Foghound Set Summer Release for Awaken to Destroy

Posted in Whathaveyou on March 12th, 2018 by JJ Koczan

Awaken to Destroy is the name of the new Foghound album, and I don’t think there’s anyone who could argue it’s not arriving at a pivotal moment for the band. Their 2016 sophomore full-length, The World Unseen (review here) — also their debut on Ripple Music — was a big step in a more aggressive direction from their 2013 debut, Quick, Dirty and High (review here), marking, among other things, the first appearance of drummer Chuck Dukehart‘s former Sixty Watt Shaman bandmate, Rev. Jim Forrester, as Foghound‘s bassist.

Tracked by Frank “The Punisher” Marchand — who also helmed some of the recording for The World Unseen along with Mike Dean of C.O.C. — Awaken to Destroy will of course mark the final appearance from Forrester as a member of Foghound, as he was tragically gunned down in Fells Point, Baltimore, last December, owing to what last I heard was still an unknown motive. Foghound and Ripple released the benefit single “Keep on Shoveling” (posted here) to help his family with expenses, and no doubt they’ll continue to honor him this year as we move toward the late-summer release of Awaken to Destroy  and the band takes the stage at the inaugural New England Stoner and Doom Fest on April 21 and at Maryland Doom Fest in June.

The PR wire brings the latest details:

foghound photo shane gardner


Maryland Doom & Stoner Rock stalwarts Foghound have recently put the finishing touches on their third full-length offering, entitled “Awaken To Destroy”. Their new album is set for a September 2018 release via Ripple Music.

Work began on the album in November 2016, with producer Frank Marchand (The Obsessed / Borracho) at the helm. Numerous delays along the way sidelined production due to health issues, professional and personal commitments, and then the tragic murder of bassist Rev. Jim Forrester in December 2017, just days after completing recording of the basic tracking.

“After seeing Jim claw and fight his way back after a major health scare and being in a coma last summer, only to be senselessly taken away from us all in this way, it really hit everyone like a ton of bricks”, says drummer / vocalist Chuck Dukeheart.

“The outpouring of love and support from everyone, and especially our friends and family in the Maryland Doom scene, was overwhelming. We can’t thank everyone enough for helping us, Jim’s wife Tina, and family to get through this terrible time.”

Among the multiple benefit events and fundraisers for the family, Ripple Music released as a benefit single the new Foghound track “Keep On Shoveling” on January 1st, via Bandcamp as a “Name Your Price” download purchase.

Written with a theme of perseverance in the face of adversity, the song features a spoken word portion from Rev. Jim. The song has taken on a new meaning for the band after his untimely passing.

Another new track, “Return To Dragontooth”, will appear on an upcoming benefit compilation, due out from Salt Of the Earth Records.

Foghound emphasizes, “One thing that became apparent was that we all knew, and Jim said as much when he was laid up in the hospital last summer, was that he wouldn’t want us to stop. In his words – ‘We still have shit to do.'”

After taking time to regroup, this February saw Foghound back in the studio to wrap up tracking of vocals, guitars, and keyboards. They have finally been able to complete mixing to get it ready for release.

Along with wrapping up the album, the band got themselves back in their rehearsal space, and have recruited long time friend of the band, bassist Adam Heinzmann (Internal Void, Pentagram), into the fold.

The band stated, “It was a very heavy, emotional time for us, to be back in the jamroom without Jim, but Adam really stepped up in a big way. His enthusiasm, preparedness, and love for the music really helped us get back to why we all play music. We were able to have fun again.”

Foghound is set to return to the stage with notable upcoming appearances at the New England Stoner and Doom Fest at Altone’s in Jewett City, Connecticut on April 21st, and The Maryland Doom Fest at Cafe 611 in Frederick, Maryland on June 23rd.

“We are looking forward to being a part of these stellar lineups and to play these new songs live. We can’t wait for this monster of an album to be unleashed at the end of the summer!”

Foghound (left to right in photo):

Chuck Dukeheart, III – Drums, Voals
Dee Settar – Guitar, Vocals
Bob Sipes – Guitar, Vocals
Adam Heinzmann – Bass

Foghound, “Keep on Shoveling”

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Snakefeast to Release In Chaos, Solace March 2; Premiere New Track

Posted in audiObelisk, Whathaveyou on January 23rd, 2018 by JJ Koczan


Like a good challenge? Sweet, because if you think you’re up for it, Baltimorean guitar-eschewing foursome Snakefeast throw down a rampaging tumult of weirdness on their impending long-player, In Chaos, Solace. Their second album for Grimoire Records and set for release on March 2, it’s an eight-song, 31-minute excursion into brutalist angularism, noise and pummel, and if that sounds scary, rest assured, it is. But what’s truly terrifying? There’s a plan at work. It’s a plan like something out of a nightmare that would keep Mike Patton up in the wee hours, but a plan just the same.

To wit, the blends of jazzy runs between Aran Keating‘s tenor sax and the start-stop bass staccato of from Carson Korman on “Ruin” or the way the earlier “Shroud” screeches out before leaning into its groove coming out of the deceptively atmospheric opener “Pyre.” Whether it’s drummer Dave Cavalier (also of Black Lung) matching Keating‘s jumping notes with pops on his snare or providing a foundation of tom runs beneath the largely indecipherable growls of Grimoire‘s own Phil Doccolo in the second half of the penultimate “Era,” or the simple choice on the part of the band to cap the record with a take on Queen‘s “Ogre Battle” from Queen II — which would also seem to be the only track the band has recorded with a title more than one word long — Snakefeast‘s sophomore full-length may indeed be living up to its title for the group itself, but it offers precious little quarter to those who’d be bold enough to take it on front to back.

It can be a fine line between experimentalism and progressivism when it comes to a given band’s style. As regards Snakefeast, I lean more toward the latter and think of In Chaos, Solace as a fusion of jazz, metal, weighted-groove grind and post-hardcore, but however many subgenres they may or may not be throwing into their scorching aesthetic melting pot, they’re unquestionably working on a wavelength of their own and seem only too proud to showcase that fact in their material. That plan that underlies all the outward bombast and torrential intensity? They pull it off.

You’ll find a track premiere for “Pyre” at the bottom of this post. More info on the album, including a quote from the band, follows:

snakefeast in chaos solace

Snakefeast – In Chaos, Solace

Snakefeast’s 2018 full-length “In Chaos, Solace” is the long awaited follow up to their 2015 album “The Pythoness,” which was their first proper album, following a short split they did with fellow Baltimore band Queenwolf in 2014.

Snakefeast is a 4 piece, totally guitar-free band, featuring blues-prog riffs galore on bass, groovy-yet-crisply-technical drumming, sprawling saxophone parts woven throughout, and Phil Doccolo on amorphous screams.

This is their first full-length that was written with a dedicated sax player in the band for the songwriting, as opposed to just adding sax during the recording process, which is what they had done on their previous releases. You may recognize their drummer, Dave Cavalier, from his role as guitarist and vocalist in Baltimore’s Black Lung.

1. Pyre
2. Shroud
3. Itch
4. Ruin
5. Tome
6. Coven
7. Era
8. Ogre Battle

Releases March 2, 2018.

Snakefeast on “Pyre”:

“We used to be a three-piece with intermittent saxophone, but now the saxophone is a key part of our sound and composition. We started treating the sax like a vocalist, and the vocals as more of a textural element. We’ve always sought to combine jazz and metal aesthetics and continue to explore new ways to achieve this through our choice of instruments and song structures.”

Snakefeast is:
Dave Cavalier – Drums
Carson Korman – Bass Guitar
Phil Doccolo – Vocals
Aran Keating – Tenor Saxophone

Snakefeast, “Pyre” track premiere

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“Iron” Al Morris III Benefit Shows Announced

Posted in Whathaveyou on January 22nd, 2018 by JJ Koczan

Two benefit shows have been announced in Maryland to honor the memory and help with the medical and memorial expenses for Iron Man founder and guitarist Alfred Morris III. The first is Jan. 27 at The Depot in Baltimore and the second is Feb. 17 at the Patriotic Club in Frederick. Neither city locale, in being centers of Maryland’s doom underground, would seem to be a coincidence, and in addition to acoustic performances by Wino and members of Iron Man — presumably that’s vocalist Dee Calhoun and bassist Louis Strachan taking the stage together — the shows will feature sets by Witch Hazel, Bound by the Grave, Mind’s Eye, Wrath of Typhon, and others.

