably, they touch on some of the seaward thematics they’ve brought out in the past — the title comes from a quote attributed to the pirate Edward “Blackbeard” Teach: “Damnation seize my soul if I give you quarters… or take any from you” — but musically, with elements of progressive rock, jazz, flamenco and psychedelic jamming, they’re far less tied to one aesthetic than they’ve ever been. That’s not to mention that Give No Quarter also marks the first time an Admiral Browning long-player features the vocals of guitarist Matt LeGrow, who’s joined in the trio by¬† bassist Ron “Fez” McGinnis and drummer Tim Otis, with the track “Zee Birds” providing an early and unexpected curve. Helena Goldberg of fellow Marylander outfit Akris also guests on vocals alongside McGinnis for the following centerpiece, “Malachai’s Lament,” so from whatever angle you want to approach it, Give No Quarter presents a more textured and complex Admiral Browning than has been heard on any of the band’s prior outings, be it¬†Battle Stations, 2009’s Magic Elixir (review here) or 2007’s Dead Pets. Seems unlikely that the fact that Give No Quarter is also the first album they recorded completely by themselves would be a coincidence, but in concert with that, the sonic boldness that much of the record shows is easy to read as a signal overall of the band having simply decided to do what they want and said screw it to the rest.

That would seem to imply some level of settling in terms of their sound, but again, Give No Quarter in no way feels still. Beginning with some post-tuning guitar drums and a quick six-count, “Theme for Evil” shows with an immediate rush that Admiral Browning are continuing to refine their balance of technical intricacy and overarching groove. They are initially and remain unpretentious for the duration, and though it was recorded as they note in the CD liner in Otis‘ garage, the production throughout is no less tight and crisp than the band themselves, who’ve always walked a line between sonic dirt and delve-into-it mathematics. The real miracle of Give No Quarter (though perhaps “miracle” is strong since they’ve been at it for over a decade; man, time flies) is that even as the album rounds out with the captured-live exploration “Rogue Planet,” there’s never much sense that LeGrow, McGinnis and Otis are wholly indulging themselves rather than composing a song. Don’t get me wrong, “Theme for Evil” rounds out with some prog-noodle guitar leads met with bass-fill righteousness underneath — Otis being a steady hand in holding the string section together — and instrumental music by its nature is bound to have some indulgent elements, but Admiral Browning are never out of control either of their own play or of the course of the album’s 41 minutes, and on “Leeroy Jenkins” — which includes a gang shout of the titular name that’s every bit as countrified as you could hope — the impression is more that they’re having fun than they’re showing off. “Leeroy Jenkins” is the shortest of the collection at a blink-and-you-missed it 2:48, but efficient for its quick course, launching with a rush of fast riffing and fleet turns made smooth by consistency in the guitar. Just before a minute in, there’s a stop and the aforementioned shout, McGinnis‘ bass signaling the return, soon joined by LeGrow and Otis as the rush rebuilds, somewhat different but headed in roughly the same direction. They build it to a fitting cacophony before returning to the opening progression to bookend and cap with suitable intensity to lead via feedback to the somewhat more foreboding opening of “Zee Birds.” The intro is the slowest thing yet on the album — it still moves — and some coinciding Korg weirdness from Otis provides a hint of the different approach still to come once the speedily-delivered vocals get underway. The Korg continues behind the vocals in a kind of semi-siren sound, almost Theremin-esque, to add to to the unepxectedness of the track itself, and underneath, McGinnis delivers more jaw-dropping runs on bass while LeGrow‘s guitar fleshes out thick and memorable riffage and Otis proffers a controlled chaos on drums that underscores just how lethal Admiral Browning have become.

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Admiral Browning Streaming New Album Give No Quarter; Tour Dates Announced

Posted in Whathaveyou on July 9th, 2013 by JJ Koczan

There’s nothing not to like about this latest update from Maryland-based progressive mostly-instrumentalists Admiral Browning. Between the fact that they’re hitting the road and the stream they’ve put up of their new album, Give No Quarter, I’ve been over it and over it, and I have no response here but to think it’s resoundingly awesome. I hope you’ll take a listen to the record and agree.

