Quarterly Review: Ufomammut, Horehound, Lingua Ignota, Valborg, Sageness, Glacier, MNRVA, Coroza, Noosed, zhOra

Posted in Reviews on October 4th, 2019 by JJ Koczan

quarterly review

Oh hi, I didn’t see you there. Earlier this week — Sunday, Monday, Tuesday, and yes, even Wednesday — the alarm went off at 4AM as usual and I got up, got coffee going and a protein bar and sat down to write, starting basically around quarter-after with a quick email check and whatnot. In terms of basic timing, this last morning of the Fall 2019 Quarterly Review is no different. I even have the baby monitor streaming on my phone as I would most mornings, so I can keep an eye on when The Pecan gets up. What’s changed is I’m sitting in a hotel lobby in Oslo, Norway, having just arrived on an overnight flight from Newark. Managed to sleep some on the plane and I’m hopeful adrenaline will pick up the rest of the slack as regards getting through the day. That and caffeine, anyhow.

Although, speaking of, my debit card doesn’t work and I’ll need to sort that out.

First thing’s first, and that’s reviews. Last batch of 10 for the week. We made it. Thanks as always for reading and being a part of this thing. Let’s wrap it up in style, and because I like working on a theme, three Irish bands in a row close out. Hey, I went to Ireland this year.

Quarterly Review #41-50:

Ufomammut, XX

UFOMAMMUT XX

Five years ago, Roman cosmic doom masters Ufomammut took a reflective look back at their career for its 15th anniversary with the documentary/live-performance DVD XV (review here). And since one might define the arc of their tenure as constantly trying to top themselves, for their 20th anniversary, they’ve issued a 12LP boxed set, titled simply XX, that compiles their nine albums to-date and tops them off with the mostly-subdued-style XX itself, which reimagines past cacophonies like “Mars” and “Plouton” in a quieter context. That part of the mega-offering issued through their own Supernatural Cat imprint comprises six songs recorded live and makes highlights out of the hypnotic strum and incantations of “Satan” as well as the rumbling drone of “Lacrimosa,” which takes on new emotional resonance for the shoegazy treatment it receives. I’ve said on multiple occasions throughout the years that Ufomammut are a band to be treasured, and I stand by that 100 percent. The XX box should be perceived by fans as an opportunity to do likewise.

Ufomammut on Thee Facebooks

Supernatural Cat website

 

Horehound, Weight

horehound weight

Less than a year after issuing their second long-player in the form of Holocene (review here) through Blackseed and Doom Stew Records, Pittsburgh atmosludgers Horehound align with DHU Records for the two-song 8″ EP Weight, which brings “Unbind” and “The Heavy,” two new cuts that, while I’m not sure they weren’t recorded at the same time as the last album — that is, they may have been — they nonetheless showcase the emergent melodic breadth and instrumental ambience that is developing in their sound. Even as “Unbind” rolls toward its low-end tempo kick, it does so with marked patience and a willingness to stay slow until just the right moment, which is not something every band cane effectively do. “The Heavy,” meanwhile, builds itself around a Crowbar-style dirge riff before Shy Kennedy‘s verse arrives as a standalone element, all the instruments around her dropping out from behind. That moment alone, frankly, is worth the price of admission, as whether it’s through that extra inch in diameter of the platter itself or through the audio of the tracks in question, Horehound continue to distinguish themselves.

Horehound on Thee Facebooks

DHU Records BigCartel store

 

Lingua Ignota, CALIGULA

LINGUA IGNOTA CALIGULA

I’m not sure I’m qualified to write about Lingua Ignota‘s CALIGULA (on Profound Lore), but I’m not sure anyone else is either. Like a self-harmonizing mega-Jarboe turning existential horror into epic proclamations of “I don’t eat/I don’t sleep” on “DO YOU DOUBT ME TRAITOR?” amid bass throb and terrifying melodic layering before making bedroom black metal sound like the lightweight self-indulgence it’s always been on the subsequent check-out-the-real-shit “BUTCHER OF THE WORLD,” Kristin Hayter‘s work is little short of experimentalist brilliance. She is minimal and yet over-the-top, open in creative terms but unwaveringly dark and rife with melody but severe to the point now and again of true aural abrasion. She weaves a context of her own into “FUCKING DEATHDEALER” as she recalls the lyrics to the aforementioned “BUTCHER OF THE WORLD,” while the outright brutality of “SPITE ALONE HOLDS ME ALOFT” is married to a piano-led meditation that, even without the noise wash from whence it comes, is enough to recast visions of what heavy is and can be in musical terms. I won’t pretend to get all the references like “kyrie eleison” (“lord have mercy”) worked into “IF THE POISON WON’T TAKE YOU MY DOGS WILL” and the violent strains surrounding, but it’s impossible not to realize the power of what you’re hearing when you listen.

