Live Review: Maryland Doom Fest 2019 Night Two, 06.22.19

Posted in Reviews on June 23rd, 2019 by JJ Koczan

maryland doom fest 2019 night two poster

At some point early on yesterday I decided to drink as much coffee as I possibly could before the show started. It was not a choice I regret. Day two of Maryland Doom Fest 2019 played host to a whopping 11 bands on the Cafe 611 stage and five more — Crooked Hills, Seasick Gladiator, Thunderchief, Pale Grey Lore and Electric Age — at Guido’s, none of whom I’d see because, like yesterday, I got carded at the door and couldn’t get in. Still, 11 bands in an evening is a healthy dose, and Cafe 611 was packed out pretty early on. People always come and go, mill about, go smoke outside and whatnot at a show like this, but when everyone was in front of the stage, you knew it. Such was the case most especially for Beelzefuzz and the evening’s headliners, Pentagram.

I do think pounding all that caffeine was a boon to the night generally, but neither can I discount the quality of the bill in that regard. Aside from being the last Beelzefuzz show, as was announced earlier this month, there was plenty else to envy in the lineup. Also in the merch area. I was like, “I’ll buy some shirts later,” and then missed my shot at a festival shirt and a Beelzefuzz shirt, so commerce was being had for sure. I’ve been coming here for a couple years at this point, and it definitely feels more crowded this year than it ever has. Inevitable for an event that’s growing as this one is, I suppose, and well deserved on the part of Maryland Doom Fest itself.

No question I was feeling it by the end of the night, but spirits were high nonetheless. I don’t want to sound self-aggrandizing or anything, but people have been really very nice to me and said kind things about this site and stuff, and that’s both incredibly awkward and very much appreciated. Both of those things. It means a lot to me, and it makes me blush. Both of those things are true.

I feel like, as Maryland Doom Fest continues to grow, it’s nights like this that will be the biggest source of future nostalgia.

And it started long before sunset:

Greenbeard

Greenbeard (Photo by JJ Koczan)

There’s a lot of varying kinds of heavy at Doom Fest this year, but not a lot of boogie, and so Austin, Texas, trio Greenbeard were an immediately welcome start to the day. The three-piece have toured steadily over the last couple years and late in 2018 they released a three-songer EP called Onward, Pillager! through Sailor Records that was intended as a preview and fund drive for a full-length to come this year. I don’t know what the status is of that follow-up to 2017’s Lödarödböl (review here), but while their atmosphere is all party and uptempo vibes and awesome times, they’re not screwing around as their shuffle meets desert-hued tone and melody, and that was clear at Cafe 611. Guitarist/vocalist Chance Allen, bassist Jeff Klein and drummer Buddy Hachar (who played here with Doomstress last year) were spot on in their delivery and they drew people in even as the show was just getting started. They were vital, and fun in a way that stood them out from the doomly pack and only made them more of a highlight at the outset. They were a wake-up call to get up and throw down. I wouldn’t be surprised if part of the reason there hasn’t been news of their next album is because they’re talking to labels.

Eternal Black

Eternal Black (Photo by JJ Koczan)

What Eternal Black do with their new album, the just-out Slow Burn Suicide (review here), is bring a much-needed sense of perspective to traditionalist doom. The New York three-piece of guitarist/vocalist Ken Wohlrob, bassist/backing vocalist Hal Miller and drummer Joe Wood took what they did on their first record, 2017’s Bleed the Days (review here), and actively learned from it and pushed themselves forward. There are few things I consider as admirable when it comes to bands, so, aside from the fact that before they played I got to meet Joe Wood‘s parents — I’ve known Joe for a very long time, and he is among the sweetest people in the universe, so yes, this was a high point of the day for me — I was very excited to hear their new songs live. They didn’t disappoint, basically playing side A of the record with “Lost in the Fade,” “Below,” “The Ghost” and “Sum of All Fears” along with “Stained Eyes on a Setting Sun” from the debut. I’ve been fortunate enough to see them a couple times now, including here in 2016, but the crunch and impact they’ve fostered in their sound as they’ve continued to progress is as much their own as it is quintessential NYC heavy, and I very much look forward to seeing where the path they’re on takes them.

Atomic 26

Atomic 26 (Photo by JJ Koczan)

Every bill needs a sore thumb, right? That one band who maybe is a little bit the square peg? Well, hello to Maryland’s Atomic 26, whose style of hardcore still had some tonal heft one might trace to a residual influence from earliest Clutch, but definitely were intended to be an outside-genre inclusion in the lineup. Hey, that’s cool. Dudes brought it, aggro chugga and all. I can only be honest and say I neither had the frame of reference to appreciate what they were doing or the inclination toward the genre itself, but at a certain point, whatever, man. They were having fun — shenanigans aplenty — and I’m not about to begrudge that. I’ll note as well there was a contingent up front for their whole set who were obviously well familiar with the proceedings, and the energy they started with offered no letup by the time they were done. I don’t know if their set means Maryland Doom Fest is starting to branch out in a different direction, widen the scope, or what, but sometimes you gotta have something different, and Atomic 26 — it’s iron, in case you were curious — ticked that box nicely.

Knoxxville

Knoxxville (Photo by JJ Koczan)

What, you’re not gonna hang out and watch JB‘s band? Of course you are. Festival organizer JB Matson anchors Knoxxville on drums, and as he’s got two basses and two guitars surrounding him on either side, there was a definite sense of fullness to what they were doing, despite the lack of a singer. My understanding is they had one and now they don’t. I’m sure the narrative is more complex than that, but that’s the upshot all the same. In instrumentalist fashion, they proffered workingman’s doom rock, both very much of the region and right to the heart of what Maryland Doom Fest is rooted in being, which felt like a reorientation after Atomic 26 but was a shift easily made. They’re they only group this weekend thus far to have two basses, and I have no idea why more bands don’t do that. Two guitars? Yeah, that’s cool. Pretty standard. But what the hell could be more doom than piling low end on top of low end? Even with that additional heft factor, Knoxxville moved at a decent clip, treating the crowd to essential local fare that most of all typified the lack of pretense — or if you prefer, bullshit — that Maryland doom has always done better than anyone else. They’ll either get a singer or they won’t, but they were right on as it was.

Forming the Void

Forming the Void (Photo by JJ Koczan)

I’m honestly not sure what I can tell you about Forming the Void that I haven’t already said after the other two times I’ve seen them this year (reviews here and here), but when it comes to the Lafayette, Louisiana, four-piece, the point is worth reiterating just how much these guys are right there. There they are. They’ve found their sound over the course a working-quick three albums, they’re already confirmed to go abroad next year for the first time, they’ve got a new record in the can and they’re right at the cusp of realizing their potential. The heavy prog-tinged melodies in the guitars and harmonized vocals of Shadi Omar Al-Khansa and James Marshall are an immediate standout factor, but the rolling riff style and the weight given to the material from bassist Luke Baker and drummer Thomas Colley is not to be minimized in terms of the overall affect of watching them on stage. They’re about to hit the road for a week with Year of the Cobra, and if that tour is going where you are, just go. That’s it. Go. I’ve yet to see Forming the Void that they didn’t surpass the experience of the time before, including last night, and in style and substance, they’re a bright spot in the American heavy underground. Even better, they still feel like they’re just getting started.

Sixes

Sixes (Photo by JJ Koczan)

Yes, Sixes are very, very heavy. There’s no arguing with that and I won’t try. What seemed more important as the Californian ultra-downer megasludgers brought to Maryland Doom Fest 2019 was more than tone, however. The consuming darkness of their atmosphere was simply on another wavelength from everything else I’ve seen this weekend so far, and they basked in that bleak extremity with purpose and intensity. Like many of the bands who played, they had some technical delays getting going — it would very much be that kind of day — but their lurching, charcoal-black style and largely-unrelenting force came through without hindrance and their sound was a spiraling chasm of ritualized volume. You could almost taste it. Bitter, without the sweet. But they weren’t just assault, and they were able to make the ambient stretches just as heavy as the full-on punishment. They’re signed to Black Bow — among others — and touring Europe later this year with Conan, so take that as the endorsement it is, and though I didn’t get to dig into 2018’s debut, Mephistopheles, when it came out, they made a convincing case for rectifying that immediately, courtesy of the plugs vibrating in my ears crying out for mercy that would not come.