Morris passed away Jan. 10 after a long fight with diabetes and along with the benefits, a crowdfunding campaign has been set up to accept donations in his memory. Info on all of the above follows the graphic below, which, if it wound up on a t-shirt, I would proudly wear:

iron man al morris memorial

“Iron” Alfred Morris III Benefit Shows

JAN 27 – Benefit Show For Alfred Morris III, doom metal legend

The Depot
1728 N Charles St, Baltimore, Maryland 21201

We have assembled a stellar lineup to honor Al Morris III which demonstrates how much he was loved by the music community of all genres. $10 at the door.
Witch Hazel
Thee Iron Hand
Members of the Iron Man Band performing an acoustic set
and Scott “Wino” Weinrich performing an acoustic set
We still seek raffle donations: Please contact Greg Serio or M A Spiro to arrange that. Spread the word!

Al was a great father, mentor, brother, and friend to many. As a guitarist and founding member of The Iron Man, his influence was legendary. This benefit is to help the family with the funeral expenses and also to honor a legend in The Doom Metal community..
We are seeking any donations for a raffle that will be held at midnight at the event on Saturday, January 27th at The Depot in Baltimore. Any help would be greatly appreciated.

Feb. 17 – Al Morris III Benefit Concert

Patriotic Club
300 E 4th St, Frederick, Maryland 21701

We are hosting a benefit concert to celebrate the life of a local legend, and Doom genre icon Al Morris III (Iron Man). Al was recently taken from us after battling health issues, and being a loyal brother within the local scene, the local scene now has the opportunity to help with this worthy cause to provide some relief to Al’s already grieving family with funeral, and preexisiting medical bills.

I’ll be providing many details in the coming days, including band lineup with set times, raffle information, etc.We will be charging a $10 donation at the door, and drink/ food specials will be made available at this comfortable, family friendly environment. Would like to thank Jackie from the Patriotic Club for agreeing to host the event on short notice, and Dave Davidson for once again displaying his heart by donating his time to run sound for us.

Thank you to all the bands that contacted us with interest, and we are determined to incorporate acts that not only knew Al personally, but also shared the stage with him over his remarkably rewarding musical journey.

Will update as information becomes available. This second show is being requested so those who knew Al and can’t make the cold journey to Baltimore for the 1st benefit, can have a chance to show their support.

We want to treat this second show as a family friendly event, and less about the theatrical impact.

We hope you will join us….

Set Times:
Children of the Grave – 6:00 – 7:00
War Mask– 7:15 – 7:45
Mind’s Eye – 8:00 – 8:45
Wrath of Typhon – 9:00 – 9:45
Wino w/ Brian Costantino – 10:00 – 10:45
Members of Iron Man w/ Bill Miskowitz– 11:00 – 11:30

Iron Man, “Black Morning”

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R.I.P. “Iron” Alfred Morris III, 1957-2018

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

iron man (photo by JJ Koczan)

Devastating news out of a Maryland doom community already reeling this afternoon. The passing of Iron Man founder, songwriter and guitarist “Iron” Alfred Morris III has been confirmed by the band:

It is with profound and immeasurable sadness that we let you know that Alfred Morris III passed away this morning. There are no other words at this time.

Morris, who would have turned 61 on March 9, had been dealing with declining health effects from an ongoing battle with diabetes over the last several years, and reportedly had an extended hospital stay in 2017 following the amputation of his left leg. While it is unknown as of this writing if this directly contributed to his death, Morris’ issues had been a major contributing factor to a stretch of inactivity on the part of the band following the release of their last full-length, South of the Earth (review here), in 2013.

Issued by respected UK purveyor Rise Above Records, that album represented a pinnacle for the long-running and influential Maryland doom outfit. With Morris’ riffs and solos ever at the center of their approach, Iron Man — founded as a Black Sabbath tribute band following Morris’ time in proto-doomers Force — issued their first demo 30 years ago in 1988 and would follow it in the subsequent years with four LPs prior to their final one: 1993’s Black Night (discussed herereissue review here), 1994’s The Passage (discussed here; reissue review here), 1999’s Generation Void (reissue review here) and 2009’s comeback outing, I Have Returned (review here), as well as a slew of EPs and other limited offerings along the way.

In addition to bringing Iron Man to a new level of prestige in terms of its release, South of the Earth also gave the band their first opportunity to play internationally, at Rise Above’s 25th anniversary celebration in London in December 2013. The band continued to make regular appearances thereafter at Maryland Doom Fest and other regional events, but would never embark on wider touring in support of the album, and word of a follow-up through Rise Above or any other label never materialized.

What the loss of a figure of Morris’ status means to the Maryland doom community can hardly be overstated. One of the longest and most loyal practitioners of the Chesapeake region’s particular brand of downtrodden riffing, in his tone and construction, Morris has served for decades as a blueprint for others to follow. To watch his smooth-grooving presence on stage and bask in the warmth of his guitar tone was to know a singular joy of traditional doom in its finest Sabbathian spirit.

On behalf of myself and this site, I wish condolences to the family, friends, current and former bandmates and fans of Alfred Morris III. He brought something special to Maryland doom that, to put it simply, will never be replaced and will be deeply missed.

“Iron” Al Morris. 1957-2018. The Riff.

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Foghound Post Slideshow Video for Benefit Single “Keep on Shoveling”

Posted in Bootleg Theater on January 8th, 2018 by JJ Koczan


Last week, Baltimore heavy rockers Foghound and their label, Ripple Music, teamed up to reveal the benefit single Keep on Shoveling (posted here) to honor the memory of Rev. Jim Forrester, their bassist, who was murdered in December outside the tattoo shop where he worked in Fells Point. All proceeds from the name-your-price download, which you can engage via the Bandcamp player at the bottom of this post, go to Jim‘s wife and family for funeral expenses and whatever else. Really, if you’re asking what they’re using the money for, fuck you. Just give it to them and leave it at that.

Not that they need to make the case to contribute to the cause any more than by pointing out the simple fact that the cause exists — because jesus tapdancing christ somebody fucking shot Jim Forrester — but Foghound drummer Chuck Dukehart III, who was also a bandmate of Jim‘s in Serpents of Secrecy and Sixty Watt Shaman, put together a slideshow video of shots of Jim kicking ass and taking names on stage, which was pretty much how he did no matter which band he happened to be playing with that the time. There’s a couple of my photos in there from seeing Foghound at Vultures of Volume II (review here) in 2015 as well, and it’s nice to be included, but the truth is you shouldn’t even need to watch the video to be convinced. You should just buy the track and donate.

Fortunately, it doesn’t have to be one or the other. The video’s there, so watch it. Then by the track. Or buy the track first, then watch the video. Whatever order you want works.


Foghound, “Keep on Shoveling” slideshow video

Foghound – “Keep On Shoveling” Benefit Single For The Family Of Rev Jim Forrester.

Released January 2nd 2017 On Ripple Music.

All proceeds from downloads of this song will go directly to benefit the family.

Rev. Jim Forrester was murdered, as you may know, leaving behind a grieving widow just before Christmas. This is the newest Foghound song, tracked with Frank Marchand while working on the new full length album, and was to be used as a special split 7″ project. Instead, we’re releasing it now to benefit the family of Rev Jim.

About this track, Chuck Dukehart III, Rev’s good friend and band mate in Foghound, had this to say: “It’s funny, because I actually wrote the lyrics to this song about perseverance in the face of adversity, specifically with him in mind after his first big health scare, but it’s kind of a universal truth.

Keeping on keeping on, no matter the odds and the bullshit thrown in your way….

Foghound, “Keep on Shoveling”

Foghound on Thee Facebooks

Foghound on Twitter

Foghound website

“Keep on Shoveling” on Bandcamp

Ripple Music on Facebook

Ripple Music on Twitter

Ripple Music website

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Foghound Release Jim Forrester Benefit Single “Keep on Shoveling”

Posted in Whathaveyou on January 3rd, 2018 by JJ Koczan

foghound david a wright

As the Maryland and greater East Coast heavy underground continues to struggle in making any sense of the ain’t-gonna-ever-make-any-sense-because-it’s-utterly-senseless murder last month of Rev. Jim Forrester, one-time bassist for Sixty Watt Shaman who was lately featured in the lineups for Foghound and Serpents of Secrecy, real-world fiscal concerns have continued to rear their heads for his wife and his family. Accordingly, Foghound have issued a new digital single through Ripple Music titled “Keep on Shoveling” as a name-your-price download, and perhaps more than any name-your-price download I’ve ever seen, this one invites the actual naming of a price. Like, actual money you should pay. All proceeds go directly to Jim‘s family.