Lingua Ignota on Thee Facebooks

Profound Lore Records on Bandcamp

 

Valborg, Zentrum

valborg zentrum

With an intensity born out of a history of industrial music and focus on tight rhythms making an impact in even-tighter songwriting, Valborg are neither beholden to death metal nor entirely separate from it, but their style has taken on a life of its own over the course of the last 10 years, and their latest offering, Zentrum (on Prophecy Productions), is the German trio’s most individualized take yet, whether that’s shown in the unbridled melodicism of “Anomalie,” the sludgy riff that drives the barking “Ultragrab” or the seemingly unrelenting snare pops of “Kreuzer” that, even when they finally release that tension, still make it only a temporary reprieve. Valborg‘s sense of control through the epic “Nonnenstern” should not be understated, and though the track is under four minutes long, yes, “epic” very much applies. Suitably enough, they close with “Vakuum” and throw everything at the listener at once before resolving in relatively peaceful atmospherics that could just as easily serve as an introduction to the next round of malice to come, whenever it shows up.

Valborg on Thee Facebooks

Prophecy Productions webstore

 

Sageness, Akmé

sageness akme

Spanish trio Sageness — also written SageNESS — conjure smooth Electric Moon-style soundscapes on their second album, Akmé, and yes, that is a compliment. The record brings forth six tracks of easy-rolling instrumentalist jam-based heavy psychedelia that offer much and take little in return, the richness of the guitar tone from Dawyz and Michi‘s bass given jazzy fluidity by Fran‘s drumming. “Ephemeral” touches most directly on a Colour Haze, as it would almost have to, but even there, the feeling of spaciousness that Sageness present in the recording is a factor that helps them come across as more individual. Earlier, “The Thought” is a little more directly space rock, but opener “Andromeda” seems to be charting the course with its liquefied effects and somehow-even-more-liquefied groove, and if you can’t get down with that, I’ve got nothing for you and neither does the rest of the universe.

Sageness on Thee Facebooks

Spinda Records website

 

Glacier, No Light Ever

glacier no light ever

It’s not exactly true, about their being no light ever on Boston post-metallers Glacier‘s latest full-length, No Light Ever. Sure, it’s plenty dark and heavy and brooding and all that fun stuff, and the riffs get loud and the drums break stuff and all that, but it’s certainly colorful in its way as well, and more than just shades of black on black. Comprised of four tracks cumbersomely titled in keeping with the traditions of the likes of Red Sparowes and the band’s own past work, cuts like “O World! I Remain No Longer Here.” and “The Bugles Blow, Fanned by Hysteria.” stretch themselves out along a scope as massive as the tonality the band emits, and as the wash of “We Glut Our Souls on the Accursed,” — the comma is part of the title there — gives way to feedback and the onset of “And We Are Damned Amid Noble Sound.” the sense of immersion is complete and clear as the priority under which they’re working. It’s about the whole album, or at least the two sides, as a unified work, and about crafting a world through the atmosphere evoked in the material. It works. If they say there’s no light in that world, so be it. It’s whatever they want it to be.

Glacier on Thee Facebooks

Wolves and Vibrancy Records webstore

 

MNRVA, Black Sky

mnrva black sky

Not-entirely-bereft-of-vowels South Carolina heavy trio MNRVA make their debut with the three-song EP Black Sky, a beast of a short release led by the riffs of guitarist Byron Hark on a stretch of ’90s-style crunch and sludge, with bassist/vocalist Kevin Jennings and drummer Gina Ercolini adding to the weight and shove of the proceedings, respectively. “Not the One” has the hook, “No Solution” has the impact and the title-track has both, and though I’m by no means saying the issue of their sound is settled 100 percent and they won’t grow or find their way from this — again, their debut — EP, they do prove to be well in charge of where their songs head in terms of mood and the atmosphere that comes through elements like the blown-out vocals and the rumbling bass beneath the lead guitar in the second half of “Black Sky” itself. Indeed, it’s those harsher aspects that help MNRVA immediately establish their individuality, and the vibe across these 18-plus minutes is that the punishment is only getting started.

MNRVA on Thee Facebooks

MNRVA on Bandcamp

 

Coroza, Chaliceburner

coroza chaliceburner

Just because Irish four-piece Coroza — guitarist/vocalists Ciaran Coghlan and Jack O’Neill, bassist/vocalist Jonny Canning and drummer Ollie Cunningham — might write a song that’s 18 minutes long, that doesn’t mean they forgot to actually make it a song as well. Thus it is that extended cuts like “The Plutonian Drug” (18:24) and closer “Iron from the Sky” (19:30) have plenty of room to flesh out their more progressive aspects amid the other three also-kind-of-extended pieces on Chaliceburner, the group’s ambitious hour-plus/five-track debut full-length. Each song essentially becomes a front-to-back movement on its own, with shifts between singers arranged thoughtfully from one part to the next and hooks along the way to serve as landmarks for those traversing, as in the opening “Chaliceburner” or the gruff winding moments of “Mountain Jaw,” which follows the nine-minute sax-inclusive centerpiece “Scaltheen,” because of course there’s a saxophone in there somewhere. All of this is a recipe for a band biting off more than they can chew stylistically, but Coroza manage pretty well the various twists and turns of their own making, particularly considering it’s their first album.