Atala

Atala (Photo by JJ Koczan)

A fresh reminder of what a difference a great drummer makes. Atala‘s Jeff Tedtaotao was neither the first of the day nor the last, but as guitarist/vocalist Kyle Stratton and bassist Dave Horn manifested sand sludge in communion with a land far, far away from Frederick, it was Tedtaotao‘s drumming that gave the band their sense of push and roll. It was not my first Atala experience — which I feel like one should for sure discuss in a way otherwise reserved for talking about ayahuasca, and not just for the bookending-vowel commonality — but it was my first time seeing them since the release last month of their fourth album, The Bearer of Light (review here), on Salt of the Earth Records, and as the prevailing impression of that record was, “Wow, these songs are cool and this production is raw and live-sounding as hell,” the interest in hearing that material come from a P.A. was high. “Desolate Lands,” “Upon the Altar” and the particularly crushing “Won’t Subside” answered that call, and as this was their second time at Maryland Doom Fest, they seemed at home on the Cafe 611 stage. They’re not a band I’m likely to ever complain about seeing live, and I felt like when they were done I only had a richer understanding of The Bearer of Light, so all the better.

Beelzefuzz

Beelzefuzz (Photo by JJ Koczan)

Man, up yours, Beelzefuzz, for making me feel feelings. As noted above, founding guitarist/vocalist Dana Ortt announced the end of the band after a decade together in one form or another, as he, drummer Darin McCloskey and lead guitarist/vocalist Greg Diener will continue in Pale Divine — which I believe leaves bassist Bert Hall as a free agent; Revelation reunion? — and I’m legitimately sorry to see them go. They played their final set to a crowd full of family and friends as well as some people who’d never even heard them before, and that could hardly have been more appropriate. With the progressive edge or Ortt‘s organ/vocal-harmony effects, McCloskey‘s smooth and classy style of drumming, Hall‘s complement thereto, the born-to-do-it soloing of Diener and his splitting the vocal duties with Ortt, they were a band who should have been around longer and who will be talked about in this part of the world for a long time to come. Whatever tumult they’d been through with the name change, lineup change, all of it, didn’t matter while they played. Their last show was about celebration, and from “Hypnotized” and “All the Feeling Returns” to the so-fitting last lead line reaches of “Hard Luck Melody,” they lived up to the legacy of what could and should have been for them all along. Special band. Will be missed.

Foghound

Foghound (Photo by JJ Koczan)

Somewhere in the Big Book of Guaranteed Good Times, there’s a picture of Foghound playing Maryland Doom Fest. I probably didn’t take it, but still. It’s there. Not yet a year removed from their most recent album, Awaken to Destroy (review here), the dual-guitar Baltimorean four-piece came in, kicked ass, set the room on (figurative) fire, then split. It was awesome, they’re awesome, you’re awesome. Awesome. With Adam Heinzmann another year’s worth of locked-in on bass/periodic vocals — he shared a mic with guitarist Dee Settar, while guitarist Bob Sipes and drummer Chuck Dukehart each had their own — and the very-present spirit of bassist Rev. Jim Forrester in the place, they were the heavy rock boot to the ass that you knew was coming but still managed to be jolted by anyhow. They don’t tour, and they could, but neither do they screw around, and though they played here in 2018, between the fact of the new album out and the fact that they’re fucking Foghound and it’s Maryland, so yes, you want them to be there, they were awakened and they destroyed. If you’re at all into heavy rock, I can’t imagine a situation in which you would’ve watched their set and not been a fan by the end of it, whether or not you were before. That’s it. Done.

Apostle of Solitude

Apostle of Solitude (Photo by JJ Koczan)

Indianapolis four-piece Apostle of Solitude released the best doom album of 2018 in the form of From Gold to Ash (review here) on Cruz Del Sur. They played here in 2017, but I was absent that year — can’t remember why, but I’m sure I had a doctor’s note for whatever it was; they also played in 2015 at the first one — so it had apparently been four years since I last saw them live, which for a band as good as they are is egregiously long. They opened the set with “Keeping the Lighthouse” from the new album, the hook of which will likely remain stuck in my head long after this weekend is over, and followed with cuts like “My Heart is Leaving Here” and “Ruination be Thy Name” to only further the impact, drummer Corey Webb earning shouts of “BEAST!” from the side of the stage after the first song with which one could only agree. Webb, bassist Mike Naish, and guitarist/vocalists Chuck Brown and Steve Janiak (the latter also of Devil to Pay, and both now of the semi-reignited The Gates of Slumber) were monstrous. I don’t know what pagan gods were bestowing gifts of riffs upon the masses assembled in front of the stage, but, you know, thanks and all that. At an event like this, I usually have one set where I end up pulling my earplugs out and just kind of giving into the volume and the vibe of the thing. At Maryland Doom Fest 2019, that was Apostle of Solitude, and it’s not a choice I regret in the slightest.

Pentagram

Pentagram (Photo by JJ Koczan)

Is this the beginning of the redemption of Bobby Liebling? I have no idea, but I’d guess probably not. By any measure, we’re talking about someone who has actively or inadvertently squandered just about every visible opportunity and/or second chance he’s worked for or had come his way in his life, and so when it comes to Pentagram‘s future, if you look back over the last 50 years or so, it’s hard to imagine any radical change. Does the fact that the dude assaulted his mom, got called out on tour for sexual harassment, and so on, mean that the band doesn’t deserve to headline at Maryland Doom Fest? It’s certainly debatable. But if the redemption of Bobby Liebling were ever to happen, this would be the place it started, and the room was certainly rooting for him, from the young woman who kissed his hand during “Starlady” early on in the set to the crowd surfing and moshing that took hold later as the house lights came up and they went into “Forever My Queen.” The word is “polarizing,” but as Oscar Wilde said, “The only thing worse than being talked about is not being talked about,” so make of it what you will. The band behind Liebling — bassist Greg Turly, drummer “Minnesota” Pete Campbell (who was announced as the winner of the night’s raffle right before going on stage) and guitarist Matt Goldsborough — were on point, and the response was there as it’s been for the last decade-plus. You kind of have to shrug or throw up your hands. That’s me not taking a side. Pentagram will keep going either way. What else is there?

As I write this, it’s almost 1PM and the last day of the fest starts in a couple hours. Nine more bands on the Cafe 611 stage and I’m not even going to embarrass myself trying to get into Guido’s again. Very rock and roll of me, I know. I’ll get ’em in 2020. Shower first, and then more coffee and all the water. I’d like to sit for a bit and get my head on straight as I was lucky enough to do yesterday, and the energy was so good throughout last night that I want to try to recapture it as much as I am able, particularly after feeling by the end of Friday like I’d been hit by the doomtruck. I’m hardly in peak physical condition — my legs and back are feeling it — but we’ll see how it goes. The mind is willing, the flesh is… increasingly saggy.

Thanks for reading. More pics after the jump.

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Maryland Doom Fest 2019 Early-Bird Tickets Limited; Day Lineups Announced

Posted in Whathaveyou on December 28th, 2018 by JJ Koczan

maryland doom fest 2019 poster square

The actual schedules aren’t out yet for the four days of Maryland Doom Fest 2019, but even the day-splits for the massive lineup are good to know since this will be the first one with two venues and, thus, the first one with schedule conflicts (assuming the rooms run at the same time). That will invariably lead to some difficult choices, but so it goes in the land of doom — aka Frederick, MD. One way or another, the lineup is maddeningly good from its headliners in Pentagram, Conan, Earthride and Mothership right on down through the likes of Seasick Gladiator and Greenbeard, playing earlier in the day. But it’s good to get some basic idea of who will be where, when, because given the swath of bands, it’s going to be one to schedule where your feet are at any moment in order to miss as little as humanly possible.

By the way, how fucking awesome is the idea of Maryland Doom Fest paying homage to the 20th anniversary of the long-running/now-defunct Stoner Hands of Doom festival? That lineup could hardly be more perfect if they got Eternal Elysium over for it as SHoD once did. Especially the top three there. Unstoppable.

Here’s the info. There’s a lot of it:

Early Bird Discount Ends 12/31! THE MARYLAND DOOM FEST 2019 – 5th Anniversary – June 20th-23rd with PENTAGRAM, CONAN, EARTHRIDE, MOTHERSHIP, WARHORSE, 40+ More!

The Maryland Doom Fest celebrates its 5th anniversary this upcoming June and has confirmed FIFTY of today’s heaviest bands to grace the stages of two venues in 2019. For the first time in its history, MD Doom Fest brings international artists, the mighty CONAN from the United Kingdom and INTERITUM from Tasmania, with 48 hallowed USA acts coming from coast to coast!

In a dual-ceremonial event, the MD Doom Fest Pre-Party on Thursday, June 20th is a 20th Anniversary celebration of the Stoner Hands of Doom Festival (ShoD), with a spectacular lineup. All bands have performed at fantastic SHoD fests of years past! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental. We invite everyone to become part of the family at The Maryland Doom Fest 2019 events for #4daysofdoom!!

