Eye of the Stoned Goat 5 Official Poster Unveiled; Lineup Finalized

Posted in Visual Evidence on February 19th, 2015 by JJ Koczan

Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord FowlWounded Giant and Brimstone Coven, if you need an example of each — in what’s without a doubt the most expansive Stoned Goat festival yet.

The poster for this year’s Stoned Goat is by Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:

eye of the stoned goat 5 poster

‘Eye of the Stoned Goat 5’ announces official lineup for summer festival!

Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festival—now in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.

Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the “Best of 2014.” Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Island’s long-running rock outfit John Wilkes Booth, whose album ‘Useless Lucy’ was mentioned in many journalists “Best of 2014” lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of “10 Awesome Underground Bands You Need in Your Life!”

Naturally, it wouldn’t be a ‘Stoned Goat’ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This year’s elite selection includes three bands that are simply a treat to bring to the stage: Boston’s master craftsmen and 2014 Desertfest alums, Gozu; local New York natives It’s Not Night: It’s Space; and returning ‘Stoned Goat’ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.

More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious “sludge n’ space rock” vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013’s Filaments.

For the first time, Seattle Washington’s own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this year’s festival. Also spearheading the volume-dealing campaign from STB Records is Connecticut’s Curse The Son, who’s latest offering Psychache (2014) was widely heralded as “the best of its kind in 2014” by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Records’ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canada’s demonic stoner-blues rockers Ol’ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Records’ own Doctor Smoke.

One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphia’s working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Pass—a popular act that has developed quite an impressive loyal following.

Last, but not least, officially closing out this year’s Eye of the Stoned Goat festival is none other than Port Orchard, Washington’s stoner rock torch-bearer’s Mos Generator. This marks the band’s first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to night—often with delightful results.

Tickets for ‘Eye of the Stoned Goat 5’ will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visit www.TheEyeoftheStonedGoat.com

http://www.TheEyeoftheStonedGoat.com
https://www.facebook.com/TheEyeOfTheStonedGoat
https://www.facebook.com/events/853840991328849/
https://twitter.com/stonedgoatfest

The Golden Grass, A Curious Case/The Pilgrim (2014)

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Dates and Location Announced for Eye of the Stoned Goat 5

Posted in Visual Evidence on January 7th, 2015 by JJ Koczan

It’s about as preliminary as preliminary announcements get, but think of it as a save-the-date card in the mail for a wedding of riffs that you’ll probably actually want to go to. The fifth edition of the Eye of the Stoned Goat festival will take place on June 12 and 13, in Amityville, Long Island. How long do you think it’ll be before someone makes an Amityville Horror reference? It’s probably already happened.

The poster with the dates and a killer, manic design by Pittsburgh-based artist Joe Mruk just came out today, and while lineup info is minimal at this point nearly to the degree of “there isn’t any,” fest organizer and Wasted Theory drummer Brendan Burns has let slip a few tidbits about thus-far confirmations from certain labels, including Metal BladeSmall StoneRipple Music and Totem Cat. After last year’s installment in the way-closer-to-me locale of Worcester, Massachusetts (review here), it should be interesting to see how the mobile festival, which was held in Brooklyn in 2013 (review here) and Delaware before that (review here), expands its reach this time around. Long Island in June? Sounds humid, but count me in. One can only hope for a return appearance from L.I. four-piece John Wilkes Booth.

Interesting to note if you’re making travel plans, Eye of the Stoned Goat 5 will be happening exactly two weeks before the previously announced Maryland Doom Fest in Frederick, MD. Looks like the East Coast will be the place to be this summer, which, if I can be perfectly honest with you, is a welcome change. Hey, at least gas is cheap.

Here’s the poster and quickie announcement from the fest:

eye of the stoned goat 5

Proud to announce…
Eye of the Stoned Goat 5!!!
Amityville, Long Island, NY.
June 12-13th 2015.
*Bands and lineup will be announced soon….

The Eye of the Stoned Goat on Thee Facebooks

Joe Mruk on Thee Facebooks

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Front to Back: The Eye of the Stoned Goat 4 in Worcester, MA, 05.04.14

Posted in Reviews on May 6th, 2014 by JJ Koczan

You learn the same lessons over and over at a festival. Being ibuprofen. Hydrate. If you’re going to be somewhere all day, know the spots to stand, to lean, to sit if you’re lucky, and if you want to sit early, do it for an investment in standing later. No one wants to bum out while the headliner’s on and the days are long. You do these things because it’s what you love to do. You’re not young anymore, you get tired. Your head aches. Your back aches. You smell. You’re in people’s way when you stand up front. Minimize that if you can. Be mobile. Enjoy yourself. This is where life gets good, after all.

There are cavernous potholes in the unpaved parking lot of Ralph’s Rock Diner. I kicked up dust even at crawling speed to park for Day Two of the Eye of the Stoned Goat 4, making sure I was plenty early to catch Skrogg lead off a day that also included Geezer, Foghound, Clamfight, Rozamov, Ichabod, Volume IV, Curse the Son, The Scimitar and Order of the Owl. Had enough time to sit at the counter in the dining car, watch a little bit of the original Star Trek on the tv there and have a cup of coffee, which I was warned against ordering from one of the guys who wasn’t working that day for fear of being yelled at. I’d have to laugh at someone getting pissed at a patron ordering coffee in what claims to be a diner, but I’m glad to have avoided the issue altogether. Two bucks and about 15 minutes later and I was back upstairs and dug in for the start of the show.