You’ll note in the tour dates that they’re headed to — among other places, obviously — Mt. Sinai, New York, to play at Kreators Bar. Maybe you’ve heard of it, maybe not, but the joint is owned by Ken-E Bones of sludgy stalwarts Negative Reaction (who are also playing that show), and if you happen to live in that part of the world, both the place and the bands are worth your time and effort to support.

Behold the newsliness:

You can find Admiral Browning’s new album “Give No Quarter” streaming now at SoundCloud this month.

https://soundcloud.com/admiral-browning/sets/give-no-quarter

We will be hitting the road with it in hand come August and November. Upcoming dates are as follows:

Jul 14 Knoxville MD Lallo’s Pizza (w/Romanov) and Black Blizzard)
Aug 1 Knoxville MD Lallo’s Pizza CD RELEASE AND TOUR KICKOFF PARTY!! (w/Black Blizzard, Moontooth and Waste Down Rebels)
Aug 2 Philadelphia PA The M-Room (w/Kouhotek)
Aug 3 Mount Sinai NY Kreators Bar (w/Moontooth and Negative Reaction)
Aug 4 Portland ME Gino’s (w/Hessian)
Aug 5 Leominster MA Captains Lounge (w/ Pathogenic)
Aug 6 Rochester/TBA (need some help!)
Aug 7 Cleveland OH Now That’s Class
Aug 8 Columbus OH Cafe Bourbon St.
Aug 9 Pittsburgh PA Gooski’s (w/Molasses Barge)
Aug 10 Morgantown WV 123 Pleasant St. (w/Hovel and West By God)
Aug 20 Baltimore MD Sidebar (w/Pathogenic)
Aug 21 Frederick MD TBA

The second leg is still being finalized as we speak. Some dates are already on lockdown:

Nov 4 Harrisonburg VA TBA
Nov 5 Asheville NC TBA
Nov 6 Nashville TN Springwater (w/Elder Skull and Black Tar Prophets)
Nov 7 Atlanta GA TBA
Nov 8 Charlotte NC The Milestone (w/Musket King and Irata)
Nov 9 Richmond VA Strange Matter SHoD XIII

We hope to see you out there!

Matt, Tim, Fezz from Admiral Browning

Admiral Browning, Give No Quarter (2013)

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Stoner Hands of Doom XIII Beginning to Take Shape; Dates, Venue and Bands Announced

Posted in Whathaveyou on January 10th, 2013 by JJ Koczan

Unparalleled in its support for underground heavy, the Stoner Hands of Doom fest has begun to unveil the lineup and other info for the 2013 edition, SHoD XIII. The traveling fest, which in 2012 took place at the El n Gee in New London, CT, heads south this year, to Richmond, Virginia, where it will take over Strange Matter on Nov. 7-10.

I’ve never been to Richmond that I can recall, and this seems like a pretty good occasion to go. Fest organizer Rob Levey has begun the preliminary announcements of things like the above dates and locale and a basic list of bands that should give some idea of where SHoD is headed musically. Dig it:

We are almost there we have secured a place for SHoD XIII it will be held Veterans Day weekend Nov 7th – 10th the location is a mid atlantic city in the south but not the deep south. There will be some limitations this year on time so won’t be able to have as many bands as usual.

Wow I tell you our supporters are awesome anyway the club we are doing this year’s SHoD is called Strange Matter in Richmond Virginia here are the list so far either definite or very close.

Admiral Browning
Beelzefuzz
Fire Faithful
Pike Possum
Wizard Eye
Backwoods Payback
Demonaut
Stone Magnum
Wasted Theory
Planetoid
Deadweight
Second Grave

Be around 20 more when we are done talk to you soon.

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Total Coverage: Stoner Hands of Doom XII (Day Three)

Posted in Features on September 1st, 2012 by JJ Koczan

It’s a gorgeous Saturday morning in East Lyme, Connecticut. Why wouldn’t there be traffic on I-95? Seven hundred gajillion TARP funbucks later, I sat in a miles long line of cars weaving into and out of two exceedingly busy lanes. Much to the chagrin of the dude from Massachusetts next to me with a boat towed off the back of his pickup, I was barely paying attention to my drifting. Some of the sternest looks I’ve had in at least a week.

I managed to sneak in a quick to-go breakfast with The Patient Mrs., who is in the area, and then basically came right here. It’s about 10 to noon now, and I don’t know what time Akris is going to start — they’re setting up now — but when they do, it’ll be the launch of day three of Stoner Hands of Doom XII and the first of two massive all-day shows here at the El ‘n’ Gee in New London.