THE MARYLAND DOOM FEST 2019
June 20th – 23rd, 2019 + Frederick, MD

PENTAGRAM + CONAN + EARTHRIDE + MOTHERSHIP

Year Of The Cobra + Lo Pan + Freedom Hawk + Warhorse + Pale Divine + Apostle Of Solitude + Kings Destroy + Solace + Foghound + Beelzefuzz + ZED + Wasted Theory + The Age Of Truth + Atala + Toke + Backwoods Payback + Weed Is Weed + Forming The Void + Sixes + After The Sun + Shadow Witch + Faith In Jane + Clouds Taste Satanic + Pale Grey Lore + Knoxxville + Devil To Pay + Eternal Black + Thonian Horde + Kingsnake + Greenbeard + Interitum + Benthic Realm + Horehound + Funeral Horse + Thousand Vision Mist + Deer Creek + Crooked Hills + Stone Dust Riders + Thunderchief + Wolf Blood + The Druids + Atomic 26 + Dead Sisters + Seasick Gladiator + Electric Age + Temptations Wings

+++ Early Bird Discount Weekend Passes available until December 31st +++

https://www.marylanddoomfest.com/tickets/

MD Doom Fest Pre-Party
SHoD 20th Anniversary Celebration
Thursday, June 20th

+ Cafe 611 +
Earthride
Warhorse
Solace
Wasted Theory
Devil to Pay
Deer Creek
Weed is Weed
Freedom Hawk
After the Sun

DAY ONE
Friday, June 21st

+CAFE 611+
Mothership
Pale Divine
Lo Pan
Year of the Cobra
The Age of Truth
Backwoods Payback
Kingsnake
Interitum
The Druids

+GUIDO’S SPEAKEASY+
Clouds Taste Satanic
Benthic Realm
Dead Sisters
Funeral Horse

DAY TWO
Saturday, June 22nd

+CAFE 611+
Pentagram
Apostle of Solitude
Foghound
Beelzefuzz
Atala
Sixes
Forming the Void
Knoxxville
Atomic 26
Eternal Black
Greenbeard

+GUIDO’S SPEAKEASY+
Electric Age
Pale Grey Lore
Thunderchief
Seasick Gladiator
Crooked Hills

DAY THREE
Sunday, June 23rd

+CAFE 611+
Conan
ZED
Kings Destroy
Toke
Thousand Vision Mist
Horehound
Thonian Horde
Shadow Witch
Faith in Jane

+GUIDO’S SPEAKEASY+
Temptations Wings
Wolf Blood
Stone Dust Riders

Early Bird Discount Weekend Passes are available until December 31st, 2018!
(Early Bird Discount is only for Weekend Passes- $74.)

On January 1, 2019, all regular price ticket options will be available.
Weekend Passes $89. Single Night: Fri. $35 / Sat. $40 / Sun. $35
Weekend Pass holders can attend Pre-Fest/SHoD for $15 at the door, all others: $30.

https://www.facebook.com/events/371836710006412/
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

Apostle of Solitude, “Keeping the Lighthouse” official video

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2018

Posted in Features on December 20th, 2018 by JJ Koczan

the-top-30-of-2018

Please note: This post is not culled in any way from the Year-End Poll, which is ongoing. If you haven’t yet contributed your favorites of 2018 to that, please do.

It just wouldn’t be a year if it wasn’t completely overwhelming, right?

2018 has certainly met that standard and then some. The swath of output, whether it’s a new generation adopting and adapting established methods or out and out reinventing the stylistic wheel and then pushing it uphill on a seemingly endless barrage of tours, has been staggering, and it’s still happening. There’s a little more than a week to go in the year. You think a band isn’t putting something out today? Of course they are. It’s every day. It’s all the time.

But this year wasn’t just about quantity either. I think one of my biggest struggles in writing about albums in 2018 — and with the last Quarterly Review and various premieres and video posts that were basically album reviews in disguise, let’s estimate we’re somewhere past 300 records reviewed one way or another — was in conveying just how killer so much of the stuff coming through was. How many times can you say the word “awesome?” Well, I’m sure we’ll see it a few more times before this list is over, so there you go.

I say something like this every time I do a list, but please keep in mind these are my picks and I’m one person. But I am a person. I know there’s the whole internet-anonymity thing, but I assure you, I’m a human being (more of a cave troll, really) typing these words. I’m all for everyone sharing their own picks in the comments, and all for passionate advocating, but please, let’s keep it civil and respectful. These things can spiral out of control quickly, but let’s remember that we’re all human beings and worth of basic courtesy, even if some of us are dead wrong about a good many things. You should definitely punch nazis, though.

Thanks in advance for reading. Here we go:

[UPDATE: You’ll notice the inclusion of an ’18a.’ I had Stoned Jesus in my notes as number 18 initially and they got dropped as I was adjusting things along the way. I’ve added them back in, but it didn’t seem fair to bump everyone else down after the post had already been published. That was the best I could come up with for a solution. If you’re pissed about one more killer record being added, please feel free to email me and tell me all about it.]

30. The Skull, The Endless Road Turns Dark

The Skull The Endless Road Turns Dark

Released by Tee Pee Records. Reviewed Sept. 12.

Chicago’s The Skull had no small task before them in following up their 2014 debut, For Those Which are Asleep (review here) — let alone living up to their pedigree — but their second album demonstrated a creative growth that sacrificed nothing of memorability when it came to songs like “Breathing Underwater” and “All that Remains (Is True).” They got down to work and got the job done, which is what a working band does. 2018 was by any measure a fantastic year for doom, and The Skull were a big part of why.

29. Foghound, Awaken to Destroy

foghound awaken to destroy

Released by Ripple Music. Reviewed Nov. 21.

The Dec. 2017 murder of Rev. Jim Forrester was tragic. No other way to say it. Foghound, who were in the midst of making Awaken to Destroy at the time, put together an album that not only features Forrester‘s last recorded performance, but pays respect to his memory while the wound is still raw and manages to kick ass all the while. It’s a record that can’t ever be divorced from its circumstances — just can’t — and so it can be a heavy listen in more than just its tones, but it’s basically Foghound proving they’re unstoppable. And so they are.

28. Orange Goblin, The Wolf Bites Back

orange goblin the wolf bites back

Released by Spinefarm Records. Reviewed June 13.

Who among us here today is not a sucker for Orange Goblin? Come forward an be judged. I mean, really. Nine records deep, the London sceneforgers are nothing less than an institution, beloved by boozehounds, riffhounds, doomhounds, and really, a wide variety of hounds the world over. Also dudes. With its essential title-track hook and highlight cuts in “Ghosts of the Primitives” and “Burn the Ships” — or, you know, any of them — they added to one of heavy’s most unshakable legacies with an album as furious as it is welcoming to its generations-spanning fanbase.

27. Fu Manchu, Clone of the Universe

fu manchu clone of the universe
Released by At the Dojo Records. Reviewed Feb. 15.

There are two kinds of people in this world, and they’re both Fu Manchu fans. Clone of the Universe turned heads with a guest appearance from Rush‘s Alex Lifeson on the 18-minute side-B-consuming “Il Mostro Atomico,” but really to focus on that instead of “Intelligent Worship,” “(I’ve Been) Hexed,” “Don’t Panic,” “Slower than Light,” etc., is only seeing half the point of the album in the first place. The long-running lords of fuzz hit a new stride with 2014’s Gigantoid (review here), and Clone of the Universe was in every way a worthy successor.

26. Witch Mountain, Witch Mountain

Witch-Mountain-Witch-Mountain
Released by Svart Records. Reviewed May 16.

It was an unenviable task before Witch Mountain in replacing vocalist Uta Plotkin, but founding guitarist Rob Wrong and drummer Nathan Carson found the right voice in Kayla Dixon and solidified the lineup with her and bassist Justin Brown enough to make a declarative statement in Witch Mountain‘s self-titled LP. That’s the story of it. They pulled it off. Met with what was unquestionably a bummer circumstance, they pushed through and moved their sound forward through a new beginning — and not their first one. Watch out when their next record hits.

25. Windhand, Eternal Return

windhand eternal return

Released by Relapse Records. Reviewed Oct. 3.

Richmond, Virginia, doomers Windhand‘s second collaboration with producer Jack Endino produced a marked and purposeful expansion of their sound, encompassing classic grunge influences and a heavy psychedelic swirl that added color their previously-greyscale sonic haze. Resonant in tone and emotionalism, Eternal Return readjusted Windhand‘s trajectory in such a manner that, where one might’ve thought they knew where the band were headed in terms of their progression, they’ve made themselves a less predictable outfit on the whole. For that alone, it’s a triumph. Then you have the songs.

24. Sun Voyager, Seismic Vibes

Sun Voyager Seismic Vibes

Released by King Pizza Records. Reviewed April 18.