Recorded by Frank “The Punisher” Marchand, “Keep on Shoveling” is the first new Foghound material to come out since their 2016 sophomore long-player and Ripple debut, The World Unseen (review here), and rest assured, it fucking rocks, even under the shittiest of circumstances. Seriously though, pay for it, even if you just toss a couple bucks their way. Few causes will be as worthy of your support in 2018 — at least one hopes.

Info from the Bandcamp page:

foghound keep on shoveling

Keep on Shoveling (Rev Jim Forrester Benefit) – by Foghound

All proceeds from downloads of this song will go directly to benefit the family.

Rev. Jim Forrester was murdered, as you may know, leaving behind a grieving widow just before Christmas. This is the newest Foghound song, tracked with Frank Marchand while working on the new full length album, and was to be used as a special split 7″ project. Instead, we’re releasing it now to benefit the family of Rev Jim.

About this track, Chuck Dukehart III, Rev’s good friend and band mate in Foghound, had this to say. “It’s funny, because I actually wrote the lyrics to this song about perseverance in the face of adversity, specifically with him in mind after his first big health scare, but it’s kind of a universal truth.

Keeping on keeping on, no matter the odds and the bullshit thrown in your way….

Head down, keep on Shoveling….”
Head down, keep on Shoveling….”

Name your price download – please support the family of our slain brother, and enjoy some heaviness.

Foghound, “Keep on Shoveling”

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The Obelisk Presents: THE TOP 30 ALBUMS OF 2017

Posted in Features on December 28th, 2017 by JJ Koczan


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 2017 to that, please do.

We’re almost at the finish line for 2017, and if I’m honest, it’s not a minute too soon. I think if one more record comes out this year my head is going to explode.

A perpetual onslaught of cool music is, of course, nothing to complain about. It just seemed like every time I thought I had a handle on where the year was going, some other announcement came through and knocked me on my ass. What’s that? The Obsessed are putting out their first album in more than two decades? Oh and Monolord have a new one coming? Radio Moscow just signed to Century Media? Arc of Ascent are back? Samsara Blues Experiment are back? Causa Sui are putting out a live album and a studio album? Sasquatch are going to Europe and sneaking a record along with them? All of a sudden I’m out of breath feeling like I just ran a lap.

It’s been madness this year. Between an emergent neo-psych movement in the wake of King Gizzard and the Lizard Wizard and others, and the ongoing and constant reshaping of doom and heavy rock from practitioners new and old, I don’t know how anyone could ever claim to keep up with any of it.

You know I do the best I can, so when you look through this list, please keep in mind that these are my picks and the result of applying my own standard, which if you’ve ever seen a list on this site before you probably already know is a combination of things like what I view as being important on a critical level and things like what kept me coming back as a listener. What were the year’s biggest releases and what couldn’t I get enough of? Sometimes those two things come together around one record and it’s beautiful. That’s usually your album of the year, or close to, anyhow.

No sense in delaying further. I hope if you haven’t heard some of this stuff you’ll give it a shot, and if you have something you felt strongly about it, you’ll let me know in the comments. Thanks in advance for keeping it civil, and of course for reading.

Here goes:

30. Geezer, Psychoriffadelia
geezer psychoriffadelia

Released by Kozmik Artifactz and STB Records. Reviewed May 16.

Coming off of what was their strongest album to-date in their 2016 self-titled (review here), New York heavy psych blues trio Geezer decided it was time to take the groove for a walk. And so they did. Psychoriffadelia is the result — a looser collection of jams and willfully unrefined heavy blues, reveling in the politically incorrect on “Dirty Penny” only after basking in the post-Monster Magnet hypnosis of “Red Hook” and the earlier roll of the more straightforward “Hair of the Dog” and “Stressknots.” Everything Geezer has done to this point has pushed their sound to new places. Psychoriffadelia is no exception.

29. Orango, The Mules of Nana

orango the mules of nana

Released by Stickman Records. Reviewed March 27.

More than a touch of twang on opener “Heartland” sets a tone of Americana-infusion for Orango‘s sixth LP, The Mules of Nana, but the 10-tracker is ultimately much more about harmony-laced classic heavy smoothness than playing to prairie-minded sensibilities, though roots spread wide through a natural, dirty blues just the same. However they get there, “Hazy Chain of Mountains,” the softshoe-ready funk of “Head on Down” and the peacefully progressive finish of “Ghost Rider” bring ’70s-style thrills in songwriting and their precise, gorgeous execution. Underrated record from an underappreciated band.

28. Radio Moscow, New Beginnings

radio moscow new beginnings

Released by Century Media. Reviewed Oct. 6.

Cali boogie kingpins and all-around marvelous frenetic bastards Radio Moscow were in top form on their Century Media debut, and if it was a new beginning they were searching for, they met it head on with a sound as classic and organic as ever. Arguably the most powerful power trio in their game, they tore through cuts like “No One Knows Where They’ve Been” and “Deceiver” while offering flourish in the trip-out “Woodrose Morning” and subdued blues-psych on the penultimate “Pick up the Pieces.” Very much to form, but cast of a form that still manages to outclass all challengers.

27. Spaceslug, Time Travel Dilemma

spaceslug time travel dilemma

Released by Southcave Records, BSFD Records and Oak Island Records. Reviewed Feb. 10.

And so here we have the first of what will no doubt be several records about which I’m going to say they should be higher on the list. Poland’s Spaceslug have emerged from the moist ground created by their own tonality and on their sophomore full-length, they proffered warm depth of fuzz and a corresponding melodic and psychedelic reach that was resonant even before they brought in ex-Sungrazer bassist Sander Haagmans for a guest spot on the title-track. It’s been out for 10 months and still delivers every time I put it on, which is often.

26. Mothership, High Strangeness

mothership high strangeness
Released by Ripple Music and Heavy Psych Sounds. Reviewed March 7.

Three albums into a tenure marked by hard-driving riffs, scorching solos and relentless road work, there’s little Texas trio Mothership need to do at this point to prove themselves to their audience. At the same time, High Strangeness brought considerable expansion to their range overall, whether it was the exploratory “Eternal Trip” or the semi-metallic insistence behind “Midnight Express,” while staying tied together with lyrical and instrumental hooks. High Strangeness set a new standard for Mothership, plain and simple, and easily surpassed the considerable accomplishments of their 2012 self-titled debut (review here) and 2014’s Mothership II (review here).

25. Eternal Black, Bleed the Days

eternal black bleed the days

Released by Obsidian Sky Records. Reviewed Aug. 1.

There was a lot about Eternal Black‘s Bleed the Days that chugged its way into the post-Wino oeuvre of US-style trad doom, but the gruff, lumbering and impeccably riffed outing was nonetheless one of 2017’s best debut full-lengths, and it was the songwriting that got it there. Already sounding sure in the vibe captured, cuts like the plodding brooder “Sea of Graves” and “Stained Eyes on a Setting Sun” showed potential in mood and atmosphere as much as sheer sonic heft — though of course there was plenty of that to go around as well. Doomers missed it at their peril.

24. Kadavar, Rough Times

kadavar rough times

Released by Nuclear Blast. Reviewed Sept. 6.

It kind of feels like a slight to have Berlin trio Kadavar appear anywhere outside of at least a top 10 on any kind of list whatsoever, ever, but that’s not my intention at all. Rather, their fourth album and third for Nuclear Blast found them at an important stage in their progression — past the novelty of the vintage feel in their early work, after having proven their songwriting could translate to a modern context, and embarking on a process of expanding their sound. Rough Times, which was as current as current could be, met that goal and beat it easily with a barrage of memorable choruses and a dark streak one could only consider suitable for our age.

23. Shroud Eater, Strike the Sun

shroud eater strike the sun

Released by STB Records. Reviewed June 28.