Coroza on Thee Facebooks

Coroza on Bandcamp

 

Noosed, She of the Woods

noosed she of the woods demo

Encased front and back by witchy samples and creepy vibes, Sept. 2019’s She of the Woods is the second demo in two months to come from Cork, Ireland’s Noosed. And you know it when they get around to the closing seven-minute title-track because it’s just about the only thing other than “Intro” that isn’t raging with grind intensity, but that stuff can be fun too. I don’t know how much witch-grind-doom is out there, but Noosed‘s first, self-titled demo (released in August) had a sludgy edge that seems to have separated out to some degree here into a multifaceted personality. Can one possibly be certain of the direction the band will ultimately take? Shit no. It’s two demos with basically no time differential between them. But if they can effectively bridge the gap between “Fuck Up,” “Wretch” and “She of the Woods,” or even play directly with the contrast, they could be onto something with all this noise and fuckall.

Noosed on Thee Facebooks

Noosed on Bandcamp

 

zhOra, Ruthless Bastards

zhora ruthless bastards

The narrative — blessings and peace upon it — has it such that Irish four-piece zhOra wanted to do something less complicated than was their 2017 album, Ethos, Pathos, Logos (discussed here), so they went ahead and wrote a song that’s five minutes long and purposefully hops between subgenres, going from sludge to doom to a deathcore breakdown, with a snare-pop count-in, to blackened death metal and then back to a lumbering chug to finish out. Okay, zhOra, “Ruthless Bastards” is a an awful lot of metal and an awfully good time, but you missed the mark on “simple” by a considerable margin. If indeed the band had been plotting toward something, say, easier to play or to compose, “Ruthless Bastards” ain’t it. They’ll have to settle for being brutal as fuck instead. Something tells me they’ll survive having made that trade, as much as anything will.

zhOra on Thee Facebooks

zhOra on Bandcamp

 

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Horehound Stream “Unbind”; Post Release Details for Weight 8″ EP

Posted in Whathaveyou on September 10th, 2019 by JJ Koczan

horehound (Photo by Amanda Baker)

At the end of last month, it was announced that DHU Records had picked up Pittsburgh post-sludgers Horehound for the release of their new EP, Weight, as an 8″ record that’s bound to screw up somebody or other’s vinyl shelf organization in a delightful fashion. The A-side of the two-tracker is called “Unbind” — why my brain keeps typing that as “unblind,” I have no idea, but it does — and it’s streaming now thanks to a new sampler that DHU has put up as a free download that also includes cuts from DoomstressAstral WitchBlack RoadThe Red Widows and a slew of others that only emphasize the good company Horehound are keeping on the label.

The band had some comment about the release come down the PR wire, so hell yeah I’ll post that with the stream of the track. The EP? Yeah, there are a whopping 66 copies being made, so yes, if you want one, you should not hesitate to place your orders promptly.

Info:

horehound weight

HOREHOUND RELEASE NEW EP SEPT. 27

Post-Doom authors Horehound have recorded their third release: a short, sweet, and intentional teaser of things to come. The two songs set-up on 8″ lathes for a special limited press will also be available on their Bandcamp page on September 27th. The group has kept with its ritual of recording and mixing with Matt Schor at The War Room, and mastering with James Plotkin.

DHU is including the first-side single, Unbind, from this record in their DHU SAMPLER MMXIX VOL. IV, which is set for 9/6/19, so you can get a peek at it now!

“The songs are the most personally connected I’ve felt to anything we’ve written as a band and I hope that connection is something people feel when listening but, more than anything, I hope people just rock it the fuck out.” — Vocalist, Shy Kennedy

“DHU Records understands the Heavy Underground better than most and works hard to find and market the bands in its roster. We are certain this will be a strong partnership to build on.” — Guitarist, Brendan Parrish

Weight will be available for purchase on vinyl through DHU Records website, as well as a limited amount on the Horehound site, and while copies last, at live shows. It will also be available digitally on Bandcamp (https://pro-sludge.com) and through streaming services beginning September 27th, 2019.

HOREHOUND | WEIGHT EP
Side One: Unbind
Side Two: The Heavy

HOREHOUND is:
JD Dauer – drums
Brendan Parrish – guitar
Shy Kennedy – vocals

https://www.facebook.com/horehoundband/
https://www.instagram.com/horehound420/
http://horehound.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Horehound, “Unbind”

Horehound, Holocene (2018)

Tags: , , , , ,

Horehound to Release Weight 8″ EP on DHU Records

Posted in Whathaveyou on August 29th, 2019 by JJ Koczan

Before this entire post devolves into dick jokes — which, let’s just say, could happen — an eight-inch EP is just like a seven-inch EP, only, guess what?, one inch bigger. I can only think of one other heavy band in recent years who’ve put one out, so good for Pittsburgh’s Horehound and DHU Records teaming up to do something special together. As the band follows up late-2018’s full-length, Holocene (review here), they will release Weight, as a two-songer on eight-inch vinyl through the Netherlands-based imprint. That’s cool. Good fit, all that. The thing is, they’re only pressing 66 of them. That’s like nothing. Less than. That’s gone-on-preorders edition. The official release date is Sept. 27, and yeah, unless preorders open on Sept. 26, I can’t imagine there could possibly be any left by the time the official arrival gets here.