I don’t even want to admit how long I was waiting for Sun Voyager‘s first long-player to show up, but when it finally did, the New York trio did not disappoint. Catchy, energetic, fuzzed-out tunes with driving rhythms and a heavy psych flourish, they tapped into shoegaze and desert vibes without losing any sense of themselves in the process, and if the extra wait was so they could be so remarkably coherent in their expression on their full-length, then I wouldn’t want it to have shown up any sooner. An easy pick to stand among 2018’s best debut albums. Now to wait for the next one.

23. Forming the Void, Rift

forming the void rift

Released by Kozmik Artifactz. Reviewed July 27.

It should tell you something that after working quickly to produce three albums, Louisiana’s Forming the Void are still defined by their potential. If I had my druthers, I’d put the recent Ripple signees on tour for the bulk of 2019, across the US and in Europe for festivals and support-slot club shows, really give them an opportunity to hammer out who they are as a band and then hit the studio for LP four. I don’t know if that’ll happen, but they’d only be doing the universe a favor by kicking into that gear. As it stands, their progression is palpable in their material and they stand absolutely ready for whatever the next level might be for them.

22. Spaceslug, Eye the Tide

spaceslug eye the tide

Released by BSFD Records and Oak Island Records. Reviewed June 29.

Aside from the speed at which Spaceslug have turned around offerings — with Eye the Tide following 2017’s Mountains and Reminiscence EP (review here) and Time Travel Dilemma (review here) full-length and their 2016 debut, Lemanis (review here) — the Polish outfit have undertaken significant progression in their sound, moving from pure heavy psychedelic warmth to incorporating elements out of extreme metal as they did on Eye the Tide. Adding to the latest record’s accomplishment is the smoothness with which they brought seemingly opposing sides together, only adding depth to an approach already worthy of oceanic comparison.

21. Conan, Existential Void Guardian

Conan Existential Void Guardian
Released by Napalm Records. Reviewed Sept. 14.

Conan‘s reign of terror has been unfolding for more than a decade now, and each of their albums has become a kind of step along a path of incremental growth. Consider the melody creeping into the shouts of founding guitarist Jon Davis, or the emergence of bassist Chris Fielding as a vocal presence alongside, the two sharing a frontman role more than ever before while welcoming drummer Johnny King to the fold of destructive tonality and doomly extremism. Existential Void Guardian may end up just being another stomp-print on their way to the next thing, but it affirmed the fact that as much as Conan grow each time out, their central violence continues to hold sway.

20. Pale Divine, Pale Divine

PALE DIVINE S/T
Released by Shadow Kingdom Records. Reviewed Nov. 21.

Look. A new Pale Divine record doesn’t come along every day, so yeah, their self-titled was probably going to be on my list one way or the other, but it definitely helps that not only was it their first outing in six years since 2012’s Painted Windows Black (review here), but it had the songs to live up to a half-decade-plus of anticipation. It marked the first studio appearance from bassist/backing vocalist Ron “Fezz” McGinnis alongside guitarist Greg Diener and drummer Darin McCloskey — now both of Beelzefuzz as well — and made a strong argument for how much Pale Divine deserve more than 20 years on from their initial demo to be considered classic American doom.

19. Mos Generator, Shadowlands

mos generator shadowlands
Released by Listenable Records. Reviewed May 11.

The return and rise to prominence of Washington pure heavy rockers Mos Generator might be the underground’s feelgood story of the decade, but it hasn’t by any means been easily won. In addition to rebuilding the band however many albums ago, guitarist/vocalist Tony Reed has put in innumerable hours on tour and worked to actually develop the group creatively in addition to in terms of stage presence. This is shown throughout some of the classic prog elements making their way onto Shadowlands, and perhaps some of the collection’s moodier aspects are born of the aforementioned road time as well. Hard for that kind of thing not to be a slog after a while, but at least they have killer tunes to play.

18a. Stoned Jesus, Pilgrims

STONED JESUS PILGRIMS

Released by Napalm Records. Reviewed Sept. 5.

The only safe bet about Stoned Jesus‘ fourth long-player, Pilgrims, was that it was going to sound different than the third. That 2015 outing, The Harvest (review here), preceded the band touring to celebrate the fifth anniversary and after-the-fact success of 2012’s Seven Thunders Roar (review here), but Pilgrims defied narrative in that instead of incorporating elements from the second record in more of a heavy psych or jam sound, Stoned Jesus instead showcased a tighter, more sureheaded sense of craft than they’ve ever displayed before, and arrived on Napalm Records with a collection of songs that demonstrated the growth and sense of creative will that drives them. While one can take a look at their moniker and think immediately they know what’s coming, Stoned Jesus have made themselves one of the least predictable bands in heavy rock.

18. Backwoods Payback, Future Slum

backwoods payback future slum

Self-released. Reviewed Aug. 15.

“Pirate Smile.” “Lines.” “Whatever.” “It Ain’t Right.” “Threes.” “Cinderella.” “Generals.” “Big Enough.” “Alone.” “Lucky. Mike Cummings, Jessica Baker, Erik Larson. Every player, every song, every minute. If you want to know what heart-on-sleeve sounds like, it fucking sounds like Backwoods Payback. In their line from hardcore punk to grunge to heavy rock, they encompass experiences and emotionalism that are both shown in raw form throughout Future Slum, and build all the while on the chemistry they set out in developing with 2016’s Fire Not Reason (review here), when they welcomed Larson to the lineup on drums and revitalized their mission. Also worth noting, they were the best live band I saw this year. Anywhere.

17. Corrosion of Conformity, No Cross No Crown

corrosion of conformity no cross no crown

Released by Nuclear Blast Records. Reviewed Jan. 3

No question the excitement of C.O.C. putting out their first record with frontman Pepper Keenan involved since 2005’s In the Arms of God was one of this year’s top stories in heavy. And No Cross No Crown tapped directly into the spirit of 1994’s Deliverance (discussed here) and 1996’s Wiseblood (discussed here) in terms of direction, while updating the band’s style with a four-part 2LP in mind. In some ways, it’ll be their next album that really gives listeners a sense of where they’re at and where they might be headed, but as welcome returns go, having Keenan alongside Mike DeanWoody Weatherman and Reed Mullin is in no way to be understated, and neither is the quality of their output together, then and now.

16. Naxatras, III

naxatras iii

Self-released. Reviewed Feb. 14.

It is no simple feat to hypnotize an audience and convey serenity while at the same time holding attention with songcraft, so that the listener isn’t actually so much unconscious as malleable of mood and spirit in such a direction as the band suggests. Greek trio Naxatras have worked quickly to become experts at this, and their third full-length fosters tonal warmth and jammy progressions with an overarching naturalism that finds them so committed to analog recording that one can buy direct transfers of the tape master of III. Some acts take classic-style practices as an aesthetic choice. With Naxatras, it seems to be the stuff of life, yet their sound is only vibrant and human in a way that, at least one hopes, is even more representative of the future than the past.

15. Clutch, Book of Bad Decisions

clutch book of bad decisions

Released by Weathermaker Music. Reviewed Aug. 27.

It was time for Clutch to make a change in producers, and the Maryland overlords of groove seemed to know it. Known as a live band, they went with Vance Powell, who’s known a live band producer. The results on Book of Bad Decisions might not have been so earth-shatteringly different from 2015’s Psychic Warfare (review here), which was the too-soon follow-up to 2013’s Earth Rocker (review here) — both helmed by Machine — but the inimitable four-piece indeed succeeded in capturing the electricity of their stage performance and, as ever, treated fans to a collection of songs bearing Clutch‘s unmistakable hallmarks of quirky lyrics, funky rhythms and heavy roll. They may always be a live band, but Clutch‘s studio work is in no way to be discounted, ever, as this record reaffirmed. Plus, crab cakes.

14. Ancestors, Suspended in Reflections

Ancestors Suspended in Reflections

Released by Pelagic Records. Reviewed Aug. 3.

After 2012’s In Dreams and Time (review here), I wasn’t sure Ancestors were going to put out another record. They kicked around word of one for a while, but it wasn’t until the end of last year that it really seemed to congeal into a possibility. And by then, who the hell knew what they might get up to on a full-length? With Suspended in Reflections, in some says, they picked up where they left off in terms of finding a niche for themselves in progressive and melodic heavy, but I think the time showed in the poise of their execution and the control of the material. Suspended in Reflections can’t help but be six years more mature than its predecessor, and that suits its contemplative feel. In tracks like “Gone,” and “The Warm Glow,” they tempered their expansive sound with an efficiency that can only be had with time.

13. High on Fire, Electric Messiah

high on fire electric messiah

Released by eOne Heavy. Reviewed Sept. 28.