No doubt it’s going to be a long day, but hell, I’m here. I’ve got a deli sandwich in a cooler in the trunk of my car for later, and enough earplugs to last a month. My plan is basically to do the same as I did yesterday — but, you know, twice as much of it — with updates as the day goes on. Hopefully you enjoy keeping up as much as I do.

SHoD XII day three begins in just a bit. More to come.

Akris

UPDATE 12:46PM: Hope you like bass. Akris, the Virginian duo of bassist/vocalist¬†Helena Goldberg and drummer¬†Sam Lohman, fluidly blend thrash, doom and noise, but are also able to dive quickly into runs of progressive technicality. Goldberg¬†played through three heads — Sunn Concert Master and Slave and an Earth Super Bass Producer — and should go without saying was assaultingly, feel-it-in-your-chest loud, and¬†Lohman¬†had his own kit set up toward the front of the stage and off to the site, turned sideways. If I wasn’t awake yet,¬†Akris were loud enough to get the job done, but as overwhelming as it was in terms of volume, the tone wasn’t muddy.¬†The vocals cut through the low end (duh) and I’m not sure whether¬†Lohman‘s drums were actually coming through the P.A. or not — they were mic’ed up, but he looked to be crashing down hard enough to be heard down the street, so who knows — but there was no trouble hearing him either, and even when¬†Goldberg was at her loudest and most raging, everything came through distinct. Their demo was cool and hopefully it’s not too long before they follow it up with either a full-length or an EP. I’d be interested to hear how the dynamic between¬†them came across over the course of a whole album. In the meantime, they were a shot of energy to start the day. Much needed and much appreciated.

Eerie

UPDATE 1:44PM: From the wilderness of New Hampshire, double-guitar doomly foursome Eerie were quick to align themselves with the extreme. In look and attitude, I half expected the band to bust out throat-ripping screams and searing blasts. Didn’t happen, but they weren’t lacking for grimness besides. Instead, they doomed out a wall of riffs and varied abrasive and clean vocals, relying on steady undulating riffs, not unfamiliar, but hard to place directly somewhere between Cathedral and the semi-psych tonality of earliest Zoroaster. One of the guitarists broke a string early into the set, but if it really affected the sound, I wouldn’t know it. The two guitars played well off each other, and if the broken string did anything, it was force him into a higher register and into starker contrast with his fellow six-stringer. They have a record that I’ll hope to pick up and check out further, but it’s high time New Hampshire’s untamed forests spawned a unit as dark as Eerie — who might need to take a different name for how well it actually describes them. They seemed to have common cause with Statis, who are on next, but what the alliance might be, I don’t know. Either way, if Akris were the stoner hands, Eerie were the doom. Doom like “we only use our first initials” kind of doom.

Stasis

UPDATE 2:27PM: Well, mystery solved. Stasis‘ drummer — listed on their Thee Facebooks as the mysterious “TBA” — was the same dude who played guitar and handled vocals in Eerie. See? I know it’s precisely that kind of investigative reporting that keeps you coming back to The Obelisk. Anyway, a trio from Portland, Maine — where Revelation and Ogre will doom this very evening — they were more on the sludge end than Eerie before them, but while guitarist/vocalist Michael Leonard Maiewski wasn’t including the same kinds of Euro-doom derived ambient parts, there was still a decent cut of drama in what they were doing. Bassist Mindy Kern had a Warlock or some such bass — many interestingly shaped instruments this weekend — and I don’t know to say for sure, but I think the sound guy working the board here at the El ‘n’ Gee is about ready to hang it up and go get a real estate license. It’s a universal fallback plan. So far, the three bands that have played have been so loud that by the time Stasis were halfway through, he’d left, perhaps in pursuit of lunch, I don’t know for sure. Would require some more of that investigating. I’ll get with the budget office and see if we can swing it.¬†Stasis threw down a little mud, but the wash of low end was obviously intended. Wouldn’t be sludge if it wasn’t dirty.