Horehound announced earlier this month that bassist Nick Kopco was leaving the band on amicable terms and that Louis Snyder (also Riparian) would fill in on for the time being until they get somebody to take the role permanently. I would assume it’s still Kopco on the EP, so Weight would also serve as, again presumably, his final recorded output with the band.

The following showed up on social medias:

HOREHOUND DHU

!! LISTEN UP !!!

DHU Records is damn excited to sign Pittsburgh Heavies Horehound to join the DHU Family and release their upcoming 2 song EP Weight on an Exclusive and Limited 8″ Clear Lathe Cut Vinyl!

That’s right, you read that correct, an 8″ vinyl record!

Pressed once again by our vinyl brothers at Royal Mint Records and mastered for vinyl by the one and only James Plotkin

DHU is honored to be releasing new music by one of my favorite Doom bands!

!!! LIMITED TO 66 COPIES WORLDWIDE !!!

Released September 27th
Order info coming soon

STAY DOOMED STAY HEAVY

HOREHOUND is:
JD Dauer – drums
Brendan Parrish – guitar
Shy Kennedy – vocals

https://www.facebook.com/horehoundband/
https://www.instagram.com/horehound420/
http://horehound.bandcamp.com/
https://www.facebook.com/DHURecords/
https://www.instagram.com/dhu_records/
https://darkhedonisticunionrecords.bandcamp.com/
darkhedonisticunionrecords.bigcartel.com/

Horehound, Holocene (2018)

Tags: , , , , ,

The Obelisk Show on Gimme Radio Recap: Episode 19 (Maryland Doom Fest Special)

Posted in Radio on July 22nd, 2019 by JJ Koczan

the obelisk show banner

Yeah, I know, Maryland Doom Fest 2019 was like a month ago. Quit livin’ in the past and all that. Well, this show was supposed to air July 5, so whatever. It got pushed back because apparently July 4 is some kind of holiday now — what.ever. — and it was kicked down the line to two weeks later with re-runs on in the interim. Did anyone notice? Did anyone care? I did. But I’m glad to have had the chance to pay homage to MDDF one way or the other, since it was such a killer time and boasted a lineup of so many good bands.

Of course I had to lead off with Beelzefuzz and Foghound, two staples of the Frederick diet, and the show unfolds from there with new stuff from Zed and Lo-Pan and Kings Destroy amid the likes of Devil to Pay and Earthride and Backwoods Payback and Greenbeard. I made sure to put Solace and Freedom Hawk and Horehound and Toke and Witchkiss in here because their sets were particularly righteous — not to mention Year of the Cobra! — and in addition to representing the headliners in Conan, Mothership and Earthride, I had to include WarHorse since their reunion set was something so particularly special and such a huge part of the festival.

For those who didn’t hear the show, Gimme Radio runs the ‘Gimme Brigade’ which you can sign up for. I think it’s $5 a month or something like that, but you get access to their full archive and help them with hosting costs, etc., so fair enough. If you got to hear this one, thanks. If not, the basic point of the thing was that Maryland Doom Fest 2019 kicked ass, which I sincerely hope also came across in the reviews.

Here’s the full playlist:

The Obelisk Show – 07.19.19

Beelzefuzz All the Feeling Returns Beelzefuzz (2013)
Foghound Known Wolves Awaken to Destroy (2018)
Zed Chingus Volume*
Lo-Pan Savage Heart Subtle*
BREAK
Devil to Pay Ten Lizardmen and One Pocketknife Fate is Your Muse (2013)
Kings Destroy Yonkers Ceiling Collapse Fantasma Nera*
Earthride Vampire Circus Vampire Circus (2005)
Witchkiss Seer The Austere Curtains of Our Eyes (2018)
Year of the Cobra Cold Burn Your Dead (2017)
BREAK
Solace Khan (World of Fire) The Black Black (2007)
Backwoods Payback Whatever Future Slum (2018)
Toke Blackened Orange (2017)
Greenbeard WCCQ Onward, Pillager (2018)
Conan Battle in the Swamp Monnos (2012)
Apostle of Solitude Ruination Be Thy Name From Gold to Ash (2018)
The Age of Truth Come Back a God Threshold (2017)
BREAK
Horehound Dier’s Dirge Holocene (2018)
Freedom Hawk Danger Beast Remains (2018)
Mothership Midnight Express High Strangeness (2017)
Warhorse Lysergic Communion As Heaven Turns to Ash (2001)

The Obelisk Show on Gimme Radio airs every other Friday at 1PM Eastern, with replays every Sunday at 7PM Eastern. Next show is Aug. 2. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

Tags: , , , , , , , , , , , , , , , , , , , , , ,

Live Review: Maryland Doom Fest 2019 Night Three, 06.23.19

Posted in Reviews on June 24th, 2019 by JJ Koczan

maryland doom fest 2019 night three poster

It’s about quarter to two in the morning, and I walked into the AirBNB where I’m staying a little bit ago, and have been doing that thing where you dick around on social media because you feel like you want to be doing something else but you’re not so you just lose yourself in the scrolling. Waste of time. I’d rather do this.