A Sunday vibe is different from a Saturday vibe. You know this. Plague of hangovers, plus Monday’s looming threat of the return to real life — these things bleed in, even if subconsciously. Eye of the Stoned Goat came prepared for such an eventuality:

Skrogg

New Hampshire heavy-toned rockers Skrogg were a hair-of-the-dog start to Day Two and they knew it. The ink is barely dry on their later-2013 outing, Blooze (review here), but they’ve got a follow-up in the works called Done a Bad, Bad Thing and they aired the single “Wheels, Women and Whiskey” from that, as well as a slower, wah-loaded jam that would provide the prevailing impression of their set in laid back, weeded-out evil-woman boozer blues grit. If I hadn’t actually heard guitarist/vocalist Jeff Maxfield speak in the same voice with which he sings, I’d likely swear up and down his “whiskey-soaked” vocals were an affectation, but no, that’s how he sounds, and with the chemistry between him, bassist Jason Lawrence and drummer Felix Starr — who traded out the house kit in favor of his own, much larger set — what struck me most about Skrogg was how well they jammed. Last time I saw them, at Stoner Hands of Doom XII in 2012, they didn’t come across nearly as comfortable on stage. They were supporting their Raw Heat demo/EP (review here) then, so obviously the intervening two years haven’t been misspent on their part. I wondered what they’d do with more time to maybe elongate their songs and really stretch out and improvise. In hindsight, Blooze had some of that going in “Born to Blooze.” Hopefully they keep developing that side with their new one.

Geezer

If Skrogg were the first shot of the day, Geezer were a fitting chaser. The New York trio were jamming before they even started. Their soundcheck was a jam, and a good one. They opened with “Ghost Rider Solar Plexus,” and between that and “Ancient Song,” also from the 2013 Gage EP (review here) which has a vinyl issue impending on STB Records, they offered a support lesson in the importance of chemistry for a three-piece to work. Guitarist/vocalist Pat Harrington gets a lot of the attention in the band, between his Electric Beard of Doom podcast, gravelly voice and accompanying facial hair, but bassist Freddy Villano and drummer Chris Turco carried the psych-blues jams on which Harrington spaced out, and it was a classic dynamic made that much stronger by how well particularly Harrington and Villano know each other on stage, having played together for some time in Gaggle of Cocks in addition to developing Geezer‘s bluesier take over the last couple years. One of just two acts alongside Lord Fowl to carry over from 2013’s Eye of the Stoned Goat 3 in Brooklyn, Geezer rounded out with “Pony” from 2013’s Electrically Recorded Handmade Heavy Blues debut full-length and drew the early crowd in like moths to a lightbulb with the song’s quirky stoner bounce and nod-ready groove. Easy to dig these guys, and they’ve only gotten better the couple times I’ve seen them. If ESG needed a house band, they’d be a good bet.

Foghound

The second appearance in two days for Sixty Watt Shaman drummer Chuck Dukehart III, Foghound were a much different band. I don’t know if they planned their set to highlight the fact that all four members — Dukehart, guitarists Dee Settar and Bob Sipes, bassist Geoffrey Freeman IV — also contribute vocals, but it worked out that way and it was a major distinguishing factor not only between Foghound and Sixty Watt — who of course had a completely different presence anyway with one guitar and a standalone frontman who only sometimes added guitar — but between Foghound and the vast majority of the Eye of the Stoned Goat 4 bill. And not only did everyone sing, but they all could. Foghound‘s late-2013 Quick, Dirty and High debut CD (review here) boasted the same elements, but of course it’s different seeing it play out on stage. Underlying that was a swing that was among the weekend’s finest as Foghound pulled more toward the heavy rock end from Day Two’s bluesy beginning, the standout “Resurrect the Throwaways” from the album reminding of Foghound‘s potential to land a hook when they need to and the new song “Truth Revealed” finding Dukehart taking the lead vocal on drums for yet another driving groove. They seem to be getting their approach together quickly, and as impressive as they already were, I wouldn’t be surprised to find Foghound even more solidified when next I’m fortunate enough to see them play.

Clamfight

Like the marauding bastards they are, Clamfight rolled into Ralph’s, set up, destroyed the place, and were gone. I’m obviously biased as regards the double-guitar foursome split between Jersey and Philly, but if the day had a quota of thrash, Clamfight met it head on and then some, kicking out “Sand Riders,” “Age of Reptiles” and staple closer “Stealing the Ghost Horse” from 2013’s Maple Forum release, I vs. the Glacier in addition to “Block Ship” and a new song called “Selkie” (or was that “Selfie?”) that will reportedly be on their next album. Perhaps the highlight of their whole set was watching lead guitarist Sean McKee shred his was through solos in the intro to “Stealing the Ghost Horse,” but there’s some stiff competition in that regard. I’ve been watching Clamfight play for the better part of eight years now and they have never been so good. I mean it. They’ve become an absolutely devastating live act, and their brutal groove has become a signature that’s their own much more than derived from any influence. Between McKee and Joel Harris‘ guitars, Louis Koble‘s bass and Andy Martin thud ‘n’ roar on drums and vocals, Clamfight barely stopped to let Eye of the Stoned Goat 4 catch its breath before their next round of pummeling began. Unreasonably heavy — and immediate. Barely half an hour off I-95, they locked into “Sand Riders” and didn’t look back. I can’t wait to hear their new stuff recorded.

Rozamov


Five bands in, it was pretty easy to see fest-organizer Brendan Burns‘ logic in how Day Two of Eye of the Stoned Goat 4 was going to flow, from the blues-styled start to more rock-minded push and into heavier, more thrashing terrain. In that regard, Boston’s Rozamov would take the evening to its most bludgeoning, darkest place. The trio of guitarist/vocalist Matt Iacovelli, bassist/vocalist Tom Corino and drummer Will Hendrix — who also earned my vote for best shirt of the weekend with his Maggot Brain tee — have some riff-minded aspects to what they do, but on the whole, their sound is much more rooted in the extreme. They were a step further into the abyss after Clamfight, impressively tight as a trio after scaling down from a four-piece since I saw them last fall (review here). Likewise, they seemed to have a fair amount of new material in tow, but “Famine” from last year’s Of Gods and Flesh EP was insistent and violent in kind, and no matter where the songs took them, Rozamov remained in control of their course, alternately blasting and bleeding out thickened and ferocious thrashing grooves, Iacovelli and Corino coming together periodically for dual screams that only added to the extremity at hand. I don’t know what their plans are for putting their new stuff together and getting it out, but they carried the songs across with such urgency that I had to stop and remind myself of how far the day had come since its start still just a short time before.

