Maryland Doom Fest 2020 Announces Full Lineup

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

maryland doom fest 2020 banner

In the immortal words of one Peter Steele: Happy Halloween, baby. Those playing along at home know that today means one thing to the realms of doom, and it’s that it’s time for Maryland Doom Fest to unveil next year’s lineup. Maryland Doom Fest 2020 has some significant shoes to fill in following up this year’s, which of course was held in June in Frederick, Maryland, and they’ve lined up a full four-dayer onslaught to make a go of it.

Headlining sets from Cirith UngolBlood CeremonySpeedealer and Mondo Generator, with direct killage from The SkullVictor Griffin‘s Death Row Assembly (this will be incredible, especially there), Witch Mountain and Sorcerer, the fest is pretty much blowing its own prior reach out of the water. I’ll especially look forward to Arduini/Balich and hope that this performance accompanies a new album, but return appearances from The Age of TruthBailjackEarthride (yes!), Shadow WitchSpiral GraveKnoxxville and Helgamite will be awesome as well, and I’ve no doubt the likes of Vessel of Light, Galactic Cross (with Dave Sherman of Earthride), YatraBlack LungPlainrideCavernMolasses BargeAdmiral BrowningBlack RoadPoobahOmen Stones and Crystal Spiders will be made to feel welcome into the MDDF family vibe, at least those who aren’t already a part of it. I guess particularly in the case of Admiral Browning, it’s more like family reunion.

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

Check it:

maryland doom fest 2020 poster

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

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

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

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

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

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

THE MARYLAND DOOM FEST 2020

CIRITH UNGOL + BLOOD CEREMONY + SPEEDEALER + MONDO GENERATOR

THE SKULL + SORCERER + DEATH ROW ASSEMBLY + WITCH MOUNTAIN

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

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

www.marylanddoomfest.com

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

Standard ticket sales start January 2020.

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

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

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

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Quarterly Review: Kungens Män, PFUND, Crystal Spiders, The Misery Men, Hubris, Woorms, Melody Fields, Oreyeon, Mammoth Grove, Crimson Devils

Posted in Reviews on March 19th, 2019 by JJ Koczan

quarterly-review-spring-2019

I used to be pretty artsy and write poetry. Let’s give it a shot:

There was an old man who wore no-toe shoes.
He said, I’mma go do 60 reviews.
He was out of his head,
Should’ve gone back to bed,
But he loves him some dirty psych blues.

Years from now, when I link back to this post for a “(review here)”-type scenario, I’m going to see that and I’ll still think it’s funny. The planet’s dying. I’d say a bit of silly is more than called for.

Quarterly Review #11-20:

Kungens Män, Chef

kungens man chef

Krautrockers, assemble! Or, you know, whatever krautrockers do — I assume it involves homemade spacecraft that, yes, absolutely fly. Perhaps one of these days I’ll ask Stockholm’s Kungens Män, whose latest outing for Riot Season, simply titled Chef, is an outbound delight of psych-infused progressivism. Beginning with the opening throb of “Fyrkantig Böjelse” and moving into the volume swells, steady drum line and wandering guitar that starts “Öppen För Stängda Dörrar” on side A, its four extended tracks craft otherworldly textures through a meld of organic instrumental flow and waves of synth, the second cut building to a tense wash of distortion all the while keeping that hypnotic march. The two corresponding 10-minute-plus cuts on side B waste no time in offering cosmic boogie in “Män Med Medel” with a more active rhythmic flow, and closer “Eftertankens Blanka Krankhet” — longer than the opener by one second at 11:24 — fades in on meditative guitar and explores a serene minimalism that only underscores the all around joy of the album.