The end of Maryland Doom Fest 2019 is bittersweet. This one felt good, and I’m tired, but I’m sorry to see it done. The bands were great, of course — always — but more than that, it’s the people. People so generous with their time, open, kind. Incredible people. Hew-mons.

I was walking out of the venue after Conan and got down the road and I just sat on a step in front of some shop for a couple minutes and put my head between my knees — crash position — to try and process it. I didn’t succeed. I only got up when a roach walked past, otherwise I’d probably still be there, trying to hold on a little bit to tonight, to not resign it to the vapor of my memory. Sets were good, but it was the experience of being here, feeling for a few minutes as much as I’ve ever felt like a part of a thing. It’s beautiful, and raw, and it doesn’t come easily to me. Thank you. In the past, I’ve felt like an interloper in this scene. A tourist. Sitting in this room by myself now, I feel stunned. I feel like I got hit by the best train ever.

In the literal sense of amazement, amazed.

My plan is to get up tomorrow (later today) and get out of here and at some point write about the last day of the fest, which was today — have fun with that math — but I don’t know when or how or where that’s happening. And I reserve the right to delete this entire thing and replace it with some staid bullshit if I so choose, but as slapdash as my consciousness is right now, I wouldn’t trust my judgment on the matter enough to decide.

Thanks for everything. It was so real.

— Morning now. Let’s hit it:

Witchkiss

Witchkiss (Photo by JJ Koczan)

My first time seeing Witchkiss, and I hope not my last. The NY-based founding duo of drummer/vocalist Amber Burns and guitarist/vocalist Scott Prater were operating as a two-piece for a minute there, but they’ve brought in bassist Tyler Irish, and though I hadn’t seen them before, it was hard to argue with the result of their doing so. They were less an assault with volume than a gradual unfolding, and presumably because it was early it took a song or so for them to really dig into what they were doing, but they got there, and the atmosphere wasn’t lost for the weight of tone, with Burns‘ headset mic cutting through that morass and Prater‘s growls adding to the post-sludge feel as they progressed. Their 2018 debut, The Austere Curtains of Our Eyes (review here), made a splash, and rightly so, but they’ve announced intentions toward a follow-up for next year, and they seem to be ready to move forward, both in terms of sound and in the fact that they’re touring with Conan and very obviously putting work in to get their name out. I expect if they come back Maryland Doom Fest at some point, they’ll be playing in a well-earned later slot.

Shadow Witch

Shadow Witch (Photo by JJ Koczan)

Barefoot showman/shaman/frontman Earl Walker Lundy said from the stage that Shadow Witch‘s next long-player won’t arrive until 2020, which is fair when one takes into account the busy schedule of their label, Italy’s Argonauta Records, but they played two new songs in “Witches of Aendor” — which is neither to be confused with Endor, from Star Wars, or Andor, from Star Trek — and “Shifter,” and both sounded right on coming out of the recognizable strains of “Beneath the Veil” from late-2017’s Disciples of the Crow (review here). Lundy, dancing, kinetic, probably in need of a good foot-wash, is very much a focal point for Shadow Witch‘s live presentation — and yeah, he’s the singer, so that happens — but guitarist Jeremy Hall, bassist David Pannullo and drummer Justin Zipperle are ultimately responsible for the niche Shadow Witch have carved for themselves in a kind of dark heavy rock vein, sometimes aggressive, but not metal, sometimes doomed, but not doom. It would suit a narrative to say it was true of the new songs, but it was true of the old as well that Shadow Witch revel in that individuality of purpose, and as much Lundy becomes the personification of it, it’s the whole band making it work.

Faith in Jane

Faith in Jane (Photo by JJ Koczan)

The Thurmont, Maryland, power trio have been this scene’s best kept secret for the last few years at least. They’ve put out records at a good clip since 2012 — last year’s Countryside (review here) is their fifth; recording live helps — and legitimately at this point are a band who should be bigger than they are, stretching their legs on tour, opening for national acts coming through, and so on. Watching them on stage at Cafe 611, my impression wasn’t all that different than when I saw them here in MD four years ago: they have a shit-ton of potential. The difference is now they kind of need to decide what to do with it, how they’re going to dig into the heavy grunge vibes and push forward with maybe more straightforward songwriting of songs like “Mountain Lore,” which closed the set, meandering into and out of jams along the way. Figuring out where they want to be. As it was, when they were done, I went to their merch table and bought a copy of every CD they had for sale. I’m pretty sure I already own Countryside and 2016’s Rhythm of Elevation, but screw it, I wasn’t taking the chance. Next time Earthless rolls through Baltimore, Faith in Jane should be opening. Then they should spend the next three years solid on the road and become the best heavy band that Maryland ever produced.