The narrative here was hard to beat. Matt Pike spending an album cycle talking about Lemmy Kilmister and paying homage to his dirt-rock forebear and the gods of old? It doesn’t get much more perfect than that. Electric Messiah was the third collaboration between High on Fire and producer Kurt Ballou behind 2015’s Luminiferous (review here) and 2012’s De Vermiis Mysteriis (review here), and while it seemed after the last record that the formula might be getting stale, the band only sounded more and more lethal throughout the latest offering. Even putting aside their contributions to underground heavy, they’ve become one of the most essential metal bands of their generation. Metal, period. Doesn’t matter what subgenre you’re talking about it. If you’re listening to High on Fire, you know it. Usually because you’ve just been decapitated.

12. Yawning Man, The Revolt Against Tired Noises

yawning man the revolt against tired noises

Released by Heavy Psych Sounds. Reviewed July 2.

You know, if you take the time to separate Yawning Man from their 30-plus-year history and their legacy as one of the foundational acts of what later became desert rock, and you listen to The Revolt Against Tired Noises, you’re still left with basically a dream of an album. Mostly instrumental, as is their wont, they nonetheless had bassist Mario Lalli (also Fatso Jetson) sing this time around on a version of the previously-unreleased “Catamaran,” which Kyuss covered once upon a whenever although Yawning Man had never officially put it to tape. But really, that and all other novelty aside, guitarist Gary Arce, Lalli and drummer Bill Stinson are a chemistry unto themselves. I don’t know if they’ll ever be as huge as they should be, but every bit of acclaim they get, they’ve earned, and if The Revolt Against Tired Noises helps them get it, all the more so.

11. Greenleaf, Hear the Rivers

greenleaf hear the rivers

Released by Napalm Records. Reviewed Nov. 26.

Swedish heavy rock mavens Greenleaf have become an entirely different band than they once were. No longer a Dozer side-project from guitarist Tommi Holappa with a rotating cast of players, they’re a solidified, road-tested, powerhouse unit, and Hear the Rivers bleeds soul as a result. Holappa, frontman Arvid Hällagård, bassist Hans Fröhlich and drummer Sebastian Olsson sound like they’re absolutely on fire in the album’s tracks, and far from being staid or formulaic as one might expect a sixth long-player to be, Hear the Rivers built on what the band accomplished with 2016’s Rise Above the Meadow (review here) and came across as all the more vital and nearly frenetic in their energy. I won’t say Greenleaf has seen their last lineup change, because one never knows, but the band as they are today is the realization of potential I don’t think even Greenleaf knew was there.

10. Gozu, Equilibrium

gozu equilibrium

Released by Blacklight Media / Metal Blade Records. Reviewed April 4.

Five records deep into a career into its second decade, Gozu haven’t had a miss yet. Admittedly, some of their early work can seem formative considering where they are now, but still. And after the 2016 rager, Revival (review here), to have the band return to the same studio — Wild Arctic in Portsmouth, New Hampshire, where strides producer Dean Baltulonis — for the follow-up allows for the four-piece to directly show how their sound has grown more encompassing in the last couple years. And it has. Equilibrium is a rich and varied listen that holds true to Gozu‘s well-established penchant for soulful vibes and crunching, hard-hitting riffs and groove, but while it shares the directness of approach with Revival, it makes moves that a band could only make moving from one record to the next. I expect nothing less their next time out as well, because a decade later, that’s Gozu‘s proven track record.

9. Monster Magnet, Mindfucker

monster magnet mindfucker
Released by Napalm Records. Reviewed Feb. 23.

The battle for the best album title of 2018 ended early when New Jersey everything-rockers Monster Magnet announced the release of Mindfucker. And what else to call a Monster Magnet LP at this point? They’ve stopped writing to genre. They’re driven by the creative mania of frontman/founder Dave Wyndorf, and they’ve seen psychedelic expanses and commercial success the likes of which would serve the tenure of four lesser bands. What’s left to do but whatever the hell you want? So that’s what Monster Magnet are doing. It just so happens that while they’re doing it, they’re still basically outclassing the entirety of the former planet earth as songwriters. As Monster Magnet fan in 2018, there was nothing more I could’ve asked than what Mindfucker delivered. And if you’re still trying to get your brain around it however many months later, you’re not alone. I think that’s the idea.

8. Apostle of Solitude, From Gold to Ash

Apostle of Solitude From Gold to Ash

Released by Cruz del Sur Music. Reviewed Feb. 20.

Best doom album of 2018. The combination of craft and passion behind the delivery. The way the dark tones fed into the emotions so clearly on display and sheer presence of it in listening to songs like “Keeping the Lighthouse,” “Ruination by Thy Name” and “My Heart is Leaving Here.” Apostle of Solitude never seem to be the highest profile band out there, but their work seems never to be anything less than outstanding, and I refuse to accept them as anything less than among the most pivotal American acts out there making traditional doom. And not just making it, but making it their own, with a sense of new pursuits and individualism that extends to playing style as well as atmosphere. I know doom isn’t exactly in short supply these days — figuratively or literally — but if you miss out on what Apostle of Solitude are doing with it, you’ll only regret it later. I’ll say it one more time: Best doom album of 2018.

7. Holy Grove, Holy Grove II

holy grove ii
Released by Ripple Music. Reviewed Oct. 31.

Every now and again, anticipating the crap of an album really pays off, and such was the case with Holy Grove II, the Ripple Music debut from the Portland outfit whose 2016 self-titled (review here) seemed like such a herald of excellence to come while also, you know, being killer. Holy Grove II brought the four-piece of vocalist Andrea Vidal, guitarist Trent Jacobs, bassist Gregg Emley and drummer Eben Travis to entirely new levels of composition and execution. In songs like “Blade Born,” the shorter, sharper “Aurora,” the patiently rolling “Valley of the Mystics,” “Solaris” and closer “Cosmos,” which boasted a not-really-necessary-but-definitely-welcome guest vocal appearance from YOB‘s Mike Scheidt, — and oh wait, that’s all of the tracks — Holy Grove entered a different echelon. Anticipation will likewise be high for Holy Grove III, but it’ll be hard to complain with this record to keep company in the meantime.

6. All Them Witches, ATW

all them witches atw
Released by New West Records. Reviewed Sept. 18.

Over five All Them Witches albums, the Nashville four-piece have gone from a nascent heavy Americana jam band to one of the most distinct acts in the US underground. Their development in sound is chemistry-driven, so it was a risk when the founding trio of bassist/vocalist Charles Michael Parks, Jr., guitarist Ben McLeod (who also produced) and drummer Robby Staebler welcomed new keyboardist Jonathan Draper into the lineup to take the place of Allan van Cleave. Amid a more naturalist production than that of 2017’s Sleeping Through the War (review here), the revamped four-piece flourished in terms of songwriting and conveying their stage-born sonic personae. From the gleeful fuckery of opener “Fishbelly 86 Onions” to the memorable moodiness of “Diamond” and the back-end jam “Harvest Feast” en route to the stretched-out end of “Rob’s Dream,” All Them Witches essentially confirmed they could do whatever they wanted and make it work.

5. YOB, Our Raw Heart

yob our raw heart
Released by Relapse Records. Reviewed June 7.

Actually, if you want a sample of YOB‘s raw heart, the place to go is probably 2014’s Clearing the Path to Ascend (review here), but whatever the Eugene, Oregon, shapers of cosmic doom might’ve lacked in titular accuracy on their eighth long-player, they made up for in a new, statesman-like posture. Their approach was mature, hammered out to a professionalism working completely on its own terms, and they never sounded so sure of who they are as a band or as confident of their direction. In extended cuts “Beauty in Falling Leaves” and “Our Raw Heart,” they explored new and progressive textures and melodies, and managed to reaffirm their core aspects while finding room for conveying emotion that came across as nothing but ultimately sincere. They have been and still are one of a kind, and as they continue to move forward, they remain a band that makes one feel lucky to be alive to witness their work. Our Raw Heart was perhaps more refined than it let on, but the heart was there for sure, as always.

4. Brant Bjork, Mankind Woman

brant bjork mankind woman

Released by Heavy Psych Sounds. Reviewed Sept. 13.

I’m not going to say I wasn’t a fan of the (relatively) harder-hitting approach Brant Bjork and his Low Desert Punk Band took on 2014’s Black Power Flower (review here) and 2016’s Tao of the Devil (review here), but Mankind Woman brought in some more of his soul influences, and whether it was the subtly subversive funk of “Chocolatize” and “Brand New Old Times” or the callout “1968” and laid back vibes of the title-track and “Swagger and Sway,” Bjork — working with guitarist Bubba DuPree on songwriting and production — offered a definitive look at what has made his 20-year solo career so special and demonstrates not only his longevity and his legacy, but his will to continue to progress as an artist honing his craft. His discography is well populated by now to be sure, but Mankind Woman represents a turn from the last couple records, and if it’s in any way portentous of things to come, it bodes well. Bjork is right at home nestled into classic-style grooves, and his legacy as one of the principal architects of desert rock is continually reaffirmed.