Ichabod

Mean, volatile and given to fits of utter sonic cruelty, Ichabod were nonetheless a pullback toward heavy rock from Rozamov‘s assault. Also native to Boston, the double-guitar five-piece were the band on the Stoned Goat bill I’d seen most recently, back in in late-March in Allston, but of course the setting and compulsion toward a half-hour set between Rozamov and Volume IV — not to mention the sound and lighting at Ralph’s, which, again, are among the finest I’ve found since moving to Massachusetts — gave this go a different context. Vocalist John Fadden, guitarists Dave Iverson and Jason Adam, bassist Greg Dellaria and drummer Phil MacKay have reportedly finished work on the follow-up to 2012’s Dreamscapes from Dead Space, titled Merrimack, and as last time, some new material was showed off prior to Dreamscapes cuts like “Baba Yaga” — introduced as a “stoner rock song” — and “Hollow God,” which seems to take a similar angst-fueled approach to Boston’s Irish Catholicism that a lot of Southeast heavy takes to the Southern Baptist Church, Fadden‘s screams proving particularly visceral on the lines “Your god is irrelevant,” driving home a passionate if somewhat familiar argument, reminding of just how devastated the cultural landscape of this region has been by corruption in its religious institutions. That’s the kind of thing one might think of seeing the band twice in little more than a month, but the bulk of the room seemed more consumed with the general nastiness in Ichabod‘s sound. Justifiably so.

Volume IV

Building on the more rock side of Ichabod‘s sound, Atlanta natives Volume IV steered the fest back toward crisp, pro-grade heavy. A somewhat odd pairing in all but geography, they arrived at the Eye of the Stoned Goat 4 on tour with Order of the Owl having played in New York the night before, supporting their Ripple Music debut, Long in the Tooth (review/stream here). A solid, cohesive trio, and particularly interesting to watch after Sixty Watt Shaman in giving a modern look at how similar influences have developed in the time since the Day One headliners’ first run. Their being from Atlanta, it was tempting to try and read some measure of Mastodon influence into Volume IV‘s approach, but apart from some eye-squinting on the part of guitarist Joe Carpenter while he delivered his vocals, there was next to nothing in common. Both bands use guitars, if you want to reach that far. Songs were straightforward in their structure and well executed, and whether it was the chug of “Awake the Dreamer” or the ZZ Top-style motoring of “Locust Have No King,” they made a more effective presentation than I had expected. Set closer “Iron Fist” would be the first of two Motörhead covers for the evening, and Volume IV Carpenter, bassist/vocalist Blake Parris and drummer Troy King — took one of classic metal’s most recognizable hooks and made it their own much the same way they added an individual sense to Southern heavy in the material from Long in the Tooth. I was into the record well enough, but they were better live without question.

Curse the Son

In a word: Tone. Playing in front of two full-stacks topped with custom heads from Dunwich Amplifiers that glowed from inside through a clear front with the word “weed” etched on it, guitarist/vocalist Ron Vanacore of Hamden, Connecticut, trio Curse the Son had thickest guitar sound of the entire two-day festival. Order of the Owl would outdo them for volume, but in terms of the sheer viscosity of their sound — which, as Vanacore joked in reference to his amps, was “brought to you by the power of weed” — Curse the Son was an overdose of righteously engrossing fuzz. Bassist Richard “Cheech” Weeden made the sound even fatter, and with Mike Petrucci (also of Vestal Claret) bringing subtle touches of complexity to the drums, cuts like “Goodbye Henry Anslinger” and the particularly catchy “Spider Stole the Weed” were rolling-groove high points of the day, the “whoa”s in the chorus of the latter seeming to come in layers even though Vanacore was the only one with a mic. Their 2012 full-length, Psychache (review here) is set to come out on STB Records vinyl any day now, and while it was “Pulsotar Bringer” from 2011’s Klonopain (review here) that closed out the set, the nod was constant throughout the room in Ralph’s as Curse the Son built successive walls of distortion. They’re a pretty well-kept secret at this point, though with that LP version of Psychache coming, I can’t help but wonder how much longer that will be the case. Tetrahydrocannabinolic riff worship of the highest order, and since the last time I saw the band play on all their own gear was 2011, it seems I’m about due for a trip to New Haven.

The Scimitar

No doubt Boston will miss Gein‘s gallop. The bassist’s technique has been a key element in Black Pyramid‘s warmongering, in Second Grave‘s explorations of the melancholic and in The Scimitar‘s still-nascent branching off from Black Pyramid‘s roots, but Eye of the Stoned Goat 4 Day Two brought the second and final of his last shows. Guitarist/vocalist Darryl Shepard, who has said he’ll continue to make music in this vein under his own name after the release of The Scimitar‘s debut and likely only full-length, Doomsayer, noted it as The Scimitar‘s last gig with Gein “for a while,” and it’s true you never know what’ll happen, but Los Angeles is a long way from Ralph’s Rock Diner, so yeah, a while indeed. I noted that drummer Brian Banfield cut his hair since the last time I saw The Scimitar, which at least meant we didn’t look so much alike, but more of a focal point was how well The Scimitar carried across the songs from Doomsayer, “World Unreal,” “Babylon” and even the night’s second Motörhead cover, “Metropolis,” leading to the longer album-closer “Crucifer,” which seemed like it was going to be their last song until they added “Forever and Ever and Ever.” The show was running early, and they started early as well, so there was plenty of time to spare, and that hook was worth including one way or another, Gein as ever reliably riding a foundational groove in the low end. He’ll make a good SoCal surfer. There wasn’t any grand farewell or anything like that when The Scimitar were done — he has always had a calm, collected stage presence — but it was still no doubt an emotional set for the bassist, who again, will be missed around these parts.