Horehound

Horehound (Photo by JJ Koczan)

Faith in Jane were on a different trip, but neither Shadow Witch nor Witchkiss were wanting for atmosphere. Pittsburgh’s Horehound took that to a different level. I’ve lost track at this point how many labels the four-piece have worked with between 2018’s Holocene (review here) and their 2016 self-titled debut (review here), but it’s definitely enough to be called “several,” including frontwoman Shy Kennedy‘s own Blackseed Records. The band are all the more ambassadors for the Steel City underground for the fact that Kennedy runs the Descendants of Crom fest there — while we’re giving a CV, she also did a t-shirt design for this site — and they excelled in that role, honing the most immersive sound I would hear all weekend. It’s not just that it was a wash, but their balance of hypnosis and bash was something I felt fortunate to behold in person and gave new character to the growl-laced “L’Appel du Vide” from Holocene, as guitarist Brendan Parrish, bassist Nick Kopco and drummer JD Dauer dug into a combination of lurch and semi-angular progressions, always seeming to wind their way back to the right spot to start again. They were striking in their patience as well, unwilling to let go of the mood they worked so hard to craft, even when at their most pummeling.

Thousand Vision Mist

Thousand Vision Mist (Photo by JJ Koczan)

Guitarist/vocalist Danny Kenyon (ex-Life Beyond), bassist/vocalist Tony Cormulada and drummer Chris Sebastian also played Maryland Doom Fest in 2018 (review here) and 2016 (review here), so it’s more than fair to call them veterans at this point. Their sound is a dug-in form of heavy progressive rock, managing to hold to a lack of pretense even as Kenyon‘s guitar wanders off to parts unknown only to snap the crowd back into consciousness as he rejoins Cormulada and Sebastian in the underlying groove. They’re not a band trying to take over the world, which kind of put them in direct contrast with Toke, who followed, but they pulled a good amount of the local faithful and had three new songs on offer alongside “Prince of Grace” from their debut album, 2017’s Journey to Ascension and the Loss of Tomorrow (review here), and “Tears of the Moon” from their prior 2015 demo. In my experience, they’ve never been anything but solid live, and a check-in annually works just fine by me. I have to wonder though at some of their themes, if somebody in the band is a pilot. “We Flew too High,” “Tears of the Moon” or “Final Flight of Fall” and “Skybound and Beyond” from the album. Someone writing this stuff would seem to spend an awful lot of time in the sky.

Toke

Toke (Photo by JJ Koczan)

The reigning princes of North Carolinian sludge took the stage at Cafe 611 like they owned the place and then went on to prove that, indeed, they did. Their second album, 2017’s Orange (discussed here), continues to shit hot fire on the weed-worshiping social-media-word-of-mouth contingent, which is nifty, and the band — in addition to providing a recent lesson on PR crisis management by getting out in front of a sexual harassment claim against their now-former drummer — with guitarist Tim Bryan and bassist/vocalist Jason “Bronco” Pierce as the remaining founders will do shows later this year with Black Label Society, have already been out with Church of Misery this year and continue to build a reputation based on ultra-stoned, crusty-jeans riffs. They had plenty on offer for the willing nodders at Maryland Doom Fest — which was basically everybody in the place — and they tapped their inner Sourvein in order to coat the assembled in moss-coated weedian groove. I think of them at this point kind of where Monolord were a few years back. They’re a band tapping into something primal, breaking their ass in every way possible to reach as many people as possible with it, and there’s no real perceptible limit to how far they can go with it. I don’t know if anyone has signed them for their next record yet or what, but they probably should.

Kings Destroy

Kings Destroy (Photo by JJ Koczan)

This marked the third time I’ve seen Kings Destroy in the last couple months playing material from this year’s excellent Fantasma Nera (review here), and while they didn’t have their we’re-on-tour-thousand-yard-staredown — because yes, in that scenario, they’re staring down everything within that thousand-yard omnidirectional radius — they still did thorough justice to their most rock-based collection of songs to-date. Citing “Unmake It” as their “doom song” — compared to “Barbarossa” or “Bleed Down the Sun,” maybe — they followed with “Seven Billion Drones” and a near-constant sense of melody between the guitars of Carl Porcaro and Chris Skowronski and the vocals of Steve Murphy, a duty he shared more with bassist Aaron Bumpus than even this Spring. As I recall it, the only song Bumpus didn’t step up to the mic for was the speedy “Mr. O” from their 2015 self-titled (review here), and it was easy to hear where the harmony might’ve fit if he had. I won’t take away from their delivery of that cut or any other, the propulsion in Rob Sefcik‘s drums able to slash pace in half at a measure’s notice and still not lose the thread, and the finale of “Yonkers Ceiling Collapse” once again provided the riff-based hook that tied the entire set together and gave it a sense of movement that has been the band’s own all along, whatever styles they’ve been fitting into and not fitting into — mostly the latter — over the last decade.