Kungens Man on Thee Facebooks

Riot Season Records webstore

 

PFUND, PFUND

pfund pfund

The self-titled, self-released debut full-length from Kiel, Germany’s PFUND arrives and departs with a guesting horn section, and while that inevitably adds a bit of grandeur to the proceedings, the bulk of the outing is dedicated to straightforward, semi-metallic heavy rock, held to ground even in the seven-minute “Spaceman” by a considered sense of structure and an earthy drum sound that draws the songs together, whether it’s the classic riff rock in “Sea of Life” or the moodier sway in the earlier “Lost in Rome.” Dual guitars effectively multiply the impact, and the vocals showcase a nascent sense of melody that one imagines will only continue to grow as the band moves forward. At nine songs and 44 minutes, it shows some breadth and nuance in “Exhaustion” and “Paranoia,” the former tapping into an edge of progressive metal, but the primary impact comes from PFUND‘s heft of groove and how it blends with a rawer edge to their production. The Kyuss-referencing centerpiece here might be called “Imbalance,” but that’s hardly representative of what surrounds, horns and all.

PFUND on Thee Facebooks

PFUND on Bandcamp

 

Crystal Spiders, Demo

crystal spiders demo

Three songs, 11 minutes and three distinct vibes from the aptly-titled Demo demo of North Carolinian three-piece Crystal Spiders. On “Tigerlily,” “Flamethrower” and “Devil’s Resolve,” the trio of bassist/vocalist Brenna Leath (also Lightning Born), guitarist/vocalist Mike Deloatch and drummer/backing vocalist Tradd Yancey careen from bluesy spaciousness to hard-driving catchiness and end up — because why not? — in repeating cult-sludge chants, “Come to the devil’s resolve!” like Black Widow trying to lure people to the sabbat, except shouting. If the purpose of a demo is for a new band to try different methods of working and thereby take a first step in discovering their sound, Crystal Spiders are well on their way, and for what it’s worth, there isn’t anything within their scope as they present it that doesn’t work for them. There are edges to smooth out, of course, but that too is a part of the process starting here.

Crystal Spiders on Thee Facebooks

Crystal Spiders on Bandcamp

 

The Misery Men, Deathspiration

The Misery Men Deathspiration

If you’d asked, depending on which part of Deathspiration was on, I’d probably have called The Misery Men a bass/drum duo, but nope, that’s guitar. Tonally one is reminded of At Devil Dirt from Chile, but the Portland, Oregon, two-piece of vocalist/guitarist Corey G. Lewis and drummer Steve Jones are entirely more barebones in their craft, eschewing digital involvement of any sort in the recording or mixing process and sounding duly raw as a result throughout the subtle earworm of “C.W. Sughrue” and the lumbering “Harness the Darkness.” The subsequent “Night Creeps In” brings a Northwestern noise payoff to quiet/loud trades and the near-10-minute closer “Stoned to Death,” well, it seems to meet an end befitting its title, to say the least. As their stated intent was to capture the most organic version of their sound possible, and made a point of working toward that ideal in their recording, one could hardly fault them for the results of that process. They wanted something human-sounding. They got it.

The Misery Men on Thee Facebooks

The Misery Men on Bandcamp

 

Hubris, EP #II Live

hubris ep ii live

Some — not all — of what one needs to know about HubrisEP #II Live is right there in the title. Indeed, it’s their second EP. Indeed, it was recorded live. And indeed, like using a ‘#’ sign with a Roman numeral, there’s something about the way the three included songs from the Toulouse, France-based outfit sound that’s just a little bit off-kilter from what you might expect. “Zugzwang” (7:19), “Tergo” (19:58) and “Biotilus” (27:04) are arranged shortest to longest, and while the opener starts off like Queens of the Stone Age on an Eastern-tinged psychedelic bender, the lengthy jams that follow — the first of them with a fervent drum punctuation, the second a gradual intertwining of synth and guitar with hardly any percussion at all until after its 22nd minute. The instrumental flow that ensues from there is almost like a hidden bonus track, at least until they Hubris get to minute 26 and the whole thing explodes in crash and plod. The underlying message, of course, is that if you think you’re safe at any point, you’re not.