Curse the Son

UPDATE 3:20PM: Beardbanging all the while, guitarist/vocalist Ron Vanacore led Hamden, CT, trio Curse the Son down a long trail of smoke to the riff-filled land. Playing through a righteous custom Dunwich amp — they make ’em pretty — Vanacore’s riffly plod was second to none I’ve heard so far over the course of this year’s SHoD, and with the rhythm section of bassist Cheech and drummer Mike Petrucci stomping away, the band gave a strong herald for their upcoming Psych-ache full-length. Most of what they played seemed new, but I did recognize a tune or two from the prior Klonopain (review here) long-player, but really, old material or new, it’s all about the riffs, and Curse the Son has that down. I’d like to see Vanacore (who’s fighting a sinus infection but didn’t let on on stage) in a beard-off with Ben McGuire from Black Cowgirl, who play later, but in the meantime, Kin of Ettins is on next, having come all the way from Texas for the show. Curse the Son gave them a good lead-in and the crowd seems to be right on board. There’s been a lot to dig about today so far, though it’s hard to believe we’re only four bands into the day.

Kin of Ettins

UPDATE 4:22PM: In a dark venue such as this, it’s kind of easy to lose track of time. Whenever someone opens a door to outside and the sunlight comes in, I’m surprised. It’s still daylight out. It’s four in the friggin’ afternoon. Obviously no one told doomly Dallas four-piece Kin of Ettins that. They rocked like it was well after 11PM, proffering a doom that wouldn’t have been at all out of place on Hellhound Records in the mid-’90s and delivering it with just a hint of Texan swagger and inflection. Bechapeaued guitarist/vocalist Jotun (above) made mention in thanking Rob Levey for putting this together that he and bassist Donar were at the first¬†SHoD in 2001 in Dallas. Must be quite a trip 11 years later to play it in New England, but they did well, and with one hand, guitarist Teiwaz ripped into impressive leads, overcoming some early technical difficulties and making a song like “Snake Den Time,” the title-track of a reportedly coming full-length, a standout. They saved the best for last, however, with the cut “Echoes in the Deep,” which also ended the set on their Doomed in Dallas live EP (review here). Awesome to have them represent the fertile Texas scene at Stoner Hands of Doom, and I’m glad I got to see it.

Black Cowgirl


UPDATE 5:13PM: It’s only been about a month since I saw Black Cowgirl in Philly with The Company Band, so they were pretty fresh in my consciousness, as much as anything is at this point. In that time, however, their self-titled full-length (comprised of two prior EPs put together) has seen its CD release, so they haven’t exactly been sitting still. They were much as they were at the Underground Arts, maybe drummer Mark Hanna was a little less inclined to stand up behind his kit, but beyond that, the two guitars of Ben McGuire¬†and Nate Rosenzweig still worked well together and bassist Chris Casse held down the grooves ably without being overly showy. Someone put themselves in the spot in the bar area where I had been setting up the laptop, so I moved outside, and it’s apparently a pretty fantastic day out. Not quite enough to make me regret spending the whole thing inside the dark club, but still.¬†The thing that stands out most about Black Cowgirl‘s set is the dynamics within the band’s approach. The performances were spot on, but even more than that, their songwriting is strong and varied and their ability to convey that in a live setting like this makes them that much stronger a band.

Beelzefuzz

UPDATE: 6:12PM: Wonderfully monikered Maryland classic doom trio Beelzefuzz just wrapped their set with a cover of Lucifer’s Friend‘s “Ride in the Sky.” A pretty bold choice, given that Trouble did the same tune and The Skull is playing later tonight, but I’ll be damned if they didn’t pull it off, guitarist/vocalist Dana using his pedal board as much for his vocals as for his guitar. And I do mean “vocals,” plural. At several points in the set, he was doing live double-tracking, clicking on to add another of his voice and then clicking off. He got jumbled up doing it, but it was impressive nonetheless, as was his voice in general. Though I dug their demo, I’d only ever seen Beelzefuzz for two songs at Days of the Doomed II back in June, so a full set was welcome. Following the energy of Black Cowgirl, they were a calmer stage presence, but tight performance-wise, and usually if it’s going to be one or the other, I’ll take that. Dana‘s guitar magically became a Hammond organ at several intervals and that was awesome as well. The Maryland contingent — a big part of SHoD for the last couple years — will have further representation from Admiral Browning in a few hours, but Beelzefuzz were a welcome dash of Krug’s Place in the meantime, making me a little wistful for Frederick. New London’s been alright in the meantime, though.