Order of the Owl


Imagine volume as a weapon. You knew some serious noise was about to be doled out when Atlanta’s Order of the Owl loaded no fewer than six Orange cabinets onto the stage, but I don’t think even the actual sight of such things prepared the room at Ralph’s for what was coming. To see that many dollars’ worth of amps in a single band, you know the parties involved have made a life choice. There had been a few instances throughout the day when I could feel my earplugs vibrate in my head — during Clamfight, during Curse the Son — but Order of the Owl went further and just rendered them useless from the start. Feedback proved no less essential to the sound than the trio’s riffs and lumbering grooves, but basically, Order of the Owl came through as a wash of noise. Bassist/vocalist Brent Anderson, formerly of Zoroaster, brought some of his ethic (not to mention his posture as he bent way over to the low microphone) from that band to this one, but with guitarist Casey Yarbrough and drummer Joe Sweat, Order of the Owl had a personality of their own carved from the massive tones emanating from that impressive backline. To Sweat‘s credit, the drums cut through, which Anderson‘s vocals didn’t — even a place with decent sound like Ralph’s can only put so much power into the P.A. before the lights shut off — and even in the back of the room was consumed by the overload. I couldn’t tell you what they played, but clearly the intent wasn’t so much to dazzle with individual songs or ideas so much as create a whole of such overwhelming push, and Anderson, Yarbrough and Sweat clearly had that working in their favor. Again, they seemed like a strange fit to hit the road with Volume IV, but they made a suitable closer for Eye of the Stoned Goat 4, giving the festival one final dose of ultra-heavy that nobody in their right mind would want to follow anyway. Their new album is probably finished being recorded at this point. One shutters to think of the devastation that awaits.

My ears were ringing fairly hard by the time I left Ralph’s. Sunday was an earlier night than Saturday had been anyway, and the last few bands had run short anyway, so it wasn’t yet midnight, but after running the full front-to-back of 20 bands over the two days, I’d hardly say I was up for more action than I got. The Masspike and news stories of Cinco de Mayo lime shortages carried me home and I’m not sure I’ve woken up since.

Thanks to Brendan Burns for his diligent efforts putting together The Eye of the Stoned Goat 4. Thanks as well to Derek and Jenn Bradshaw, Bill Kole, Ray Dickman, Jaki Cunha, Mark, everybody else who stuck it out for the weekend, and of course you for reading.

More pics after the jump.

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Front to Back: Eye of the Stoned Goat 4 in Worcester, MA, 05.03.14

Posted in Reviews on May 5th, 2014 by JJ Koczan

It was a 20-band bill spread out evenly across two days, so right away, The Eye of the Stoned Goat 4 was going to be a considerable undertaking. Fortunately for me, it was close. Worcester is precisely 75 minutes from where I live. I’ve driven further to see three bands, let alone 20, so a trip down the Masspike and there I was, back in Worcester. It had been a decade-plus since the last time I was in that town — famed in metal circles most probably for the New England Metal and Hardcore Festival held at the Palladium — and it was way less of a dump than it was back then, though with much to see in Ralph’s Rock Diner, I obviously wasn’t taking a tour of the local infrastructure. Ralph’s had plenty to catch the eye anyway, even apart from the Saturday lineup with Birch Hill Dam, SET, John Wilkes Booth, Second Grave, Beelzefuzz, Lord Fowl, Ogre, Kings Destroy, Cortez and Sixty Watt Shaman.

There is, sure enough, a classic-style dining car when you walk in, and building that’s sort of sprouted up out of it, the way one tree grows out of another. Turn a corner, you’re in a bar, tv on, pool table, etc., but find your way up a flight of stairs and you’re in the venue itself. Decent-size stage, bar in back along the side wall with plenty of room for merch, a little side-stage area for equipment, and the best lighting I’ve seen since I moved to this state last year — this being my first time at Ralph’s, I was immediately relieved at the quality of the place. Very, very cool room, and sound to match. It made a fitting home for Eye of the Stoned Goat, which last nestled itself into Brooklyn’s The Acheron in July 2013 (review here) and this year was expanded to two days for the first time, organizer Brendan Burns of Snakecharmer Booking and the band Wasted Theory pulling out the stops in mixing locals and out-of-towners, which I’ve found is a balance one should be careful to maintain around these parts. Fortunately there’s no shortage of quality acts.

A 5PM start got underway on time with Birch Hill Dam leading off, and there was no turning back from there:

Birch Hill Dam

As I made my way through the downstairs part of the venue and bought my weekend pass, I was handed a copy of Birch Hill Dam‘s 2011 CD, Colossus, which the MA natives had donated as a door giveaway. A nice touch. I had known I wanted to see them anyway — been more or less waiting to run into Birch Hill Dam again since I moved here — but even if I hadn’t, that would certainly make me more inclined to check them out. My last experience with the band was in 2012 at Stoner Hands of Doom XII in Connecticut, and my prevailing impression was a Kyuss influence. That was far less the case this time around. With some Down/C.O.C. chug in their thick-toned riffs and some double-guitar antics featured later on in the set, Birch Hill Dam were way further into their own sound than when last we met. Frontman Mike Nygard was one of the weekend’s few standalone vocalists (six out of the 20 bands, most of them on Saturday), and he held down his position well with unforced throatiness and just a hint of metal underneath all that rock. They played a decent amount of new material along with “2600” and finale “Boozehound,” both culled from Colossus, and as slick as that album was, I’ll be fascinated to hear the direction their new stuff takes in the studio.

SET

There were two bands on the Saturday bill I’d never seen before — Worcester’s SET (which they seem to prefer written all-caps) and headliners Sixty Watt Shaman — and SET were the surprise of the weekend. Part of that owes to the fact that in my head, I had imagined they were a completely different band, but to find their newer-class doom tempered with thrash and even some crusty black metal, I was blown away by the quality and cohesion in what they were doing, and how natural they made it sound. A two-guitar, two-vocal four-piece, they seemed to have clearly worked on their tone and presentation, and if it had been the West Coast instead of the East, I’d call the results “gnarly.” They were tight, worked fluidly in moving between fast and slower tempos, and looked to be working from a fairly wide swath of influences. They had tapes for sale in the back at $3 each, but I missed my shot at one. Still, I’ll look forward to seeing them again and knowing a little bit more of what I’m getting when they kick into the badass roll of “Wolves behind the Sheep,” taken from their Valley of the Stone debut long-player, apparently set to release on vinyl this summer. I don’t know if they tour, but they should.