3. Earthless, Black Heaven

earthless black heaven

Released by Nuclear Blast Records. Reviewed March 15.

They’ve been great, not just good, for a long time now, and as forerunners of the San Diego heavy scene, they’re godfathers to an up and coming generation of bands taking their influence — let alone acts from the rest of the world — but Black Heaven is a special moment for them because of its departure. No, it wasn’t not the first time guitarist Isaiah Mitchell sang on an Earthless recording, but it did represent a tip of the balance in that direction for the band on a studio full-length, and that resulted in a special moment. Album opener “Gifted by the Wind” was one of the best songs I heard this year, and while “End to End” and the all-thrust “Volt Rush” affirmed that more traditional songwriting was well within the grasp of Mitchell, bassist Mike Eginton and drummer Mario Rubalcaba, they still found space for a sprawling jam or two, keeping their claim on the instrumentalism that’s (largely) fueled their tenure to date. Earthless don’t want for acclaim, but every bit of it is earned, and while their primary impact has always been live, Black Heaven saw them construct a traditional-style LP that still bore the hallmarks of their collective personality. It was the best of all worlds.

2. King Buffalo, Longing to Be the Mountain

king buffalo longing to be the mountain
Self-released/released by Stickman Records. Reviewed Sept. 27.

In the dark early hours of 2018, the Rochester, New York, trio of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson issued the Repeater EP (review here) as a follow-up to their 2016 debut, Orion (review here), so Longing to Be the Mountain didn’t exactly come out of nowhere, but even with Repeater preceding its arrival, I don’t think anyone necessary expected King Buffalo‘s second album to have such a scope or to be so engrossing with it. In its melody, patience, atmosphere and heft, it was an absolute joy to behold. Its songs were memorable at the same time they were far-reaching, and while Orion was already my pick for the best debut of 2016, Longing to Be the Mountain realized even more potential than that record had hinted toward. It could be intimate or majestic at its whim, and its dynamic set an individual characterization of heavy psychedelia and blues-style sprawl that the band wholly owned. With production by Ben McLeod of All Them Witches behind them, they worked to serve notice of a progression undertaken the results of which are already staggering and still seem to be looking ahead to the next stage, literally and figuratively. One of the principal standards I use in constructing this list every year is what I listen to most. That’s this record.

1. Sleep, The Sciences

sleep the sciences

Released by Third Man Records. Reviewed May 1.

Obviously, right? To some extent, when Sleep surprise-announced on April 19 they’d release their first album in 15 years the next day, and then did, they took ownership of 2018. Even with records still to come at that point from YOB and Sleep guitarist Matt Pike‘s own High on Fire, there was no way that when the end of the year came around, it wasn’t going to be defined by the advent of a new Sleep record. And even if it sucked, it would probably still be Album of the Year, but fortunately, as Pike, bassist/vocalist Al Cisneros (also Om) and drummer Jason Roeder (also Neurosis) took their long-running stage reunion to the studio, they brought material that highlighted the best elements from all players. Pike‘s wild soloing, Cisneros‘ meditative vocals and Roeder‘s intricate but smooth style of roll all came together in older pieces like “Antarcticans Thawed” and “Sonic Titan” and newer highlights “Giza Butler” and “Marijuanaut’s Theme,” and aside from the excitement at their existence, they showed the mastery of form that Sleep had been demonstrating live since 2009 and which they hinted toward in the 2014 single, The Clarity (review here). A new Sleep full-length was something long-discussed, long-rumored and long-considered, but when it finally happened, I think the results vaporized expectation in a way no one could’ve anticipated. There’s a reason Sleep are Sleep. Having The Sciences as a reminder of that brought about the defining moment of 2018.

The Next 20

Indeed, it wouldn’t be much of a Top 30 at all if it didn’t go to 50. Don’t try to make sense of it, just look at the records.

31. Atavismo, Valdeinfierno
32. Grayceon, IV
33. Clamfight, III
34. Seedy Jeezus, Polaris Oblique
35. Megaton Leviathan, Mage
36. Uncle Acid and the Deadbeats, Wasteland
37. Arcadian Child, Superfonica
38. Freedom Hawk, Beast Remains
39. The Machine, Faceshift
40. Messa, Feast for Water
41. Black Rainbows, Pandaemonium
42. Church of the Cosmic Skull, Science Fiction
43. Domkraft, Flood
44. Träden, Träden
45. Mythic Sunship, Another Shape of Psychedelic Music
46. Samavayo, Vatan
47. Foehammer, Second Sight
48. Bongripper, Terminal
49. Mansion, First Death of the Lutheran
50. Sunnata, Outlands
51. Chubby Thunderous Bad Kush Masters, Come and Chutney

Believe me when I tell you, I sweated over this section more than I did the actual top 30. Mansion should be higher. So should Chubby Thunderous, though something in me thought they might like being #50 on a list of 30. Church of the Cosmic Skull, Clamfight, Black Rainbows, Foehammer, Seedy Jeezus, Messa, Domkraft. All of these were fucking awesome. And there are more (we’ll get there). Eventually numbers add up. I won’t say a bad word about any of these. That’s it.

Honorable Mention

This section always winds up expanded as other people point out things I missed and so on, but here’s what I’ve got in the immediate, alphabetically:

  • Alms, Act One
  • Ape Machine, Darker Seas
  • Belzebong, Light the Dankness
  • Black Moon Circle, Psychedelic Spacelord
  • Blackwater Holylight, Blackwater Holylight
  • Bong, Thought and Existence
  • Carpet, About Rooms and Elephants
  • Churchburn, None Shall Live… The Hymns of Misery
  • Deadbird, III: The Forest Within the Tree
  • Dead Meadow, The Nothing They Need
  • Death Alley, Superbia
  • Drug Cult, Drug Cult
  • Dunbarrow, II
  • Electric Citizen, Helltown
  • Eagle Twin, The Thundering Heard: Songs of Hoof and Horn
  • Evoken, Hypnagogia
  • Funeral Horse, Psalms for the Mourning
  • Fuzz Evil, High on You
  • Graven, Heirs of Discord
  • Graveyard, Peace
  • Green Dragon, Green Dragon
  • Green Druid, Ashen Blood
  • Here Lies Man, You Will Know Nothing
  • High Priestess, High Priestess
  • Horehound, Holocene
  • IAH, II
  • JIRM, Surge ex Monumentis
  • Killer Boogie, Acid Cream
  • Lonely Kamel, Death’s Head Hawkmoth
  • MaidaVale, Madness is Too Pure
  • Moab, Trough
  • Mountain Dust, Seven Storms
  • Mouth, Floating
  • Mr. Plow, Maintain Radio Silence
  • T.G. Olson, Earthen Pyramid
  • Onségen Ensemble, Duel
  • Orango, Evergreen
  • Owl, Nights in Distortion
  • Pushy, Hard Wish
  • Rifflord, 7 Cremation Ground/Meditation
  • River Cult, Halcyon Daze
  • Rotor, Sechs
  • Somali Yacht Club, The Sea
  • Sumac, Love in Shadow
  • Sundrifter, Visitations
  • Svvamp, Svvamp II
  • Thou, Magus
  • Thunder Horse, Thunder Horse
  • Weedpecker, III

Special Note

Somehow it didn’t seem appropriate to include these in the list proper because they’re not really underground releases, but there were two more records I especially wanted to highlight for their quality:

  • Alice in Chains, Rainier Fog
  • Judas Priest, Firepower

Best Short Release of the Year

Normally I’d do this as a separate post, but as a result of being robbed earlier this year, I feel like my list is woefully incomplete. If you have any demos, EPs, splits, singles, etc., to add to it, please feel free to do so in the comments below. Still, the top pick was clear:

  • Mammoth Weed Wizard Bastard & Slomatics, Totems Split

Rarely do two bands work in such coherent tandem to their mutual benefit. Here are a few other essential short releases for 2018, alphabetically:

  • All Them Witches, Lost and Found
  • Alunah, Amber & Gold
  • Canyon, Mk II
  • Demon Head, The Resistence
  • Destroyer of Light, Hopeless
  • Ecstatic Vision, Under the Influence
  • Godmaker & Somnuri, Split
  • Holy Mushroom, Blood and Soul
  • King Buffalo, Repeater
  • Minsk & Zatokrev, Split
  • Sleep, Leagues Beneath
  • Stonus, Lunar Eclipse
  • Sundecay, Gale

Looking Forward

A good many albums have already been announced or hinted at for 2019. I in no way claim this to be a complete roundup of what’s coming, but here’s what I have in my notes so far, in absolutely no order:

Kings Destroy, Lo-Pan, Cities of Mars, Heavy Temple, Mr. Peter Hayden, Curse the Son, High Fighter, Destroyer of Light, Year of the Cobra, Buffalo Fuzz, Zaum, The Sonic Dawn, Alunah, Candlemass, Elepharmers, Grandier, Dorre, Abrahma, Mars Red Sky, Eternal Black, Elephant Tree, Atala, No Man’s Valley, Sun Blood Stories, Crypt Sermon, The Riven, Hibrido, Snail, Red Beard Wall, 11Paranoias, Dead Witches, Monte Luna, Captain Caravan (LP), Swallow the Sun, Oreyeon, Motorpsycho, Vokonis, Hexvessel, Saint Vitus, Mammoth Weed Wizard Bastard, Kind, Mastiff, Shadow Witch, Om.