The biggest surprise about Shroud Eater‘s long-awaited sophomore long-player was also its most encouraging aspect — namely how it found the Miami trio bringing together various impulses shown on a number of shorter releases over the course of the six years since their debut, ThunderNoise (review here), came out in 2011, and still managed to utterly crush when it so chose. With a swath from sludge to drone and back again, this was no minor feat, and that the songs they brought to bear were so memorable at their heart as well makes me hope all the more it’s not 2023 before their third album arrives.

22. Enslaved, E

enslaved e

Released by Nuclear Blast. Reviewed Oct. 4.

What’s left to say about Norwegian progressive black metal innovators Enslaved 14 records into their career? Plenty as it turns out. The introduction of new keyboardist/vocalist Håkon Vinje in place of Herbrand Larsen brought a new twist on a signature element of Enslaved‘s approach. Vinje utterly owned his role, and his performance alongside guitarist Ivar Bjørnson, bassist/vocalist Grutle Kjellson, guitarist Arve “Ice Dale” Isdal and drummer Cato Bekkevold resulted in a fresh urgency that made the band’s sound even more potent and set their ongoing creative evolution on a new branch of its self-directed path.

21. Arc of Ascent, Realms of the Metaphysical


Released by Astral Projection and Clostridium Records. Reviewed April 6.

Some five years on from 2012’s The Higher Key (review here) and seven out from their debut, Circle of the Sun (review here), and with bassist/vocalist Craig Williamson firmly entrenched in his always excellent Lamp of the Universe psych-drone-folk solo-project, I wasn’t sure there would be another offering from New Zealand heavy psych-rock trio Arc of Ascent, but Realms of the Metaphysical took shape from an ether of riffs and echoes atop resilient underlying structures and revitalized the group with new drummer Mark McGeady in the lineup with Williamson and guitarist Matt Cole-Baker. Remains to be seen if this marks a priority shift for Williamson or it’s a one-off, but its arrival was welcome either way.

20. Causa Sui, Vibraciones Doradas

causa sui vibraciones doradas

Released by El Paraiso Records. Reviewed Oct. 20.

With the various glories already offered in 2017 on the Live in Copenhagen (review here) 3LP, one didn’t necessarily expect a new studio outing from Danish instrumental psych masters Causa Sui, but Vibraciones Doradas found them as vibrant as ever, bringing forth a surprising amount of tonal weight on songs like “El Fuego,” warm fuzz for the basking on opener “The Drop” and spaciousness on the closing title-track. Somewhat more straight-ahead in its rocking groove than 2016’s Return to Sky (review here), the five-track/38-minute long-player showed yet again why Causa Sui are always welcome and that any news of a new release from them, live, studio, whatever, is good news. This was the kind of record that could make your day if you let it.

19. Telekinetic Yeti, Abominable

telekinetic yeti abominable

Released by Sump Pump Records. Reviewed April 10.

The Iowa-based duo of guitarist/vocalist Alex Baumann and drummer Anthony Dreyer, operating as Telekinetic Yeti, released what I considered to be the debut of the year, both for the fullness of its tonality and the accomplishment in songcraft it already showed. Powered by cuts like its lumbering title-track and the gloriously fuzzed runner “Stoned and Feathered,” it could’ve been another band’s second or third record for the level of cohesion on display and the obvious awareness on the part of the band of what they wanted to do with their sound and the just-as-obvious result of their bringing it to life.

18. Cloud Catcher, Trails of Kozmic Dust

cloud catcher trails of kozmic dust

Released by Totem Cat Records. Reviewed Dec. 9, 2016.

While I admit I’m still not 100 percent certain on whether to spell “kozmic” in the title with a ‘k’ or with a ‘c’ on the end, that question did nothing ultimately to diminish enjoyment of Denver emergents Cloud Catcher‘s sophomore outing. Topped off by one of the best album covers of the year, the follow-up to their 2015 debut, Enlightened Beyond Existence (discussed here), took the progressive casting of that record to a place entirely more raw and rock-driven, willfully roughing up the edges even as it showed marked creative growth on a relatively quick turnaround. The must-hear bass tone of “Beyond the Electric Sun” and “Super Acid Magick” was icing on a cake of choice riffing and Hendrixian lead swirl, and the shuffle they elicited was enough to make even the most stubborn of asses (i.e. mine) think about moving.

17. Ruby the Hatchet, Planetary Space Child

ruby the hatchet planetary space child

Released by Tee Pee Records. Reviewed Aug. 29.

After the neo-garage manifestations of their 2015 sophomore outing, Valley of the Snake (review here), it was clear Philly psych rockers Ruby the Hatchet were a force when it came to songwriting. What was less obvious was what they’d do with that going forward. On Planetary Space Child, at least, the answer is they’ll take it to Freaktown. The melody-happy, organ-laced swirlmasters conjured presence kosmiche enough to justify the album’s title, and around the cast-in-moon-rock structures of the swinging “Pagan Ritual” and the playfully doomed “Symphony of the Night,” Ruby the Hatchet built a multifaceted weirdoist triumph the likes of which simply doesn’t come along every year, establishing themselves as more reliable and less predictable than ever: an absolute win.

16. Alunah, Solennial

alunah solennial

Released by Svart Records. Reviewed March 1.

It’s been the case more or less all along with UK forest rockers Alunah that their nature-minded material and heavy rolling grooves have had their haunting aspects, but with the production of Conan‘s Chris Fielding behind it, Solennial — their fourth LP and first on Svart — brought this to new levels entirely. The songs, memorable like footprints in the woods, are somewhat bittersweet in context now, since founding guitarist/vocalist Sophie Day announced in September she was leaving the band, but as the group will move forward led by guitarist Dave Day and recently acquired new singer Siân Greenaway, intrigue remains high at what the future might bring and the impact of Solennial is undiminished.

15. Mindkult, Lucifer’s Dream


Released by Transcending Obscurity Records and Caligari Records.

Virginia-based doomgazing garage cult solo-project Mindkult has thus far managed to keep some of the mystique around its sole inhabitant, Fowst, which is admirable in a way. As the multi-instrmentalist, vocalist and producer this year answered the promise of last year’s Witch’s Oath (review here) debut, he did so around a swath of purposeful miseries, loose devil worship and other dark thematics, casting an atmospheric darkness matched head-on by the tonal murk of his riffs. Through this, however, the songwriting was no less memorable than on the first offering, and as the project moves forward, one can only hope that Fowst will continue to use that as the core aspect buried six feet under his other, formidable stylistic achievements. That certainly was how it worked out on Lucifer’s Dream.

14. Argus, From Fields of Fire

argus from fields of fire
Released by Cruz del Sur Music. Reviewed Sept. 1.

Behold ye perhaps the most underrated band in heavy metal. Regardless of subgenre, style, strata, whatever, it’s hard to listen to From Fields of Fire and think of Pittsburgh’s Argus as anything else. The five-piece’s fourth album continued to owe part of its sound to doom, but was much more encompassing than simply that, touching on aspects of classic metal with a command that left one wondering how they hadn’t yet been tapped to open for Judas Priest on that band’s next tour. Victory abounds on a per-song basis throughout the nine-tracker, and whether it was the emotional crux of “Hour of Longing” or the catchy fistpump righteousness of “Devils of Your Time” or the 11-minute progressive reach of “Infinite Lives/Infinite Doors,” Argus once again crafted a work nigh-unmatched in poise and class.

13. Uffe Lorenzen, Galmandsværk


Released by Bad Afro Records. Reviewed Nov. 6.

For the first outing ever to be issued under his real name, Denmark’s Uffe Lorenzen — aka Lorenzo Woodrose of garage-psych pioneers Baby Woodrose — danced between acid folk singer-songwriterisms like “Flippertøs” and more expansive jamming on “På Kanten Af Verden,” all the while retaining his distinct structural and arrangement sensibilities and creating a flowing vibe that was nothing less than a pure joy of classic-form psychedelia. The most serene and pastoral freakout one was likely to witness in 2017, easily, Galmandsværk resounded in the Mellotron-laced “Høj Som Et Højhus” and was no less at home in the acoustic spaciousness of the earlier “Remits Tyranni,” able to wander where it pleased and find steady ground in molten surroundings.

12. The Flying Eyes, Burning of the Season

the flying eyes burning of the season

Released by Ripple Music. Reviewed Oct. 11.