Zed

Zed (Photo by JJ Koczan)

Before San Francisco’s Zed went on, webernets metal radio guru and regular Doom Fest master of ceremonies Dave Benzotti led the band, the crowd, and pretty much everyone in the place in a sing-along of Journey‘s “Lights.” And I mean, the place kind of went off. Belting it out. They play that at sports events and such in San Francisco — I guess it would be like playing anything by Springsteen, or, you know, Journey, in New Jersey — so alright, but more importantly, when Zed took the stage, they did so at an immediate sprint that swept the Cafe 611 along with it, and once they started moving, they did not stop, save for a quick tune-up before the next max-intensity forward thrust. I haven’t had the pleasure of hearing their new album, Volume, yet — it’s out next month on Ripple — but I feel like I got to know it a bit anyhow as they played songs like “The Other Kind,” “The End,” “Wings of the Angel,” “Poison Tree” and “Chingus,” so that was welcome. They were clearly known to the bulk of people in front of the stage but even for those who wouldn’t have seen them last year, Zed made a readily convincing argument in their own favor, the energy of their performance serving as an infectious final shot of adrenaline to hold a long-weekend crowd over until the bludgeoning soon enough to come. All this and Journey too. Sometimes life is genuinely weird, but it works.

Conan

Conan (Photo by JJ Koczan)

You know, Conan headlining Maryland Doom Fest is a big fucking deal, and it’s worth recognizing that. They’re a UK band. They played Sunday night, having just on Friday took stage before 8,000 people at Hellfest in Clisson, France — and much to their credit, come to the venue on Saturday night just to hang out and get the lay of the land — and not only are they among the planet’s most crushing live acts, but they’re a legitimate international enterprise. They might be the biggest band who’ve ever played the festival, and their involvement is emblematic of the growth of Maryland Doom Fest as a whole over the last five years and most especially in 2019. Also helping Conan‘s case? They. Fucking. Killed. I’ll be honest, once the moshing started behind me while I was taking pictures up front, I was gonna check out before the set was done, try and sneak in some work before crashing, but I stayed through the entire set (not up front), and they were nothing less than spellbinding. Cafe 611 was probably the smallest room I’ve seen Conan play since the first time I saw them in 2012, and it was like their tonal onslaught had nowhere to go, so the vibrations from Jon Davis‘ guitar and Chris Fielding‘s bass and the thud of Johnny King‘s drums just kept bouncing off the walls and looping back on themselves. Earplugs? Useless. Why bother. There was no getting away. I stood to the side and watched the pit go and go, a couple dedicated crowdsurfers carried here and there and back again, but Conan were unbelievable. Davis‘ guitar cut out early in the first song, but they got it worked out and there was no letup from there. “Foehammer” into “Battle in the Swamp” into “Paincantation” into “Satsumo.” It was that kind of evening. The perfect blowout sendoff for Maryland Doom Fest 2019 and a reinforcement of Conan‘s long-established dominance over damn near everything.

That’s it, it’s done. You already know what I did after the show last night — I went and held my head and then wrote the intro above, if you missed it — and that was that. I was up at six this morning to start writing and sorting pictures having finally keyed down enough to sleep a little before three. Take that, brain. Ya jerk.

Before I do the “more pics after the jump” thing and sign off, I want to thank JB Matson for the incredible work he does in putting this festival together. What’s he’s built has become something truly special, and the future only seems to get brighter as he goes. All the best for 2020 and I hope to be able to be back in town for it. Lineup announcement on Halloween, maybe? I’ll keep an eye out.

And I want to thank The Patient Mrs. for taking over full-on childcare duties to allow me to go and blow off some steam in Frederick and get my head right and hear all the nice things people said about the site and see killer bands and not eat, and not sleep, and wear silly-ass pants and have a good time. Thank you.

And thank you for reading. You guessed it: more pics after the jump.

Read more »

Tags: , , , , , , , , , , , ,

The Obelisk Show on Gimme Radio Recap: Episode 07

Posted in Radio on January 7th, 2019 by JJ Koczan

gimme radio logo

I wanted to get a little weird. You know, the last episode of The Obelisk Show on Gimme Radio was some of the best tracks from 2018, but in addition to some new stuff, some 2019 stuff — cuts from Skraeckoedlan and Thunderbird Divine — I wanted to make sure I included some songs that people might’ve missed in 2018. In fact, with Melody Fields early on in the playlist, that was a record I missed completely until I put up one or the other of the year-end lists and someone pointed it out to me on Thee Facebooks. It’s an awesome record. On the show, I mistakenly said it was released through World in Sound. The LP was on Kommun 2 and the CD was on Sound Effect. Credit where it’s due, because that record rules.

Likewise, “it rules” was also a running theme. Black Helium was a standout from that 100-album Quarterly Review that I did in December, and being able to stand out among 99 other releases certainly seems worth highlighting to me. I was digging the Horehound record as I was getting ready to review it, and Skraeckoedlan I’m also getting ready to cover (maybe later this week?), while Faith in Jane I haven’t had the chance to review yet but those guys are great. Also from the Quarterly Review was Child, Space Coke and Carpet, while Goblinsmoker belong to the UK’s ever-growing swath of bands with silly names and a destructive bent. And then at the end I wanted to space out like I used to do with the podcasts — just have it hit a point and go far out and not come back. Jam into the reaches. Plus it gave me an excuse to talk about Øresund Space Collective’s AR/VR artwork for Kybalion, which it awesome in its own right.