Okay, That’s It

Yeah, no, I’m serious. List is done. Everybody go back to your lives. Your families miss you.

Really though, while this is by no means my last post of 2018, I can’t let it pass without saying thank you so much to everyone for checking out the site this year, or for just digging into this, or for sending me music, or hitting me up on social media, sharing a link, anything. Thank you. Thank you. I could never have imagined when it started out where it would be now. Or that I’d still be doing it. Your support means more to me than I can say, and I thank you so much for being a part of this with me.

So thanks.

If you have something to add to the list, please do so by leaving a comment below, but keep in mind as well the above note requesting civility. Please don’t make me feel stupid because I forgot your favorite record. I forgot a lot of people’s favorite records. I’m one dude. I’m doing my best.

And please keep in mind if you’ve got a list together that the Year-End Poll is open and results will be out Jan. 1.

Everybody have a great and safe 2019.

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Apostle of Solitude Post Original Demos; Euro Touring Starts this Week

Posted in Whathaveyou on November 7th, 2018 by JJ Koczan

apostle of solitude old pic

As they prepare to head abroad later this week to tour in Austria, France, Belgium and Germany on a run bookended by appearances at Doom over Vienna XIII and Hammer of Doom XIII, Indianapolis doomers and all around national treasure Apostle of Solitude have posted their original demos from 2005 and 2006 for name-your-price public consumption via Bandcamp. The band has said it’s a limited-time thing, so if it’s the kind of whatnot you might be interested in, you might want to get while the getting’s good.

Of course, there have been some significant changes in the band’s sound in the last 13 years, but the mournful melodies and unmistakably doomed riffing is right there from the start, central to Apostle of Solitude‘s purpose even then. They go to Europe supporting this year’s From Gold to Ash (review here) full-length, a highlight of a strong 2018 in doom, and while it’s a lot of fun to revisit “Pale, Sick Horse” from the 2005 self-titled demo or the 11-minute rawness of “Life Like Quicksand” on 2006’s Embraced by the Black, there’s just no taking away from the quality of the work they’re doing now.

You can stream both demos and the album at the bottom of this post, because I feel strongly enough about that to include three embeds:

In honor of the Apostle of Solitude 2018 European tour starting this week, we are offering Bandcamp downloads of the first two Apostle of Solitude releases (the 2005 AOS Demo and 2006’s Embraced by the Black) with the “Name Your Price” option, for a limited time. link in the comments below.

Apostle of Solitude 2018 European dates:
11.09.18 – Vienna, Austria @ Viper Room Vienna DOOM OVER VIENNA XIII
11.10.18 – Marburg, Germany @ Knubbel Marburg w/ BST & Skinjob
11.11.18 – Lomme, France @ Bobble Café w/ Nornes
11.12.18 – Deinze, Belgium @ ELPEE Café w/ Growing Horns
11.13.18 – Oldenburg, Germany @ MTS LPs and CDs w/ BST
11.14.18 – Tilburg, Netherlands @ Little Devil Bar w/ BST and King Heavy
11.15.18 – Hamburg, Germany @ Bambi Galore w/ BST & King Heavy
11.16.18 – Wurzburg, Germany @ Posthalle Wurzburg HAMMER OF DOOM XIII
11.17.18 – Saarbrucken, Germany @ Horst w/ BST

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

www.facebook.com/apostleofsolitude
twitter.com/apostledoom
apostleofsolitude.com
www.cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com
www.facebook.com/cruzdelsurmusic
twitter.com/CruzDelSurMusic

Apostle of Solitude, Apostle of Solitude (2005 Demo)

Apostle of Solitude, Embraced by the Black (2006 Demo)

Apostle of Solitude, From Gold to Ash (2018)

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Maryland Doom Fest 2019 Announces Lineup: Pentagram, Conan, Earthride, Mothership, Lo-Pan and More to Play

Posted in Whathaveyou on October 31st, 2018 by JJ Koczan

maryland doom fest 2019 announcement

Holy fucking shit. It’s a good thing Maryland Doom Fest 2019 isn’t until next June, because it’s going to take me that long to process how badass this lineup is. It’s like JB decided this was the year everybody plays. A fourth day has been added. A second venue has been added — it’s Cafe 611 and Guido’s Speakeasy now — and wow. Just, fucking, wow. The headliners: PentagramConanEarthride and Mothership. And the list of bands that follows is absolutely staggering. Of course some things are bound to change between now and then, and there are announcements yet to be made about the pre-show, but really. They’ve absolutely, positively gone to a completely new level of festival here.

It’s gonna be crowded.

And it’s gonna be a blast. If you need me, I’ll be booking my room at the Motel 6 in Frederick.

The announcement was simple and came just in the form of the poster — art is by Kyle Stratton, whose band Atala also make a return to the bill — and from near and far, far and wide, acts are coming in to make what looks like it’ll be an absolutely unforgettable weekend (-plus) of heavy.

Here’s the lineup:

maryland doom fest 2019 poster

MARYLAND DOOM FEST 2019 – JUNE 20-23

DOOMSTERS, GRUNGERS, SLUDGERS, STONERS, & PAGANS —

We are extremely pleased to present to you……The Maryland Doom Fest 2019 lineup!!!

50 of the heaviest, most talented bands to grace the stage.

We bring you INTERITUM from Tasmania, CONAN from England, PENTAGRAM from our soil, and an additional 47 top performing USA acts traveling from all across the continent!!

As if that’s not enough, the MDDF Pre-Fest Party will be celebrating the 20th Anniversary of the SHoD (Stoner Hands of Doom) Festival with a spectacular lineup of bands who have performed at the great SHoD fests in years past!! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental in countless ways!!!!

Please support the Doom scene and share this epic event with your comrades and we will see you at #4daysofdoom !!!!

EARLY BIRD Discounted ticket sales start Dec. 17th, 2018 – for two weeks only.

This astronomical lineup and the 2019 festivities are dedicated to my very good friend and prior MDDF partner from 2015 – 2018, Mark Cruikshank!!

DooM !!! ~JB

Lineup:
Earthride
Warhorse
Solace
Wasted Theory
Devil to Pay
Deer Creek
Weed is Weed
Freedom Hawk
After the Sun
Mothership
Pale Divine
Lo Pan
Year of the Cobra
The Age of Truth
Backwoods Payback
Kingsnake
Interitum
The Druids
Clouds Taste Satanic
Benthic Realm
Dead Sisters
Funeral Horse
Pentagram
Apostle of Solitude
Foghound
Beelzefuzz
Atala
Sixes
Forming the Void
Knoxxville
Atomic 26
Eternal Black
Greenbeard
Electric Age
Pale Grey Lore
Thunderchief
Seasick Gladiator
Crooked Hills
Conan
ZED
Kings Destroy
Toke
Thousand Vision Mist
Horehound
Thonian Horde
Shadow Witch
Faith in Jane
Temptations Wings
Wolf Blood
Stone Dust Riders

https://www.facebook.com/events/371836710006412/
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

Earthride, Live at Maryland Doom Fest 2018

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Apostle of Solitude Touring in Europe Next Month

Posted in Whathaveyou on October 10th, 2018 by JJ Koczan

apostle of solitude

I’m glad Apostle of Solitude are touring Europe. That’s cool. I won’t see those shows, obviously, but it gives me an excuse to break out my copy of their 2018 album, From Gold to Ash (review here), and once again dig into “Ruination by Thy Name,” “Keeping the Lighthouse,” “My Heart is Leaving Here,” and the rest. I’ll finish writing about their upcoming stint next month that starts at Doom Over Vienna XIII on Nov. 9 before the record is done probably, but whatever. No way I’m not listening to it straight through. Why the hell would I stop it?