John Wilkes Booth


Among the few things I’ll never argue against is a chance to catch John Wilkes Booth live. The house band of Mr. Beery’s out on Long Island and I go way back at this point, but they were another one I hadn’t seen since SHoD in Connecticut, so I felt somewhat overdue. They were doing their thing, which is fine by me since they’re good at it. They had a fair amount of what seemed to me to be newer material, and as he stood in front of the weekend’s most elaborate pedal board, vocalist Kerry Merkle plugged a new EP in the works that would BE done “as soon as [they] get [their] shit together.” I had thought that was going to be a full-length, but it’s been long enough at this point that I’d take whatever came. I’ve seen them burn rooms to the ground with brash riffing, thick groove and megaphoned-incantations, but this was a somewhat moodier set, more exploratory feeling, and that suited them just as well, as they managed to maintain their underlying crunch. I’ve said it of the Booth before that they’re a ’90s NYC noise rock band and they just don’t know it, and I got that vibe again at Ralph’s, but they showed a brooding side to complement, and that made the heavier parts land that much harder in comparison. Made me wonder where their EP might be headed.

Second Grave


Eye of the Stoned Goat 4 marked two last shows, both of them for Massachusetts’ own David Gein. The now-former Black Pyramid four-stringer was playing his final (never say never in rock and roll, but at least for the time being) gigs with Second Grave on Saturday and with The Scimitar on Sunday ahead of a move to the West Coast, so it was twice the occasion. I don’t know if you could really call anything Second Grave do “celebratory,” however, unless you’re celebrating slow, plodding and every now and again viciously extreme metal — which, now that I think about it, is fun to do — but the four-piece did justice to their bass player in delivering a crisp, tight-wound set, the clean vocals and apex-topping screams of guitarist Krista Van Guilder cutting through a morass of tonal bite courtesy of her own and Chris Drzal‘s guitars and Gein‘s bass while drummer Chuck Ferreira shoved the lumbering progressions forward. During their last song — was it “Mountains of Madness?” — the lights went blood red and the visual change helped put their final payoff over the top. I’m not sure how, being in a band that can be so utterly ruthless, they resist the temptation to be that way all the time, but Second Grave‘s restraint, however momentary it may or may not be in a given track, is part of why the band works so well.

Beelzefuzz

Maryland trio Beelzefuzz released one of 2013’s best in the form of their self-titled debut (review here), and having spent so much time with that material since the record came out last August, I felt like I was seeing them in a different context than before. I wasn’t the only one in the crowd who knew the songs, whether it was “Hard Luck Melody,” or “Hypnotized” and “All the Feeling Returns” from the album, they got a welcoming response from the ESG4 crowd. Between Dana Ortt‘s guitar tone, bassist Pug Kirby‘s trancelike-state stage presence and the classy, carefully-understated drumming of Darin McCloskey (also of Pale Divine), Beelzefuzz took the stage at Ralph’s well in command of their sound and bizarre, progressive take on traditional doom. Ortt thanked the audience for being so “cool,” and mentioned he’d taken some pills before going on — Claritin, for hay fever — but if he was under the weather, there was little sign of it as they tackled “Ride the Sky” by Lucifer’s Friend to close out. I couldn’t help but think of their taking on the same song last year at Days of the Doomed III in Wisconsin with Trouble‘s Eric Wagner joining in on vocals, but they handled it well on their own as well, though I’m not sure if that was as much a highlight as “Reborn” from the self-titled, which would remain stuck in my head for the rest of the evening.

Lord Fowl

Granted, after Beelzefuzz just about anything is a left turn, but I was curious to see how Connecticut’s Lord Fowl — who, if you’ve never seen them, are a boot to the ass; an absolutely kinetic live band — would follow their more languid predecessors. I’m not sure what I was hung up on, but about two seconds into Lord Fowl‘s set, they had the crowd on their side, and they had no trouble keeping them there for the duration of their all-too-short half-hour set. It hasn’t quite been a year since the last Stoned Goat fest, which the two-guitar foursome also played, but I would’ve hoped to see them again before this weekend, fantastic as they are on stage. I was glad to see them get a response when they kicked into the title-track from 2012’s excellent Small Stone debut, Moon Queen (review here), with guitarists Vechel Jaynes and Mike Pellegrino trading vocals back and forth in the chorus while bassist John Conine and drummer Don Freeman thrashed suitably on the Ralph’s stage. For an act who puts so much effort into their shows, it’s worth noting that Lord Fowl don’t come across as forced, or like they’re trying to cloy their way into fan-appreciation. It’s just a good time, and that goes even more for the boogie-fied new jam they locked into. Still instrumental and formative though it was, it was also plain to see why they’d want to break it out.

Ogre

The Portland, Maine, trio were pretty fresh on my mind, having seen them in March at the release show for their fourth album, The Last Neanderthal (review here), but a quick check-in was cool by me, particularly with “Nine Princes in Amber” as the opening song — that hook was among the day’s most irresistible. They dipped back to their 2003 Dawn of the Proto-Men debut for “The Jaded Beast,” and “Dogmen (of Planet Earth)” from 2006’s Seven Hells was time well spent, but as had been the case last time, it was the new stuff that had them excited, the raw Sabbathery of “Bad Trip” and the classic metal of “Warpath” coming through with what felt like an especially fervent delivery. For Ogre to emerge as the most singularly indebted to Sabbath on a fest like this is saying something — and they did, at least for Day One if not for both — but the closing cover of The Bags‘ “Naked Lady” which they once again squeezed in the few remaining minutes of their time found them in a higher gear distinct from some of the doomy wanderings of “Bad Trip” and “The Jaded Beast,” formidable as the impressions those tracks left were, particularly “The Jaded Beast” with bassist Ed Cunningham moving into and out of screams in the chorus while guitarist Ross Markonish belted out a steady series of solos and drummer Will Broadbent stomped away behind.