A welcome return from a viciously underappreciated band, The Flying EyesBurning of the Season marked the Baltimore four-piece’s first offering for Ripple Music and first since 2013’s Lowlands (review here), a four-year stretch during which the band kept busy touring Europe and South America, the latter also being where they recorded these songs with Gabriel Zander at Estudio Superfuzz in Brazil. The tonal depth resulting from that process was enough to make the collection a highlight, but it was the songs themselves that most stood out, benefiting from the band’s expanded reach and legitimate, hard-won maturity. Especially for a group who’ve done so much work on the road over their years — to be fair, the US has been pretty low priority in that regard — they remain a secret kept too well.

11. Bell Witch, Mirror Reaper

bell witch mirror reaper

Released by Profound Lore. Reviewed Dec. 27.

Doomed extremity simply unmatched in its scope. The song of the year for 2017. An accomplishment the likes of which is prone to happen maybe once or twice in a generation. None of this seems to really speak to the entirety of the achievement that is Bell Witch‘s Mirror Reaper — the single-song, 83-minute full-length issued by the Seattle duo like a challenge in the face of mortality itself. Beautiful, devastating and weighted like the grave, its sprawl utterly consumed the listener, and I firmly believe it will be years before its depths are fully processed. Some offerings are bigger than the year in which they’re released. Mirror Reaper would seem to function on a scale of its own, and though it could easily be read as a litmus test for audience punishment, the truth of the listening experience is both more emotionally complex and more fulfilling than simple hyperbole can capture.

10. Monolord, Rust

monolord rust

Released by RidingEasy Records. Reviewed Oct. 26.

The story all along with Gothenburg’s Monolord has been tone. Tone tone tone. Crush crush crush. Riffs riffs riffs. Nothing wrong with any of that, but their third album, Rust, proves once and for all that there’s more to the trio than “cool riffs bro” and post-Electric Wizard nod. Catchy cuts like “Dear Lucifer” and rolling opener “Where Death Meets the Sea” brought a sense of space leading to the later sprawl of “Forgotten Lands” and “At Niceae,” and the band settled into an individualized, lumbering psychedelia that moved forward from 2015’s Vænir (review here), not leaving behind the heft that earned them their reputation, but not at all being limited by it either in scope or overall approach. Three records in, Rust brought forth Monolord‘s greatest sonic expansion yet and gave rise to the feeling that their true potential was just starting to come to fruition. Also, crush crush crush. Cool riffs, bro.

9. Vokonis, The Sunken Djinn


Released by Ripple Music. Reviewed June 5.

The Sunken Djinn is Vokonis‘ second full-length in as many years, and in addition to serving as their Ripple debut where 2016’s Olde One Ascending (review here) landed via Ozium Records, it was a feast for hungry riff hounds. In defiance of its quick turnaround, it showed a firm evolution taking place within the upstart Swedish trio of guitarist/vocalist Simon Ohlsson, bassist/backing vocalist Jonte Johansson and drummer Emil Larsson, whose range overall was greater in tracks like “Rapturous” and the torrential “Blood Vortex” while nonetheless controlled in its delivery. Their Sleep-y origins still a factor sound-wise, Vokonis were able just the same to push themselves ahead into new sonic ground in fittingly lumbering fashion, and the character they brought to “The Sunken Djinn,” “Calling from the Core” and the noise-caked “Maelstroem” seemed to speak to a burgeoning sense of atmospheric focus taking hold as well. Still so much potential here.

8. Electric Moon, Stardust Rituals

electric moon stardust rituals

Released by Sulatron Records. Reviewed April 7.

Do I even need to remotely justify having Electric Moon‘s first studio album in six years on this list? Was it not just like a love-letter issued by the cosmos itself? What more explanation could possibly be necessary? Not that the German trio haven’t dropped copious, glorious live outings all the while, but to have Dave “Sula Bassana” Schmidt, “Komet Lulu” Neudeck and Marcus Schnitzler follow-up 2011’s The Doomsday Machine (review here) with four cuts culminating in the 22-minute sprawl of “(You Will) Live Forever Now” was high on the list of the year’s most satisfying psychedelic journeys. Constantly exploring, their methods always seem geared toward finding the molten essence of space rock itself, and though the songs on Stardust Rituals were a little more crafted than some of their straight-up improv jams, they nonetheless showed there are many avenues one might take to get to the heart of the sun.

7. Sun Blood Stories, It Runs Around the Room with Us


Self-released. Reviewed May 1.

This one is personal, and by that I mean I love this fucking band. Similar to my experience with their 2015 sophomore outing, Twilight Midnight Morning (review here), the third record by Boise-based trio of Ben Kirby (vocals, guitar, synth, percussion), Amber Pollard (vocals, guitar, theremin, percussion) and Jon Fust (drums, keys, percussion, noise) was one that I simply could not put down. Even now, seeing the name of the record is all I need to have songs like “The Great Destroyer” and the immersive midsection in “Come Like Rain” and “Time Like Smoke” stuck in my head, let alone the ultra-brazen, searingly-pissed “Burn” noise assault that finished the album and in the span of 90 seconds turned all the psychedelic warmth and serenity on its face with a visceral anger completely unforeseen and jarring, turning it from a depth-laden execution of adventurous neo-psych and indie into a project of conceptual artistry with all the efficiency of the chemical reaction it sought to portray. If you missed it, your loss.

6. The Atomic Bitchwax, Force Field


Released by Tee Pee Records. Reviewed Dec. 7.

Songs like “Alaskan Thunder Fuck,” “Humble Brag” and “Earth Shaker (Which Doobie U Be?)” assured that the defining character of Force Field, the sixth album from New Jersey’s The Atomic Bitchwax, was pure scorch. That made the 12-cut outing a more than worthy follow-up for 2015’s  Gravitron (review here), which introduced this more speed-rock-minded, aggressive delivery from the tight-as-nails trio, and while they proved they could still lock in a slower groove on the organ-topped finisher “Liv a Little,” head-spinners like the instrumental “Fried, Dyed and Layin’ to the Side” and “Houndstooth” came across like the fruit of the band pushing themselves to the limits of their physical ability in terms of tempo, and their ride along the edge of that line brought thrills at every turn. And make no mistake, there were a lot of turns. Fortunately, bassist/vocalist Chris Kosnik, guitarist/vocalist Finn Ryan and drummer Bob Pantella seemingly had a corresponding hook in their pocket for each one of them. This band is a national treasure.

5. Atavismo, Inerte

atavismo inerte

Released by Temple of Torturous. Reviewed Feb. 21.

Warm, fuzzy tones, rhythmic shifts right out of classic progressive rock, melodic intricacy and periodic excursions into glorious psychedelic drift: I’m not sure what wasn’t to like about Inerte, Atavismo‘s second full-length behind 2014’s Desintegración (review here). Comprising five tracks of unmistakable flow and jam-laden fluidity, it was immersive with landmarks along the way to keep the listener from getting too lost, and whether or not one spoke Spanish, the three-piece of Jose “Poti” Moreno (ex-Viaje a 800Mind!), bassist/vocalist Mateo and drummer/vocalist Sandri Pow (also ex-Mind!) made it easy to follow along their purposefully meandering path, offering guidance no less skillful on the 11-minute fuzz-freaker “El Sueño” than the dream-toned linear build of “Belleza Cuatro.” There were very, very few albums I listened to more this year than this one, which is precisely why it is where it is on this list.

4. Samsara Blues Experiment, One with the Universe


Released by Electric Magic Records and Abraxas Records. Reviewed May 4.

Four years between records isn’t at all an unheard of stretch. It’s not the longest on this list by any means. But with Berlin heavy psych rockers Samsara Blues Experiment, it really seemed like the band was done, so to have them come back with such force on One with the Universe was, as I know I said at several points throughout the last 12 months, one of the year’s total highlights. Tracked by former bassist Richard Behrens, the group’s fourth album answered the extended-track spread of 2013’s Waiting for the Flood (review here) with a deeper sense of sonic variety, and while the 15-minute title-cut and opener “Vispassana” still had plenty of room for jamming out and even six-minute centerpiece “Glorious Daze” found room for some flourish of organ and sitar, guitarist/vocalist Christian Peters, drummer Thomas Vedder and bassist Hans Eiselt rightly featured the chemistry they’ve built as a trio live and brought to the songs a renewed sense of vigor, sounding — and hopefully being — truly inspired. Waiting for the Flood capped a period of marked productivity across several years. Fingers crossed One with the Universe begins that cycle anew.