One Inch Giant


UPDATE 7:14PM: This was the last stop on Swedish rockers One Inch Giant‘s US tour. I saw the first one earlier this week in Brooklyn. Pretty awesome of an underground band, relatively unknown, to get over here and do a week of shows like that. Unlike in Brooklyn, I watched their whole set this time around, though it seems I’d seen more of it than I thought last time. They sent out a building jam to the ladies, hit the blastbeats again — frontman Filip √Östrand warning the crowd beforehand by saying, “I know you like them slow, but this one’s fast” — and gave a solid, energetic showing of their straightforward European-style heavy rock. I couldn’t help but wonder if √Östrand washed his Morbid Angel shirt between the two shows, but as I couldn’t smell him while was taking pictures, I figure probably there was laundry done at some point during the week. Their stuff was straight ahead catchy, and I think maybe some of the ideas got lost in translation between the Euro and US markets, but for both the fact that they’re here and for what they actually did while they were on stage, it was more than respectable.

Orodruin

UPDATE 8:11PM: As good as some of the doom I’ve seen over the last couple days has been, I don’t know if anything tops Rochester, New York’s Orodruin. They haven’t put out an album since 2003’s Epicurean Mass, but here as at Days of the Doomed, they came on and promptly blew the crowd away. John Gallo doesn’t so much play riffs as he conjures them, summoning them from his guitar in some kind of doomly ceremonial rite. The band played as a four-piece tonight, with second guitarist (and if I’m wrong on the name, please correct me) Nick Tydelski joining the melee alongside bassist/vocalist Mike Puleo and drummer Mike Waske. As a four-piece, they were no less potent than as a trio, and they had what I think was the biggest crowd of the fest so far. I didn’t count heads or anything, but all the people I’ve seen milling about the El ‘n’ Gee today finally seemed to all be in the same place at the same time. Good reason, as Orodruin are hands down one of the best traditional doom acts I’ve ever encountered live, breathing new life into what in most hands is a genre based in no small part on retread. Not knocking that, just saying that these guys have something special. Their In Doom demo/EP is here and on sale. I bought one in Wisconsin, but I’m almost tempted to pick up another, just to have it. Fucking a.

Admiral Browning

UPDATE: 9:10PM: Anything strike you as a little strange about the picture above of Ron “Fez” McGinnis of Maryland progressive noisemakers Admiral Browning. He’s singing! When their set first started, I said to myself, “Now why the hell would they leave a microphone on stage?” thinking maybe it was just so guitarist Matt LeGrow could say thanks or something, but then¬†Fez had one too, and sure enough, vocals. Not just vocals though, harmonies too. Either these dudes just discovered they could do that stuff or they’ve been holding out. I’d always kind of thought of Admiral Browning‘s tech-minded approach as being too complicated as to allow for structuring into verses, but it worked and it worked well. They still had plenty of instrumental material on offer, but they’ve put themselves into a different echelon entirely by adding singing, all the more so for actually being able to pull it off. And of course, as LeGrow and McGinnis¬†were belting out the songs, drummer Tim Otis was running a marathon across his kit behind them. Legitimately, I’d be surprised if he covered any less than 26.2 miles. They paid homage to Buddy Rich with “Traps” and, after a story of how they ran into Geraldo Rivera in Coney Island earlier today, shouted out “La Ara√Īa Lobo” in his mustachioed honor. My plan had been to run out to the car and grab my long-awaited turkey sandwich from the cooler in my trunk, but Admiral Browning kept me right in here. That might not sound like high praise, but there isn’t much that beats “turkey sandwich” in my book. Kudos, gentlemen.