Hubris on Thee Facebooks

Hubris on Bandcamp

 

Woorms, Slake

woorms slake

Lumbering fuckall pervades the debut full-length, Slake, from Baton Rouge, Louisiana, sludgers Woorms — also stylized all-caps — which incorporates past singles “Find a Meal Find a Bed Find a God” and “Mouth is a Wound” amid the sample/noise barrage of “Our Lady of Perpetually Shitfaced” and the willfully brash “Racist Kevin” that follows. There’s an edge of Melvinsian chug to the proceedings, but Woorms‘ take, though presented in finished compositions, comes across as almost nihilistic rather than making a show of its experimentalism. That is, they’re trying to say they don’t give a fuck, and in listening, they make it kind of easy to believe, but there’s still something about the cohesiveness of “Veni Vidi Fucki” and “Rice Crispy” and the saved-the-best-nod-for-last finale “Sore Afraid” that undercuts the notion even while making the listening experience all the more pummeling, and from the intro “Corpse Corps” through “Urine Trouble Now”‘s echoing shouts and the closer’s unmitigated stomp, there’s still plenty of exploration being done.

WOORMS on Thee Facebooks

WOORMS on Bandcamp

 

Oreyeon, Ode to Oblivion

Oreyeon Ode to Oblivion

Rebranded since their 2016 debut, Builders of Cosmos (discussed here), from their more phonetically intuitive original moniker, Orion, Italy’s Oreyeon issue a cosmically expansive spacescape follow-up in their six-song/40-minute sophomore outing, Ode to Oblivion, also their first release through Heavy Psych Sounds. Echoing vocals pervade “Big Surprise” after the introductory “T.I.O.” and “Trudging to Vacuity” establish the wide-cast mix and anti-grav rhythmic density, and the nine-minute side A finale title-track runs mostly-instrumental circles around most of what I’d usually call “prog” only after it lays down a sleek hook in the first couple minutes. After “Big Surprise,” the 8:45 “The Ones” trades volume back and forth but finds its breadth at about the sixth minute as the dramatic lead turns on a dime to desert rock thrust en route to wherever the hell it goes next. Honestly, after that moment, everything’s gravy, but Oreyeon lay it on thick with closer “Starship Pusher” and never neglect melody in the face of nod. Worth a deeper dig if you get the chance.

Oreyeon on Thee Facebooks

Heavy Psych Sounds website

 

Melody Fields, Melody Fields

melody fields melody fields

Sometimes you hear a record and it’s like the band is doing you a favor by existing. To that, thanks Melody Fields. The Gothenburg psych troupe lace their lysergic flow with folkish harmonies and an open sensibility on their self-titled debut that comes coupled with enough tonal presence to still consider them heavy not that it matters. They break out the sax on “Morning Sun” to welcome effect, and the sun continues to shine through “Liberty” and the garage-buzzing “Run” before “Rain Man” turns water droplets into keyboard notes and Beatlesian — think “Rain” — voice arrangements atop soothing instrumental drift, every bit the centerpiece and an excellent precursor to the acoustic-based “Fire” and the 10-minute “Trädgränsen,” which is the crowning achievement of this self-titled debut, which, if I’d been hip to it in time, would’ve made both the 2018 best albums and best debuts list. They cap with a reprise of “Morning Sun” and underscore the solid foundation beneath the molten beauty of their work throughout. To ask for another album seems greedy, but I will anyway. More, please.

Melody Fields on Thee Facebooks

Sound Effect Records website

 

Mammoth Grove, Slow Burn

mammoth grove slow burn

Okay, look, enough screwing around. It’s time for someone to sign Mammoth Grove. The Calgary natives have been putting out quality heavy psych rock since their 2011 self-titled debut (review here), and their latest long-player, the four-song Slow Burn is a righteous amalgam of peace-thru-rock that lives up to its freewheeling vibes in “Seasons” after the methodical opener “Valleys” and rolls out a bit of melodic ’70s biker rock bliss in “Black Meadow” before the side-B-consuming “Gloria” (18:42) asks early if you’re ready to go and then goes like gone, gone, gone, and gone further. Given the analog mindset involved and the heart on display throughout, there’s something fitting about it being pressed up in an edition of 100 hand-screenprinted LPs and 100 CDs likewise, but the more people who could hear it, the merrier, so yeah, some label or other needs to step up and make that happen, and I dare you to listen to the solo that hits past the 14-minute mark in “Gloria” and tell me otherwise. Dare you.