Kings Destroy

I had missed hearing “Embers.” After being so lucky to accompany Kings Destroy on their West Coast run earlier this Spring, I guess I had been spoiled hearing their new material each night, but I took out my earplugs for song on the first day of Eye of the Stoned Goat 4, and that was for “Embers,” from the New York five-piece’s reportedly-recorded but as-yet-untitled third album. Aside from being good to see them, as people, I was delighted to catch them on stage for the eighth time this year. All the more for the new songs “W2” and “Smokey Robinson,” which I hadn’t heard yet, as well as opener “Old Yeller,” and the closing whallop of “Blood of Recompense” — another one I’d missed — and “Turul,” which is so wonderfully strange that I almost enjoy watching people hear it as much as hearing it myself. Probably goes without saying that the follow-up to 2013’s A Time of Hunting is among my most anticipated releases for the rest of 2014, but I’ll say it anyway and add to that how fortunate I feel to have seen this band come into their own over the last few years. They’ve hit the point where their sound is utterly separate from what one might classify it genre-wise, and the weirder they go into their blend of slow, mournful heavy, brash confrontationalism and dead-on rock — watch out for “Mr. O.” when the album hits — the more righteous they become. There’s not a lot about New York that I miss, but I miss Kings Destroy.

Cortez

When the weekend was over, it would be Cortez who pulled the best crowd. Massachusetts’ reputation for loving its own is well earned, but even more than that, the four-turned-fivesome legitimately rocked the pants off of Ralph’s, guitarists Scott O’Dowd and Alasdair Swan trading leads as the set progressed with a completely fluid charge, bassist Jay Furlo joining vocalist Matt Harrington on vocals in a chorus here and there all the while sticks tossing into the air behind from drummer Jeremy Hemond. Putting Cortez in the context of outfits like Roadsaw and Lamont, they’re just about everything right in Boston’s brand of heavy rock. They opened with “Johnny” from their 2012 self-titled debut (review here), which Darryl Shepard and I agreed should be the closer, and offered new material in “Vanishing Point” from their split 7″ with Borracho (discussed here) and “Keeping Up,” which carried no shortage of swagger. It was “Monolith” that finished out their time in grand fashion, and propelled by Hemond‘s cymbal wash, theirs was as big a big-rock-finish as the two days of Eye of the Stoned Goat 4 would boast. They played the veterans they are despite only having one LP out, and that’s my polite way of saying they should do more. Frankly, they’re a better band than most people know. Fortunately, the crowd at Ralph’s seemed reasonably well informed.

Sixty Watt Shaman

Before they went on, Sixty Watt Shaman drummer Chuck Dukehart III — who’d pull double-duty on Sunday in Foghound — had the room cracking up with some classic Paul Stanley stage rants: “Do you people like the taste of AL-CO-HOL?” “Alright listen,” and so on. Fucking great. The reunited Maryland (etc.) bruisers were in a rough spot following Cortez and starting after midnight as the headliners, and while they started out to a packed house, by the time they were done much of the evening was as well. Still, for a band who haven’t played more than a handful of shows in the last decade, it was hard to argue with what Sixty Watt Shaman — bassist Rev. Jim Forrester (interview here), Dukehart, guitarist Todd Ingram (also of King Giant) and vocalist Daniel Soren — were getting up to with a barrage of dudely grooves that only underscored the influence they’ve had on Maryland and Southern heavy rock in general over the last 10-plus years. Though still newly-reactivated, they were tight and fresh from the London and Berlin Desertfest‘s as well as Dukehart‘s own Moving the Earth festival in Baltimore (go O’s!) prior. The title-track from 2000’s Seed of Decades was a highlight for me, though neither “Cactus Mexicali,” “Southern Gentleman” nor “Pull the Strings” from 1998’s Ultra Electric prompted argument. As they’d have to, they closed out with “Red Colony” from Seed of Decades and capped a day full of heavy with some of its burliest groove. Some bands you don’t expect to ever get the chance to see, and given the limited nature of their doings as of now — two shows in Europe, two in the US, this being one — I felt lucky to see them and they were fitting closer for a raucous night.

I pulled out of the Ralph’s Rock Diner parking lot at 1:30AM, having left shortly after Sixty Watt Shaman finished. The ride home was uneventful, which is probably for the best, and I managed to knock two or three minutes off the trip. That doesn’t seem like much now, but as I crashed out in anticipation of waking up and making my way back to Worcester for Day Two of Eye of the Stoned Goat 4, I knew every little bit was going to count.

Day Two coverage tomorrow, and more pics after the jump. Thanks for reading.

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Live Review: The Eye of the Stoned Goat 3 in Brooklyn, 07.27.13

Posted in Reviews on July 29th, 2013 by JJ Koczan

Though most of the acts were out-of-town imports, there was a strong familial vibe at The Acheron even before The Eye of the Stoned Goat 3 got started. Not knowing what traffic wonders awaited on a Saturday evening — could be nothing, could be armageddon — I headed into Brooklyn early so as to catch the start of the nine-band bill and got there well in advance of commencement. Plenty of time to sit outside and chat with fest organizer Brendan Burns, who’d later take the stage with his band Wasted Theory, Pat Harrington of Geezer and the Electric Beard of Doom podcast — who were among the presenters of the show along with The Obelisk, Small Stone Records, Wendigo and Burns‘ own Snakecharmer Booking — the cats from Lo-Pan and plenty of others coming through.

It was still sunny out with a few hours of daylight to come, but people were beginning to assemble. Word of the show had spread pretty well, so although people came and went throughout the evening and seemed to split their time between The Acheron‘s venue room and The Anchord Inn, which occupies the other half of the space, there wasn’t any point where I’d say it cleared out, and right up to when Lo-Pan took the stage as headliners, there was a steady build of heads filling the room. The bar next to the stage was certainly busy all night.