3. Elder, Reflections of a Floating World


Released by Armageddon Shop and Stickman Records. Reviewed May 23.

You just can’t consider Elder‘s Reflections of a Floating World outside the context of the progressive achievement that was their prior outing, 2015’s Lore (review here). Where the trio — based now between Massachusetts and Berlin, Germany — took their first two outings, 2008’s self-titled debut (discussed here) and 2011’s Dead Roots Stirring (review here), to find their sound, which they began to showcase on the 2012 Spires Burn/Release EP (review here), it was Lore that brought to fruition the potential that had always been waiting to be unleashed by the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto, and Reflections of a Floating World had the daunting task of being the next further step from that landmark moment. To say the band rose to the occasion is perhaps to undersell the cohesion at work in consuming-but-cohesive pieces like opener “Sanctuary” or “Blind” or “Staving off the Truth,” which brought together clear-headed psychedelia around a wash that seemed to stem as much from rhythm as melody. As they’ve matured stylistically and become a major touring presence, Elder have made themselves perhaps the most pivotal American heavy rock act going, and Reflections of a Floating World brings them to the discovery of yet another apex while at the same time giving zero indication it will be the last one they find.

2. Colour Haze, In Her Garden

colour haze in her garden

Released by Elektrohasch Schallplatten. Reviewed March 9.

Of course, the bonus of writing about Colour Haze in just about any context is that you get to put Colour Haze on while you’re doing it, and in the case of the 12th LP from these Munich heavy psych forebears, that’s an even more appealing prospect. After stripping down some of the arrangement flourish with 2014’s To the Highest Gods We Know (review here), the 13-track/73-minute 2LP In Her Garden brought a revitalized sonic expansion, but as ever, it wasn’t just the horns or the strings or the blend of keys and acoustics that made In Her Garden the unbridled joy that it was and continues to be — it was the underlying performance from guitarist/vocalist Stefan Koglek, bassist Philipp Rasthofer and drummer Manfred Merwald that gave the album the stem on which its garden grew. That’s not to say Jan Faszbender‘s work on modular synth, Rhodes, and Hammond or the arrangements of strings, tuba, bass-clarinet and trombone throughout hurt anything, just that as Colour Haze have grown into incorporating these elements into their groundbreaking aesthetic, they haven’t left behind the organic chemistry and necessary live feel that has helped them influence a generation of followers over their more than 20-year career. One came through as much as the other on In Her Garden, and that balance gave the overarching warmth of their self-recorded tonality yet another level on which to engage their audience. I’ll be a sucker for Colour Haze for as long as I live, and I have absolutely no problem admitting to and owning that.

1. All Them Witches, Sleeping Through the War

all them witches sleeping through the war

Released by New West Records. Reviewed Jan. 27.

It was clear early on that Nashville four-piece All Them Witches were contending hard for Album of the Year with Sleeping Through the War, their fourth long-player and second for New West following the mellow vibes of 2015’s Dying Surfer Meets His Maker (review here). What finally sealed it? The songs. Working with producer Dave Cobb, the each-member-essential lineup of bassist/vocalist Michael Parks, Jr., guitarist Ben McLeod, key-specialist Allan van Cleave (Rhodes, Mellotron, piano, organ, etc.) and drummer/graphic artist Robby Staebler solidified their approach in exciting new ways on early cuts like the grunge-crunching “Don’t Bring Me Coffee” and the shuffling “Bruce Lee,” which hit in succession following the fluid lead-in of opener “Bulls,” an introduction of the organic psychedelia and heavy blues that the loose-swinging of “3-5-7″‘s nigh-on-gospel chorus and subsequent, almost maddeningly catchy “Am I Going Up?” would continue to push outward, thereby setting a linear course into a consciousness-capturing side B with “Alabaster” and the jammier “Cowboy Kirk” and “Internet” playing between melodic nuance and mindful, go-with-it drift. The unflinching strength of the material was matched perhaps only by the understatement of its delivery, which was the more staggering considering how easily the arrangements of background vocals on “Am I Going Up?” or  “3-5-7” could have come through as overblown or self-indulgent, and by the time they got down to the light weirdo-bluesy stomp of “Internet” — the key lyric and hook being, “Guess I’ll go live on the internet” — there was no doubting the genuine nature of the realization Sleeping Through the War represented for All Them Witches. Coupling that feeling of achievement with the sheer repeatability of the listening experience itself left no doubt that 2017 belonged to these tracks and the marvelous way the band wove between them, and that whatever other sounds All Them Witches may go on to explore and whatever else they may accomplish as a result, Sleeping Through the War was a truly special moment in their evolution that, as with the best of offerings in any year, will continue to resonate long after the calendar page has turned.

The Next 20

You know, I used to feel like once you got past a top 20, the numbers were arbitrary. Then I felt that way about the top 30. This year, I think I agonized more about what to include in numbers 31-50 than I did between 30 and the album of the year. Put that in your “go figure” file while you chew on these picks:

31. Cities of Mars, Temporal Rifts
32. The Midnight Ghost Train, Cypress Ave.
33. Snowy Dunes, Atlantis
34. Rozamov, This Mortal Road
35. PH, Eternal Hayden
36. Sasquatch, Maneuvers
37. Young Hunter, Dayhiker
38. The Devil and the Almighty Blues, II
39. Ufomammut, 8
40. John Garcia, The Coyote Who Spoke in Tongues
41. Paradise Lost, Medusa
42. Beastmaker, Inside the Skull
43. Arduini / Balich, Dawn of Ages
44. Primitive Man, Caustic
45. Motorpsycho, The Tower
46. Arbouretum, Song of the Rose
47. Hymn, Perish
48. Youngblood Supercult, The Great American Death Rattle
49. Pallbearer, Heartless
50. Dool, Here Now There Then

There’s so, so much good stuff here. So much. The Cities of Mars debut was a treasure and the only reason it wasn’t on my top debuts list was because I haven’t had the chance to go back in and put it on. The Young Hunter record? Some of their best work yet. Hell, that Arduini / Balich album alone! Then you’ve got huge releases by Pallbearer, Ufomammut, Paradise Lost, Primitive Man, on and on. Like I said at the outset, one more album and my head was gonna explode this year. Way too much to ever hope to keep up with. One thing though I felt like I really wanted to emphasize including was Dool. They’re in the last spot, but make no mistake, in atmosphere and songwriting that album was something really special and loaded with potential. It’s not there because it came in last. It’s there to highlight the point of how much it should be on this list.

What’s that? More records? Okay…

Honorable Mentions

In case you also weren’t completely overwhelmed this year, maybe another batch of records will do the trick. Here’s some presented alphabetically:

Anathema, The Optimist
Blackfinger, When Colors Fade Away
Child, Blueside
Cortez, The Depths Below
Demon Eye, Prophecies and Lies
Elbrus, Elbrus
Electric Wizard, Wizard Bloody Wizard
Ecstatic Vision, Raw Rock Fury
Five Horse Johnson, Jake Leg Boogie
Mirror Queen, Verdigris
The Obsessed, Sacred
T.G. Olson, Foothills Before the Mountain
Outsideinside, Sniff a Hot Rock
Queens of the Stone Age, Villains
Siena Root, A Dream of Lasting Peace
Six Organs of Admittance, Burning the Threshold
Steak, No God to Save
Summoner, Beyond the Realm of Light
Valborg, Endstrand
With the Dead, Love from With the Dead

Plus: Abronia, Lewis and the Strange Magics, Iron Monkey, Band of Spice, Puta Volcano, Galley Beggar, Heavy Traffic, Coltsblood, REZN, Green Meteor, Demon Head, Lord, Grigax, The Raynbow, Carpet, Norska, Les Lekin, Slow, Ixion, and I’m sure more that I’ll add as the names continue to pop into my head.