Mammoth Grove on Thee Facebooks

Mammoth Grove on Bandcamp

 

Crimson Devils, A Taste for Blood

crimson devils a taste for blood

Since pared down to a trio from the four-piece incarnation they present here, Austin’s Crimson Devils first released their debut, A Taste for Blood, in 2017, but gave it a vinyl revisit last year and it’s little mystery why. The record comprises 11 sharply-composed tracks of Small Stone-style heavy rock, taking cues from Sasquatch in modern-via-classic modus, picking and choosing elements of ’70s and ’90s rock to conjure formidable groove and engaging hooks. There’s considerable swagger and weight in “They Get It,” and while opener “Dead and Gone” seems to show an influence in its vocal patterning from Elder, as the album unfolds, it’s more about the blast of “Captain Walker” or the penultimate “Nothing to Claim” and the straight-ahead vibes of “Bad News Blues” and “No Action” than anything so outwardly prog. There’s plenty to dig in the rock-for-rockers mindset, and it’s the kind of offering that should probably come with an octane rating. However such things are measured, safe to say it would not be low.

Crimson Devils on Thee Facebooks

Crimson Devils on Bandcamp

 

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The Obelisk Show on Gimme Radio Recap: Episode 09

Posted in Radio on February 4th, 2019 by JJ Koczan

gimme radio logo

Good show. I had fun, anyway. I cut the voice breaks for this one while The Patient Mrs. and her mom took The Pecan out to the grocery store, but the breaks nonetheless worked out to be maybe a minute longer than usual and that gave me a little rant time. Right before I played Goatsnake, which was the “new classic” choice cut for this episode, I went off about doing my dishes as rock and roll. As usual with words coming out of my mouth, the idea was kind of half-represented, but what I was talking about was the notion that your love of music should be a part of your life, not something separate from the rest of it. If you love music, it shouldn’t be something you segregate from the rest of who you are — something you sneak off to a dive bar to partake of — it should be a part of your everyday. I cut radio voice breaks while running the dishwasher. It’s a part of who I am.

How fortunate I have this post to explain the half-formed notions I don’t have the wherewithal to properly express vocally. Huzzah.

Anyway, if you got to listen, I tried to set this one up with a good flow from front to back plus a couple stark contrasts in the second hour. The break is between Graven and SubRosa, contrary to what the playlist says, but I liked that transition anyhow, and I think you can see early on that the focus is on some boogie with a sense of atmosphere. I talk up the Green Lung record again, because, well, it’s worth talking up, and dig into a few other things that I think are killer, including that Mount Saturn EP, which is likewise right on. And then I dip back from new music to play SubRosa’s “The Mirror” from their SubDued: Live at Roadburn 2017 release, because it’s a song I sing to The Pecan when I put him down for naps and have just about every day since he was born some 15 months ago. Fun stuff.

If you missed the show, it airs again tomorrow at 9AM Eastern at http://gimmeradio.com

And if you dig this and want to hear more of The Obelisk Show, Gimme of course has their archive set up that you can sign on for at a reasonable price and dig into a bunch of various kinds of metallurgy.

Okay, here’s the playlist. Thanks to reading and/or listening:

The Obelisk Show Ep. 09 – 02.03.19

Straytones Dark Lord Beware, Dark Lord! Here Comes Bell-Man* 0:04:07
Green Lung Let the Devil In Woodland Rites* 0:05:02
BREAK
Geezer Spiral Fires Pt. 1 Spiral Fires* 0:05:50
Seedium Mist Haulers Seedium* 0:09:15
Crypt Trip Wordshot Haze County* 0:04:22
Cloud Catcher Beneath the Steel The Whip EP* 0:04:45
Heavy Feather Waited All My Life Debris & Rubble* 0:03:10
Mount Saturn Dwell Kiss the Ring* 0:07:08
BREAK
Goatsnake Mower I + Dog Days 0:06:05
The Black Heart Death Cult Davidian Beam Dream The Black Heart Death Cult 0:05:50
Crystal Spiders Tigerlily Demo* 0:05:37
Swallow the Sun When a Shadow is Forced into the Light When a Shadow is Forced into the Light* 0:07:26
Graven Backwards to Oblivion Heirs of Discord* 0:06:15
SubRosa The Mirror SubDued: Live at Roadburn 0:04:43
BREAK
Electric Octopus Mouseangelo Smile* 0:12:58
Tia Carrera Early Purple Visitors/Early Purple* 0:16:28