Soon enough, though, it was time to go inside as the night started to get underway with Philly merchants of stone, Wizard Eye. From there, it was a one-after-the-next succession of heavy. Here’s how it all went down:

Wizard Eye

They’re veterans of Eye of the Stoned Goat by now, but where the second installment earlier this year in Delaware had them teamed with fellow Philadelphia natives Heavy Temple, Thee Nosebleeds and Clamfight, in Brooklyn, they were on their own in representing the City of Brotherly Love. Not only that, but it was their third show with new drummer Mike in the trio with the dreaded guitarist/vocalist Erik Caplan and bassist/backing vocalist Dave. If there was any anxiety on their part, they didn’t show it. Wizard Eye seemed as comfortable as ever as they nestled into their thick, air-pushing Sleep-style stoner grooves, Caplan moving from his guitar to the theremin at just the moment when it seemed the former wouldn’t deliver anymore wail than that which had already been extracted from it. My overarching impression of the band remains the same as when I saw them in February — they need to get an album out. It’s time and even being 33 percent new, their presentation was tight enough to make me think they’re more than ready to go. Hopefully soon.

Geezer

If Wizard Eye were the stonerly start, then NYC’s Geezer were the answer for anyone looking for a taste of blues, guitarist/vocalist Pat Harrington working in a liberal use of slide while bassist Freddy Villano and drummer Turco filled out a heavy rocking stomp behind the classically fuzzed distortion and gravelly vocals. The band is still fresh off the release of their impressive 2013 Gage EP (discussed here), and they brought that jammier sensibility to their set, seeming right at home in slower progressions that they made move when they needed them to and offering unpretentious drinkin’ man’s music well met by the getting-started crowd. Harrington‘s was among the most believable “whiskey-soaked” style singing that I’ve heard in years, and he and Villano (who also play in Gaggle of Cocks together) obviously had years’ worth of chemistry working in their favor, despite Geezer being a relatively recent advent. Closer “Ghost Rider Solar Plexus” was a highlight, and as they’re reportedly working on a vinyl release for Gage, they seem to be building some momentum going into whatever they have in the works for after that. A solid blues-based heavy rock jam is something I’ll never argue with, and Geezer had that in spades.

Wasted Theory


Up from their home in Bear, Delaware, double-guitar unit Wasted Theory handled themselves well on The Acheron‘s stage, as Eye of the Stoned Goat 3 organizer Brendan Burns sat back for drums behind guitarist/vocalist Jackson, lead guitarist M. Kramer and bassist J., the four-piece striking hard on a balance of post-Down Southern metal and more driving stoner fare. They seemed in good spirits after having performed about a month ago at the Moving the Earth festival in Baltimore, and as they hit into songs off this year’s GodSpeed EP and Jackson swung his guitar around his back, they seemed to have come far even since I got my first glimpse of them earlier this year, locking in some fervent Pepper Keenan-style chugging on guitar while J. gave the riffs a thick foundation to rest on. They were energetic and engaged the whole way through, and though they didn’t pull in the biggest crowd of the night, they capped off with a motor-boogieing new song, Jackson half on guitar, that positioned them well coming out of GodSpeed. By the time they were done with their short set, the fest seemed like it was moving along quickly.

Borracho


I’d reviewed it the day before, so I don’t think Borracho‘s second album, Oculus, would’ve been any fresher on my mind if I’d listened to it on the way to the show. The D.C.-based trio had been out the weekend before for a set of four gigs with Lo-Pan, so I expected they’d be pretty tight and they did not disappoint. Owing to time constraints, they only played three or four songs, starting out with “Empty” and “Stockpile,” the opener and centerpiece from Oculus. Guitarist Steve Fisher has taken to the vocalist role well, and he seemed right at home on both of the Oculus cuts, the set as well giving me a whole new appreciation for the richness of bassist Tim Martin‘s tone. Dense and packed with low end push, it created the waves on which Borracho‘s slower grooves rode, punctuated and given further physicality during the jammier stretches of “Stockpile” by drummer Mario Trubiano. Dipping back to their 2011 debut, Splitting Sky, the trio capped off with the quick burst of “Concentric Circles,” Fisher showing no hesitation to deliver the lines shouting up into a dangling microphone, Motörhead-style. The earlier sets were all pretty short — 25 minutes for the first couple bands, then 30 for the next several — but Borracho had enough time to pack in maximum riffage and give anyone there who’d never seen them before a good idea of where they were coming from as a three-piece.

Lord Fowl

Here’s where I’m at with New Haven, Connecticut, four-piece Lord Fowl. They’re so tight and so professional that on stage they look like they could be playing one of those all-day amphitheater commercial radio shows with a goofy name. You know the ones: “WFUK presents the Summer Fling this Saturday at the Giant Corporate Bank Park,” and so on. Only snag is Lord Fowl don’t suck and all those bands do. It’s been over two years since I first saw them, and while they may not have the same kind of surprise factor going as they did that night, my enjoyment for what they do has only increased as they’ve gotten signed to Small Stone and last year released, Moon Queen (review here). Opening with the same wow-that-cop-is-saying-some-racist-shit sample that starts the song on the album, they kicked into the funk-riffed “Dirty Driving” as guitarists Vechel Jaynes and Mike Pellegrino traded off vocal parts, setting the tone for the rest of their all-too-short set. “Split” and “Hollow Horn” were welcome inclusions, bassist John Conine and drummer Don Freeman locking in with the starts and stops of the latter, balancing classic rock and modern heavy off each other with born-to-do-it ease. I asked Jaynes afterwards and he said a new record’s in the works, which was some of the best news I heard all night.