The odd-track-out I suppose is Witchcraft, but I talk about that on the show. It’s kind of a new-classic in my mind and something I wanted to focus on this episode. We’re moving into a new year and Witchcraft’s self-titled came out 15 years ago. I think the only reason it’s not already considered classic heavy is because it’s still so relevant, it hasn’t even allowed for that kind of distance yet. But make no mistake, that’s a classic album.

Anyway, considering I had to record the voice breaks on my phone because my internet was so craptastic at the time that I couldn’t go directly into Gimme’s back end software like I’m supposed to, I thought the show came out pretty well. If you listened, I hope you agree. And if you missed it, I hope you can catch the replay.

Here’s the playlist:

The Obelisk Show Ep. 07 – 01.06.19

Greenbeard Kill to Love Yourself Onward, Pillager
Skraeckoedlan Kung Mammut Eorþe
BREAK
Melody Fields Trädgränsen Melody Fields
Faith in Jane Mountain Lore Countryside
Horehound Sloth Holocene
Foot Sweet Stuff Buffalo
Child The Other Song I
BREAK
Witchcraft No Angel or Demon Witchcraft
Black Helium Summer Spells Primitive Fuck
Space Coke Kali Ma L’Appel du Vide
Rifflord The Other Side 7 Cremation Ground/Meditation
Goblinsmoker Toad King Toad King
Thunderbird Divine Qualified Magnasonic
BREAK
Øresund Space Collective Smooth Future Kybalion
Carpet Selene About Rooms and Elephants
Deep Space Destructors Floating Visions from the Void

The Obelisk Show on Gimme Radio airs every other Sunday night at 7PM Eastern, with replays the following Tuesday at 9AM. Next show is Jan. 20. Thanks for listening if you do.

Gimme Radio website

The Obelisk on Thee Facebooks

Tags: , , , , , , , , , , , , , , , , ,

Maryland Doom Fest Presents Doom Hawg Day on Feb. 2

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

maryland doom fest logo

Maryland Doom Fest hosts the offshoot festival Doom Hawg Day on Feb. 2 at Cafe 611 in Frederick, MD, with Pale Divine, Kingsnake, The Age of Truth, Faith in Jane and more on the bill. Not to be confused with Groundhog Day of Doom, which is happening the same day in Nyack, New York, the event is crammed in true MD fashion with 12 acts playing in a span of 10 and a half hours at the venue where Maryland Doom Fest also makes its home.

This is the first time MDDF has introduced the splinter festival, and while it’s easy to see it becoming an annual event — certainly these bands and plenty besides are around — it speaks to the overarching expansion of the Maryland Doom Fest that’s seen that festival move to four days for 2019 as well as pay homage to Stoner Hands of Doom with its pre-party. Will there be a corresponding autumn fest to mark the change of seasons on the other end? I have no idea, but with the Horehound, Freedom Hawk, Stone Dust Riders, Seasick Gladiator, Shadow Witch, Thunderchief and “Screaming Mad” Dee Calhoun rounding out this bill, certainly there’s plenty to chew on in the meantime.

So the question here is, is Groundhog’s Day the new doom holiday? Should it be? The Groundhogs are cool, so maybe yes? I’ll weigh out the pros and cons in my mind while you check out the lineup for Doom Hawg Day 2019 below and we can both meet up later to discuss our ideas. Think of the t-shirt designs! Goodness gracious.

Info follows:

doom hawg day 2019

The Maryland Doom Fest Presents: “Doom Hawg Day”!!

Feb 2, 2019 @ Cafe 611 – Frederick, Md
Doors at 2:30 / $20
Come celebrate Ground Hog Day with us!!

? Pale Divine. 1250-130
? Kingsnake 1155-1235
? Faith In Jane. 1100-1140
? The Age of Truth 1005-1045
? Horehound. 910-950
? Stone Dust Riders. 815-855
? Seasick Gladiator 720-800
? Freedom Hawk 625-705
? Shadow Witch. 530-610
? Thonian Horde. 435-515
? Thunderchief. 340-420
? Dee Calhoun. 300-330

DooM !!!

https://www.evensi.us/doom-hawg-day-lord-nickens-street-frederick-county-maryland-21701-4546-united-states-america/283219943
https://www.facebook.com/events/265034697496061/
https://www.facebook.com/MdDoomFest/

Pale Divine, Pale Divine (2018)

Tags: , , , , , , , , , ,

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

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

maryland doom fest 2019 poster square

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

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

Here’s the info. There’s a lot of it:

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

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

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

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

PENTAGRAM + CONAN + EARTHRIDE + MOTHERSHIP

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

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

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

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

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

DAY ONE
Friday, June 21st

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

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

DAY TWO
Saturday, June 22nd

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

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

DAY THREE
Sunday, June 23rd

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

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

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

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

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

Apostle of Solitude, “Keeping the Lighthouse” official video

Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,