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Feb. 17. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

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Crystal Spiders Post Debut Demo; First Live Appearance Announced

Posted in Whathaveyou on January 28th, 2019 by JJ Koczan

crystal spiders (Photo by Marissa Straw)

Taking their moniker from the first track on the debut album from Uncle Acid and the Deadbeats, Raleigh, North Carolina’s Crystal Spiders have unveiled their aptly-titled Demo ahead of making their first live appearance on Feb. 7 in their hometown. The release is comprised of three cuts giving three distinct looks at the trio as they move from the rolling doom rock and layered harmonies of “Tigerlily” through the rougher-edged thrust of “Flamethrower” with a classic metal riff careening through its sub-two-minute runtime, and into the catchy cultistry of “Devil’s Resolve,” on which bassist Brenna Leath — also of Ripple-signed heavy rockers Lightning Born — steps back from lead vocals to allow a shift to sludgy shouts ahead of a delve into the riff from Electric Wizard‘s “Witchcult Today” repurposed as the bed for an impressive solo from Mike Deloatch, backed by the swing of Tradd Yancey, who wins at names, outright.

It’s 11 minutes of material and does exactly what something called Demo should do: it lets the band get their feet under them and gives anyone listening fodder for future interest. Certainly with such variety over a relatively short period of time and the fact that the band has been together less than a full year, it’s probably safe to say they’re trying things out, but in so doing, they nonetheless give an encouraging look at their songwriting modus as well as some killer performances. If I was gonna be at the gig, I’d show up early. That’s all I’m saying.

Info and whatnot came down the PR wire, but the real point here is the stream, which you’ll find at the bottom of the post. So have at it:

crystal spider demo

Crystal Spiders – Demo

Formed by a punk rock kid, a crazed rock and roller, and later joined by a doom veteran, Crystal Spiders are rising from Raleigh, unleashing dynamic and powerful sounds speaking to the fundamental power of fuzz rock. Inspired by a slew of acts ranging from the Melvins and Kyuss to Fu Manchu, these scene veterans are tried and true worshipers of the riff. Featuring members of local favorites such as Lightning Born, Mind Dweller and Thirsty Curses, Crystal Spiders’ diverse mix of influences makes for music that separates them from the stoner rock rat race.

Brought together by a love of vintage gear, nasty licks, and ratty pedals, Crystal Spiders revel in the waves of volume commanded by their roaring amps. Frontwoman Brenna Leath’s dynamic voice soars above it all, guiding listeners from peak to sonic peak and fascinating the palate with her powerful delivery. She is perfectly complemented by her bandmate’s heavy vocals, joined by the roaring guitars of Mike Deloatch and the high-powered drums of Tradd Yancey. The legendary Raleigh rock scene has been a band breeding ground for years now, but rarely has something emerged from the crypt with the same passion and drive of this fuzz-possessed crew.

Reeking of smoke and drenched in distortion, their demo has just been self-released in January of 2019 and is guaranteed to reap minds and destroy souls, foreshadowing a debut album that will make waves in heavy circles. Excited for the opportunities to come, Leath says, “You know you’re doing something right when you look down at the speedometer and you’re doing 20 miles over with no idea of how you got there. 1-part vintage gear, 1-part doom, a dash of punk and a sprinkle of germanium. That’s how.”

Tracklisting:
1. Tigerlily
2. Flamethrower
3. Devil’s Resolve

All songs written and recorded by Crystal Spiders (Mike Deloatch, Brenna Leath, Tradd Yancey). Mixed and mastered by Jim Griffin, Shadetree Studios, Raleigh, NC. Art by Tyler Pennington. Layout by Alex Traboulsi.

Crystal Spiders live:
Feb 07 Slim’s Downtown Raleigh, NC w/ Thunderchief, WitchTit

Crystal Spiders is:
Brenna Leath – Bass & Vox
Mike Deloatch – Guitar & Vox
Tradd Yancey – Drums & Backup Vox

https://www.facebook.com/crystalspidersinmymind
https://crystalspiders.bandcamp.com

Crystal Spiders, Demo (2019)

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