The Indianapolis four-piece were out this summer with Pale Divine on a tour that it was my pleasure to have this site co-present, and as they make their way toward Hammer of Doom XIII — I guess a lot of Euro doomfests got started around 2005? — they’ll do gigs with BST, Growing Horns and King Heavy. They’re not a band who get abroad all the time, so if you can see them, consider it recommended not just because they kill it live, which they do, but also in a get-while-the-getting’s-good kind of way.

They have a couple warmup shows later this month in Kentucky as well and sent the following announcement down the PR wire:

apostle of solitude euro tour poster

Apostle of Solitude – EUROPE 2018

Following the spring release of the band’s 4th full length album, From Gold To Ash (Cruz Del Sur Music) earlier in the year and a summer tour of the southern United States with Pale Divine, Apostle of Solitude have announced a European Tour in November. The tour includes dates in Austria, Germany, France, The Netherlands, and Belgium, a performance on the big stage at the legendary Hammer of Doom festival, and a headlining appearance at the 13th annual Doom Over Vienna festival. Prior to the tour, catch Apostle of Solitude October 26 in Louisville, KY or October 27 in Nicholasville, Kentucky.

Apostle of Solitude tour:
11.09.18 – Vienna, Austria @ Viper Room Vienna DOOM OVER VIENNA XIII
11.10.18 – Marburg, Germany @ Knubbel Marburg w/ BST & Skinjob
11.11.18 – Lomme, France @ Bobble Café w/ Nornes
11.12.18 – Deinze, Belgium @ ELPEE Café w/ Growing Horns
11.13.18 – Oldenburg, Germany @ MTS LPs and CDs w/ BST
11.14.18 – Tilburg, Netherlands @ Little Devil Bar w/ BST and King Heavy
11.15.18 – Hamburg, Germany @ Bambi Galore w/ BST & King Heavy
11.16.18 – Wurzburg, Germany @ Posthalle Wurzburg HAMMER OF DOOM XIII
11.17.18 – Saarbrucken, Germany @ Horst w/ BST

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

www.facebook.com/apostleofsolitude
twitter.com/apostledoom
apostleofsolitude.com
www.cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com
www.facebook.com/cruzdelsurmusic
twitter.com/CruzDelSurMusic

Apostle of Solitude, From Gold to Ash (2018)

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The Obelisk Presents: Apostle of Solitude & Pale Divine Tour Dates

Posted in The Obelisk Presents on June 19th, 2018 by JJ Koczan

Earlier this year, Indianapolis four-piece Apostle of Solitude threw themselves into contention for the best doom release of 2018 with their fourth album, From Gold to Ash (review here), but before the year is out, one hopes, Pennsylvania-based trio Pale Divine will have their first long-player in more than half a decade released by Shadow Kingdom, and there’s little doubt it’ll have its own argument to make in that regard. If you want a preview of the head-to-head matchup that seems likely to at least make my December more difficult come year-end list time, the two bands will hit the road together next month for a tour of which I’m proud to count this site among the presenters. I know I’ve said this before, but pretty much anytime Apostle of Solitude do anything — video, new track, shows, whatever — I’m happy to be involved somehow. The company they’re keeping on this run only makes that truer.

You can dig the dates below, as well as copious linkage and album streams, because it’s good to be informed and all that kind of thing, but the point here is you should go see these bands. Especially if you haven’t, but even if you have. Apostle of Solitude are riding their best stuff to-date, and Pale Divine are heralding the release of a new record, and I don’t know if you knew this about them, but that’s not exactly something that happens every day.

Dates follow as put together by Hi-Wattage Booking:

pale divine apostle of solitude tour poster

Apostle of Solitude & Pale Divine – 2018 How the West Was Doomed Tour

7/20 Lafayette LA – Freetown Boom Boom Room w Forming the Void & Doomstress
7/21 Houston TX – Dan Electro’s (1pm early show)
7/21 San Antonio TX – Faust Tavern
7/22 Austin TX – Beerland w Witchcryer
7/23 Dallas TX – Prophet Bar w Kin of Ettins, Space Ape & Stone Machine Electric
7/24 Fort Smith AR – Hero’s w RedWitch Johnny
7/25 Shreveport LA – Bear’s w 18th State
7/26 Memphis TN – Growlers w Admiral Longtooth
7/27 Indianapolis IN – State Street Pub w Desert Planet
7/28 Chicago IL – Reggie’s w deepspacepilots

Apostle of Solitude is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

Pale Divine is:
Greg Diener – vocals & guitar
Ron “Fezzy” McGinnis – bass & vocals
Darin McCloskey – drums

www.facebook.com/apostleofsolitude
twitter.com/Chuck_solitude
apostleofsolitude.com
www.cruzdelsurmusic.com
cruzdelsurmusic.bandcamp.com
www.facebook.com/cruzdelsurmusic
twitter.com/CruzDelSurMusic

https://www.facebook.com/serpentspath/
http://www.paledivineband.com/
https://www.facebook.com/ShadowKingdomRecords/
https://twitter.com/ShadowKingdom/
https://shadowkingdomrecords.bandcamp.com/
https://www.shadowkingdomrecords.com/

Apostle of Solitude, From Gold to Ash (2018)

Pale Divine, Painted Windows Black (2012)

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Apostle of Solitude Post “Ruination be Thy Name” Video

Posted in Bootleg Theater on March 23rd, 2018 by JJ Koczan

Apostle of Solitude

If Apostle of Solitude wanted to just go ahead and make a clip for each of the non-intro/interlude tracks on their new album, From Gold to Ash (review here), I’d be cool with that. As long as I get to premiere one or two of them. Thus far in giving the record video interpretation, they’ve covered side A (if in reverse order) between their prior clip for the ultra-hooky “Keeping the Lighthouse” (posted here) and the new one below for post-intro opener “Ruination be Thy Name.” That leaves “My Heart is Leaving Here,” “Monochrome (Discontent)” and “Grey Farewell.” I say go for it. Those last couple tracks get pretty morose, but screw it, it’s doom. If you can’t handle being miserable, you’re in the wrong subgenre.

Unlike its darker companion piece inthe prior video, “Ruination be Thy Name” is pretty bright in its (visual) tone, comprised of manipulated green-screen performance footage edited together to the rhythm of the song itself. And it’s a considerable rhythm. Where later on, From Gold to Ash gets into some particularly heart-rending fare, both “Ruination be Thy Name” and “Keeping the Lighthouse” bask in more middle-ground tempos and some of the album’s most resonant hooks. Massive groove abounds, naturally, and “Ruination be Thy Name” seems to be built as much around its nodding riff as the repetitions of its title line. One way or another, it provides one of From Gold to Ash‘s most memorable impressions, and as the de facto leadoff cut, it emphasizes just how much the band has grown in the last several years.

I said in my review that this is one of the year’s best records. Well, since I wrote that I’ve only heard more of the candidates, and I completely stand by the earlier statement. From Gold to Ash shows how much life there can be in so-called traditional doom when a band works so diligently to make those traditions their own. If you haven’t checked it out yet, you should. That’s about all there is to it.

Enjoy the clip below, followed by more info from the PR wire:

Apostle of Solitude, “Ruination be Thy Name” official video

U.S. Doom Giants APOSTLE OF SOLITUDE have released the official video for “Ruination Be Thy Name,” a track from new album From Gold to Ash.

Cruz Del Sur Music released From Gold to Ash February 23 on CD, vinyl LP, cassette, and digital formats.

CD: http://tinyurl.com/yaty2zet
Vinyl: http://tinyurl.com/ycjz3elg
Digital (album stream): apostleofsolitude.bandcamp.com/album/from-gold-to-ash

APOSTLE OF SOLITUDE will host an album release show this Friday, March 23 at Black Circle Brewing in Indianapolis, along with Desert Planet, Devil to Pay and Shroud of Vulture.

A U.S. summer tour is currently in the works, as well as another trip across the pond with the band’s confirmed appearance at the 2018 installment of DOOM OVER VIENNA festival.

Recorded in September 2017 at Russian Recording in Bloomington, IN with studio mastermind Mike Bridavsky, From Gold To Ash offers seven songs of ambitious, aching doom. Largely defined by the heartfelt and emotive dual vocals of Chuck Brown and Steve Janiak, From Gold To Ash covers a wide spectrum of heavy, from raging instrumentals to introspective guitar duos, monolithic doom riffs and reflective, melodic heartache. From Gold to Ash is also the first APOSTLE OF SOLITUDE album to feature bassist Mike Naish (Astral Mass, Shroud of Vulture).

APOSTLE OF SOLITUDE is:
Corey Webb – drums
Chuck Brown – guitars, vocals
Steve Janiak – guitars, vocals
Mike Naish – bass

Apostle of Solitude on Thee Facebooks

Cruz del Sur Music website

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