I did this back in June as well, but I also want to draw attention to a swath of quality live albums that came out this year. The top pick should be no surprise if you’ve been hanging around the site of late:

Live Albums:
1. SubRosa, Subdued Live at Roadburn
2. Causa Sui, Live in Copenhagen
3. Slomatics, Futurians Live at Roadburn
4. My Sleeping Karma, Mela Ananda – Live
5. Wight, Fusion Rock Invasion
5. Death Alley, Live at Roadburn

Thank You

It’s been a hell of a year, obviously. Musically and otherwise. As always, I cannot possibly come close to thanking you enough for your incredible and ongoing support of The Obelisk, of what this site is, what it’s become over its nearly nine-year run, what it will continue to become going forward from here. It is astounding to me and deeply humbling that you would possibly take time out of your busy day and your busy life to check out what’s going on here, and words fail me continually when it comes to feeling like I can properly convey my appreciation for that. Thank you for reading. Thank you for reading. Thank you for reading. Tattoo it on my forehead.

Thank you to The Patient Mrs. for understanding how much I need to be doing this, to Slevin for keeping the site running on the technical end, to Behrang Alavi for taking over hosting earlier this year, to my family for their ongoing support, to The Pecan for sleeping late some mornings and giving me time to write, and to everyone who ever shared a link on social media or made a comment on a post or anything like that. To long-time readers and to newcomers alike — thank you so much. This year has seen a fair share of ups and downs, but the support this site gets sustains me in ways I never expected it could, and that would be impossible without you. Please know how crucial that is to me.

Well, that should do it. I know there are probably disagreements about where things landed on the list, what was included, what was left out, etc., as there always are. All comments are of course welcome — only thing I’d ask is you please keep it civil and respectful of the opinions of others. Otherwise, have at it. Please.

And one more time, thank you for reading.

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Six Dumb Questions with Rev. Jim Forrester of Foghound & Serpents of Secrecy

Posted in Six Dumb Questions on December 8th, 2017 by JJ Koczan

rev jim photo shane gardner

This one has been a while in the making. It was a genuine shock this past summer when bassist Rev. Jim Forrester was suddenly beset with a barrage of life-threatening medical issues. Keeping tabs on updates via social media became a tense undertaking. A crowdfunding was set up. Benefit shows were announced and held. Forrester‘s recovery from what he details as being a near-death experience and the worst pain he’s ever felt is ongoing, as one might expect, but there was no question that the East Coast heavy underground and especially that of the Maryland/Chesapeake region rallied to his side when called upon to do so. A scene taking care of one of its own is a beautiful thing.

Forrester cut his teeth in the late 1990s as a member of heavy Southern rockers Sixty Watt Shaman and has been involved in numerous projects across a range of styles ever since. Sixty Watt issued three full-lengths during their time, the last of which was 2002’s Reason to Live, and when they were done, Forrester went on to form Angels of Meth and participate in other bands. His arrival in Foghound re-partners him with ex-Sixty Watt Shaman drummer Chuck Dukehart, and the two also play together in the assembled group Serpents of Secrecy, whose debut single, Uncoiled, was released earlier this year on Salt of the Earth Records ahead of a full-length debut reportedly to come in 2018.

Between life updates, band updates, Sixty Watt Shaman‘s aborted reunion, and so on, there was an awful lot to talk about, so I won’t delay further, except to thank Rev. Jim for being so open and candid about what he went through and is still going through. Anyone who’s ever seen him play on stage can attest to the sense of attack he brings to his instrument, and it’s clear that is an ethic and drive for intensity is something he lives by on multiple levels.

Please enjoy the following Six Dumb Questions:

rev jim photo bob plank

Six Dumb Questions with Rev. Jim Forrester

For anyone who hasn’t kept up on your situation, take us through the medical issues you’ve been dealing with. What the hell happened? How did it all start? Where are you at now? What’s your next step and, most importantly, how are you feeling day-to-day?

During and post illness, my wife Tina and Todd Ingram (King Giant, Serpents of Secrecy) started the #RallyforRev page on FB to keep everyone updated on my progress or lack thereof, as I was in no shape to communicate with the outside world during my hospitalizations and subsequent recovery. When I was able, looking back on things and generally being a very private person outside of “music and art land,” I began to feel uncomfortably overexposed and completely exhausted with explaining the situation, as well as constantly talking about myself. I needed a long break from me. Shortly after I fell ill, some tragedies befell two of the most important people in my life as well, Todd lost his mother after a short illness, and Tina lost her little brother. I felt that it was in no way appropriate to talk about “me” and my bullshit, when two people I loved dearly were experiencing so much personal pain and trauma. 2017 was a motherfucker.

So, what happened? Over Memorial Day weekend, the Sunday to be exact, I awoke from a dead sleep to the most abhorrent abdominal pain I’ve ever experienced. I think I may have a clue as to what being disemboweled feels like now. Tina rushed me to one hospital, and then I was transferred to another. I had a blood clot in my portal vein (liver) that was cutting off blood flow to my liver, pancreas, intestines, and various extremities. Basically I was dying and damn close to going into organ failure. Blood thinners saved my ass, but also caused esophageal varices to burst, resulting in me puking up half my blood supply, intubation, and a three-day medically induced coma in which I almost checked out a few times as well. Around week three, I underwent a “Tips” procedure, a stent placed in my portal vein, and a new blood flow passage was created in my liver to alleviate the blockage (it had been there for years apparently, and was so rock solid; they couldn’t drill the damn thing out). I was released and returned home on a continued blood thinner treatment plan. Three days later I awoke to what I thought was a heart attack. Returned to the hospital to find a pulmonary embolism, and a grouping of blood clots behind my right knee. Another week in the hospital, and back home with increased blood thinners (self administered stomach injections, very metal). Played the Maryland Doomfest III three days later with Serpents of Secrecy. Before any of these events occurred, I had been experiencing some pretty intense weakness and pain in my right hip. I had chalked it up to hard living/performing, and overcompensation for a torn ACL in my right knee. No dice. MRI revealed that the blockages had caused blood flow restriction to my hip joint, so I was walking around and performing on a dead, decrepit hip, still am.

I’ve been jumping through medical specialist hoops ever since to get hip replacement surgery, most likely occurring this February. How this all happened has some solid answers and some mystery still lingering. I had liver issues back in 2012 that I had worked through, I thought pretty successfully, but life and stress (my own issues with depression, the death of a very close friend, the Sixty Watt Shaman debacle I’ll get into at some point in the future, etc.) saw me backslide a bit personally. It’s no secret I previously was a drink and drug enthusiast (no hard drugs for years now I will note) as cliche as it is, and I managed to do some significant damage to myself over the years. At various points I’ve been a bit of a mess, and have a lot of regrets regarding that aspect of my time. That aside, I lived a pretty hard life for an extended spell, pushed myself physically in ways that have consequences, and some of that is a factor as well. There is also a genetic blood clotting disorder that runs in my family, but the jury is still out on that matter (testing), although it would explain a lot.

As things stand today, beyond my continued issue with my hip, I feel pretty damn good. Staying vigilant, and keeping up with my docs. The thinners are getting phased out, no pain killers, and a lot of my enzyme levels, etc. are normalized to livable standards if not 100 percent healthy. I’m six months completely sober, back to throwing down on stage and in the studio with Foghound and Serpents. If any positives can be derived, it all really strengthened my relationships with my wife and step-kids and my bandmates. My family. My passions and obsession with art and music remains and has surpassed full tilt crazy again. It reinvigorated me as far as writing and creating is concerned. I’m overwhelmingly thankful for the love, support, understanding, and solid kick in the ass when I need it, from the beautiful individuals I’ve been so fortunate to have in my life. We only have so much time, know what you’re fighting for.

In light of all that, tell me about getting on stage with Serpents of Secrecy at Maryland Doom Fest this year. What was that experience like for you? How was the response from the room, and how did you feel after the set?

I can’t pretend that I wasn’t a bit nervy. After going through all of that, I really didn’t know if I was going to be able to pull off a whole set, and perform to the level that I set for myself, but I pushed through. I wasn’t going to let my brothers in SoS (they wanted to cancel in light of everything, I refused), the fans that had waited four years to see that beast, or Mark Cruikshank and J.B. Matson down. I honor my commitments. Doomfest is always a big family reunion, with a lot of my favorite people in the world anyway, but it by far is one of my favorite sets. The love and support in the crowd was amazing, and I think at various points most of us got choked up. Afterwards… pure adrenaline and joy. For a brief few hours I felt like myself again.

The Serpents of Secrecy single is a long-time coming for sure. Tell me about the development of that band from its beginnings, where you guys are at now and what the plans are going forward. How has the response been to the first recordings so far?