Supermachine

To my knowledge, no such award was handed out, but if Eye of the Stoned Goat wanted to start handing out prizes for the prettiest guitars, one would almost certainly have gone to Supermachine‘s Jay Fortin. I don’t even play guitar and the sight of his gold-trimmed, hollow-body Gretsch had me in awe, both in look and sound. As Fortin, bassist Dave Jarvis, drummer Mike McNeil and vocalist David Nebbia stepped into the New Hampshire biker rock groove of “Buffalo,” I could hear a touch of the tonality Fortin and Jarvis brought to their prior outfit together, Scissorfight, and while I’m not sure I’ll ever be able to listen to Supermachine and not consider that context — which isn’t really fair to the band, who are going for a different style altogether; it’s also why I’ve not to date reviewed their self-titled debut — there’s no doubt they’re a crisp, clear-headed and heavy four-piece who can put together a dead-on, ballsy set. “Crutch” was absurdly catchy and correspondingly full sounding, new song “Broiled Alive” was, well, also those things, and I came away from their set glad I had seen them before and had some sense of what to expect, since it allowed me more of a chance to relax and take Supermachine in on their own level. That being the case, I wondered if maybe repeat exposure would continue the trend, and if so, I could think of far worse things.

Black Black Black

The first two words in the page of notes I took during the Black Black Black set were “holy” and “shit.” The only New York band on the bill besides Geezer — also the only other act playing Eye of the Stoned Goat 3 besides Geezer that I hadn’t seen live before — Black Black Black took the stage in unassuming-enough fashion and proceeded to demolish the space around them. It was like they decided to bring their self-titled debut (see here, here and here) to life and then punch everyone in the face with it. “Light Light Light” crushed in a manner that threw down a gauntlet that dared Gozu and Lo-Pan to match its weight, and “Pentagram On,” “Wisdom, Knowledge and Fucked,” the raging “ReDeath” and “Son of Bad” brought a zero-genre-allegiance sonic versatility that was lethal in kind to the band’s presentation of the material. As their time wore on — it went quickly, make no mistake — and guitarist Jacob Cox manipulated feedback to add atmosphere to the pummel, I tried to think back to the last time I got a recommendation as good as when Jesse Bartz from Lo-Pan put me onto them. I couldn’t come up with anything. With no loss of energy or assault in their delivery, Black Black Black — Cox, vocalist Jason Alexander Byers, bassist Jonathan Swafford and drummer Jeff Ottenbacher — included two new songs near the end, the latter of which offset a shuffling riff with vocals that bordered on airy before they shifted into their final round of intense bludgeoning. It was, in short, a fucking delight.

Gozu

It made a strange kind of sense to me as I watched Boston’s Gozu load onto the stage that, last weekend, I should be in Boston watching The Brought Low at a show which members of Gozu were attending just to hang out, while this weekend, I’m in New York watching Gozu, who are from Boston, and here’s Ben Smith from The Brought Low, come to check out the gig. I feel like there’s some element of symmetry there and I just don’t have a brain able to process mathematics complex enough to enjoy it. Nonetheless, at The Acheron, Gozu played the heaviest set I’ve ever seen them play. Whether it was “Bald Bull,” the thrashing “Charles Bronson Pinchot” or the boogie-ready “Snake Plissken” from this year’s The Fury of a Patient Man (review here), or “Regal Beagle” from their 2010 Locust Season debut, everything they played seemed to pack some extra bite, and particularly in the case of drummer Barry Spillberg, the band hand-delivered a rager that set back some of their soul influence in favor of showing off hardcore roots, closing out with “Mr. Riddle” from Locust Season, which had thrust enough to its groove alone to justify Gozu’s place on the bill. I don’t generally think of Gozu as putting such an emphasis on heaviness — yeah, they’re a heavy rock band and guitarists Marc Gaffney and Doug Sherman and bassist Jay Grotto obviously have heft to their tones — but this was a different league entirely. They were almost metal, but if metal pulled its head out of its ass and remembered how good it felt to groove every now and again. Whatever symmetry I may have enjoyed in seeing them in New York this weekend, that was trumped easily by their actual performance, which was downright threatening.

Lo-Pan

It had been a long day. Lo-Pan were slated to hit the stage at midnight, and by the time they did — give or take a few minutes, but basically on time — I was long since beat, but already eight bands deep, there was no way I was missing anything the Ohio fuzz rockers had to offer. And I was even gladder I didn’t cut out early once they actually started playing; the setlist was packed with new material. “Eastern Seas” and “Colossus” were aired — familiar titles from recent shows — but “Hunters,” which if I’m not mistaken Jeff Martin said was being played for the first time (don’t quote me), brought out guttural, soulful shouts from the singer powerful enough to cut through the volume of the three players — bassist Scott Thompson, drummer Jesse Bartz and guitarist Brian “It’s His Tone, We’re Just Living in It” Fristoe — positioned in front of him. Light moshing occurred, which I guess is what happens when people 25 and under show up to gigs. New songs were joined by the familiar rush of “Deciduous” and “Generations” from 2011’s there’s-no-hyperbole-left-for-me-to-use-so-I’ll-just-say-it’s-fucking-awesome Small Stone debut, Salvador (review here), but Lo-Pan returned to new material to close out, ending off their set with “The Duke,” on which Martin‘s voice was presented sort of answering itself in delay. The final locked-in groove of that song justified its position as the finale, but when Lo-Pan were done, the shouts of “one more!” were immediate. Bartz had already gotten off the stage, but he came back up and Martin said they’d only do one more if someone bought Scott a shot of whiskey. It arrived during the first verse of “Kurtz” and was fed into his mouth as he played. More moshing ensued — heathens! — and Lo-Pan capped a killer night with a spectacle well worth sticking around to see. Until next time.

The efforts of Brendan Burns in making Eye of the Stoned Goat 3 happen are worth reiterating and commending. The Acheron also made an excellent host for the show — the sound straight through left nothing wanting in either volume, devastation or clarity — and each of the bands stepped up to deliver a fitting answer to the one in front of them, starting with Wizard Eye and ending with Lo-Pan. I got out of Brooklyn on the quick since it was already pushing 1AM, got back to my humble river valley a little after two and crashed out, satisfied that there was no more I could’ve asked of the night.

More pics after the jump. Thanks for reading.

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