Earthen Grave


UPDATE 10:10PM: Chicago’s Earthen Grave went sans violin for their set. I seem to recall Rachel Barton Pine, who usually handles that instrument, being either pregnant or recently a mother, and either way, I’d expect that to account for her absence from SHoD. It’s a valid enough excuse. The show went on, as I’m told the show must, and Earthen Grave delivered a crunchier-seeming set of traditional doom and metal. Vocalist Mark Weiner has hit himself in the head on purpose both times I’ve seen the band — here and at Days of the Doomed II — and so I guess he’s just that crazy. He had on a Church of Misery shirt and was happy to show it off along with his formidable pipes, but bassist Ron Holzner has “used to be in Trouble” on his side, and that’s always an attention-getter. The band was pretty crisp, even for lacking their violin, and the assembled heads dug in wholeheartedly as they kicked into a new song, the title of which I didn’t get. Good to know they have new stuff in the works though. I did run out and grab that turkey sandwich, eating half as I sat on the lip of the open trunk of my car — a doomer tailgate party of one — but when I came back, Earthen Grave made me think perhaps I should revisit their self-titled full-length, and covered Pentagram‘s “Relentless,” which is a bit of a coincidence, since that band is about to go on stage in Brooklyn playing that album in its entirety. Go figure.

Devil to Pay


UPDATE 11:12PM: No coincidence that¬†Devil to Pay guitarist/vocalist Steve Janiak was representing the Ripple Music logo, as it was recently announced the Indianapolis four-piece had signed to that label for the release of their new album. Janiak said on stage that the record is due out in January — it’ll be their first since 2009’s Heavily Ever After — and they played a few songs from it, including the gloomy highlight “Yes, Master.” Devil to Pay are always pretty humble on stage, but they’re pretty clearly riding a high. They seemed confident and assured in their sound, guitarist Rob Hough breaking out the weekend’s first and only (to date) windmill headbang, and Janiak‘s tenure in the doomier Apostle of Solitude has brought a new dynamic to his vocals, which had a kind of post-Alice in Chains grunge feel. I had been looking forward to the new album already, but it’s good to have some affirmation for the anticipation. The night is starting to wind down, and with Pale Divine and The Skull still to go, things are about to get awfully doomed around here, but Devil to Pay‘s heavy rock was a great balance between the stoner and the doom, and Janiak is beginning to emerge as a genuine frontman presence. Cool to watch.

Pale Divine

UPDATE 12:14AM: The funny thing about watching Pale Divine‘s set tonight was that for most of the contingent up front to see the band, they were local, like well-known, like married-to-them local. For me, seeing Pale Divine, who hail from Pennsylvania, is something exotic, something that doesn’t happen every day. It had me thinking about the bands that I feel that way about — Jersey acts like The Atomic Bitchwax or even a Long Island band like Negative Reaction — who I take for granted. My moment’s pondering didn’t last much longer than that, however, because I was astonished to see¬†Fezzy from Admiral Browning was playing bass alongside guitarist/vocalist and band founder Greg Diener and drummer Darin McCloskey, who also played with Beelzefuzz tonight. Fez was a little punchy on the bass, but that dude’s the kind of player that could pretty much fit in anywhere so long as it’s heavy, and it was cool to see him in a more traditionally riffy context, playing off Diener‘s Wino-inspired riffs. A highlight was “Amplified,” the opening track of their first album, Thunder Perfect Mind, and when the whole thing was done, I won the Stoner Hands of Doom raffle! More on that later, as The Skull is about to go on.

The Skull

UPDATE 1:40AM: You know what the difference is between The Skull and your Trouble cover band? First of all, you don’t have a Trouble cover band, but even if you did, chances are it wouldn’t have Ron Holzner playing bass in it or Eric Wagner singing, and as someone who saw Trouble proper on their tour with Kory Clarke fronting them, I can say first hand that that makes a big fucking difference. Seems frivolous to say “Psalm 9” and “Bastards Will Pay” were high points — the whole set was a high point. Together with guitarists and a drummer culled from Chicago metallers Sacred Dawn, Wagner and Holzner ran through a set of classics that seemed utterly antithetical to the late hour. They killed, and the people that stuck around ate it up. Nobody even spoke in between songs. Everyone just stood there and waited to see what was coming next? How about “Revelation (Life and Death)?” Well, yeah, okay, right on. I guess the big difference between tonight and when I saw The Skull at Days of the Doomed is I’m not miserable piss drunk tonight, so I’ve got that working for me. When their set was finished, Wagner said he’d keep going if someone bought him a beer, so beer was acquired and they wound up closing with “At the End of My Daze,” which was incredible of course. The bar called a “get the fuck out” last call after they were actually done, so I’m writing this in the car in the parking lot outside, about to drive back to where I’ll crash out and get up tomorrow for the final day of Stoner Hands of Doom. Tonight was unreal.

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