The Serpents of Secrecy story has more twists and turns than the goddamn Grizzly (King’s Dominion reference), and would take more space to explain fully that I’m sure this article entails. I’ll make it as brief as possible. Back in 2012, Scott Harrington (313 Management, Salt of the Earth Records) and I had developed a really strong friendship. When I was taking a break from the world up in the mountains near Morgantown, WV, he and I were in regular contact. Scott had been a huge Sixty Watt Shaman fan, and was really bummed that I wasn’t actively playing or performing at the time (my last group, Angels of Meth in Cincinnati, had run its course and I was aimlessly floating for a few). If anyone knows Scott, he is a true idea man, and unbeknownst to me, as we were in contact, he was up to some shenanigans.

Long story short, he helped pull together a really interesting cast of characters for a project. Todd Ingram – guitar (King Giant), Chuck Dukehart – drums (Sixty Watt Shaman, The Expotentials, Foghound), Johnny Throckmorton – vocals (Alabama Thunderpussy), Aaron Lewis – guitar (When the Deadbolt Breaks), and myself on bass. We convened in Baltimore and jammed a few times, really hit it off, but as I mentioned previously, I fell ill for awhile. We tried to sustain at least the idea of that lineup for awhile during the following year or so, but due to distance, time, and obligations it ended up not working out. Todd and I continued writing together, and spent the better part of a year trading riffs back and forth, or just writing complete songs and editing together. We also got together to jam independently when time allowed. The chemistry and material was pretty undeniable, so we muscled through and kept the idea alive (with Greg Hudson from D.C.’s Tone on drums briefly, until Chuck returned to the fold).

During this time period, Scott had received some inquiries regarding Sixty Watt Shaman performing at Desertfest. With incredible hesitation, Chuck and I agreed to entertain the idea, and spoke to our former vocalist, moderated by Scott. With a lot of concessions made on our part, and the best of intentions at play, Todd came in on guitar, as our original guitarist Joe Selby apparently wanted nothing to do with the idea. Hence the Sixty Watt Shaman reunion: a kickoff set at Chuck‘s Moving the Earth Fest, appearances at Desertfest London and Berlin, two Feast of Krampus shows with Wino, and my 40th birthday show in Baltimore. Todd, Chuck, and myself also had begun orchestrating a load of new and previous Serpents material, due to sparse SWS rehearsals, and were on a tear creatively so to speak.

I also came on as Foghound‘s bassist in this time period, so Chuck and I were jamming nonstop. We began negotiations with Ripple Music to release a new SWS full-length, a bit hastily as history proved, and that’s where the thread really began unraveling. Taking the high road here, but after a lot of soul searching and hand wringing… Chuck, Todd and myself made what I still consider the best judgement call we could have, considering a lot of circumstances that are best left unsaid, and called an undetermined-in-length hiatus for SWS. After a barrage of legal threats and behavior I can best sum up as unstable from our previous bandmate, that hiatus evolved into us throwing in the towel on any hopes of reconciliation. For all intents and purposes that group is a memory, no matter how voraciously some would cling to glories past.

In turn, Chuck, Todd, and myself immediately entered the studio with J. Robbins at Magpie Cage Studio in Baltimore, and whirlwind recorded the lion’s share of our three years of stockpiled material written up to that point, two songs of which — “Warbird’s Song” and “The Cheat” — appear on the Uncoiled single. Al “Yeti” Bones (The Mighty Nimbus) came on as vocalist for a period of time, but once again due to obligations, time, and distance (Canada) Al had to move on, although we truly appreciate his contributions and the awesome work ethic he brought to the table. Enter Mark Lorenzo (Zekiah). How he came into the story is a tale best left for him and Todd to explain, but I will say he was a breath of fresh air, one of the strongest, most talented vocalists I’ve ever worked with and a goddamn joy of a human being.

Steve Fisher (guitar, Borracho) will tell you we never told him he was in the band, he just kept showing up, lol, but he was the final piece to the puzzle that’s taken years to complete. We’ve already been through a lot together, and as with Foghound, it feels like family. As this band goes, we had hoped to have the full-length out by now, but it looks like we are wrapping up the album Ave Vindicta in Jan./Feb. 2018, and it’s up to Scott Harrington and Salt of the Earth Records to give us a release date. As soon as we know, so will you. The response to the Uncoiled single has been very positive so far. It seems to have accomplished our goal with the idea: Ggve everyone a taste, leave them hopefully wanting more. Apparently they want, lol. We are looking to play out as much as schedules allow, hitting the road some in 2018 and are already booked for the next installment of the Descendants of Crom Fest (Pittsburgh) in September. We’ve also started writing new material (along with the backlog of songs we couldn’t fit on this album) for the eventual follow-up to Ave Vindicta, and some other alchemy at play… but that’s another story.

From Sixty Watt Shaman to Foghound to Serpents of Secrecy, it seems like you and Chuck have a really special respect and relationship as a rhythm section. Tell me about that friendship and how working with him in different bands has changed over the years. What does it mean to you as a bassist to know Chuck’s back there behind the kit pounding away?

Chuck is my best friend in the world. He’s my brother. Damn near every important event that’s ever transpired in my life, he was there. If not personally, in spirit, or he was a call away. We’ve had our ups and downs, but brothers do. We’ve known each other since elementary school, picked up our instruments at the same time, started our first bands together. I suppose you could say our stories are completely entangled. He’s had my back when I never knew he did or I needed him to, that’s real friendship. We made a promise to each other a long time ago, that we weren’t going to let the small town we grew up in swallow us up, we were going to get out and do something with our goddamn lives. I think we held up that promise. At this point, through all the tours (starting in ’97), all the shows, the studios, writing so many songs together, we kind of function together with one brain as a rhythm section, “The Rhythm Section from Hell.” There is a complete feeling of freedom and comfort in the live scenario jamming with Chuck. Opens up some of the fun improv stuff we slip into the mix when we know each other’s arsenal backwards and forwards so well. Fun is the keyword. If it’s not, it’s not worth doing. We learned that one together too.

What’s Foghound up to at this point? Where are you at with the next album? Do you know yet when you’ll record or who will produce?

Foghound is wrapping up the third album right now actually. Last studio session with Frank “The Punisher” Marchand (The Obsessed, Sixty Watt Shaman, etc.) is the first weekend in January, I believe. Frank engineered, we produced. Then it’s mastering, artwork, turned into Ripple Music. No idea on a release date considering the volume of music Todd [Severin] and the label are putting out there, but it will be in 2018. There are some morsels on the horizon beforehand, some hints coming as to what this new material is shaping up to be, but I can’t really reveal any of that yet. I will say, the new tunes are going to surprise anyone with expectations of us putting out The World Unseen Part 2. We’ve already begun booking for next year with appearances at Maryland Doomfest 2018 and New England Stoner and Doom Fest scheduled. Anyone intrigued should stop by, we’ll be adding in a good portion of new material to give everyone a taste.

Of course there’s the crowdfunding campaign going on, but any other plans or closing words you want to mention?

I just want to give another huge, heartfelt thank you to everyone for the words of love and support I received when I was ill, to the bands that played the benefit shows, to those that donated their time, hard work or financial assistance. You have no idea how much it meant, how much it’s appreciated, and how much it helped Tina and I get through such a difficult time. The only reason I can continue to do what I do is because of that, and not for a second is any of it taken for granted. I lived a lot of days looking in the mirror thinking I was a tremendous fuckup, and the friends, fans, and family that came to my side during one of the most horrible situations I’ve ever encountered, staring death in the goddamn face, telling me how much the work has meant to them, how much my efforts over the years made a difference, fueled me getting better, and keeps me fighting every day, and for that I am forever grateful. I am a very fortunate man to get to do what I do, surrounded by such amazing people. I love you all. Keep an eye out for new Arcane Recorporations creations, as well as Ave Vindicta by Serpents of Secrecy on Salt of the Earth Records, and the as-yet-untitled new Foghound record on Ripple Music out in 2018. Ave!

Serpents of Secrecy, Uncoiled – The Singles (2017)

Foghound, The World Unseen (2016)

Serpents of Secrecy on Thee Facebooks

Serpents of Secrecy on Bandcamp

Salt of the Earth Records website

Salt of the Earth Records website

Foghound on Thee Facebooks

Foghound on Bandcamp

Foghound website

Ripple Music

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