Posted in Whathaveyou on July 22nd, 2016 by H.P. Taskmaster
The shock was immediate when the news came down of the passing of War Injun guitarist Kenny Staubs last week. After all, it had only been a couple weeks since War Injun absolutely leveled Maryland Doom Fest 2016, and it just seemed impossible that someone able to bring such life to the stage as Staubs did would be gone so soon thereafter. I didn’t know the man, we’d never spoken, so I won’t comment on his life, but he was very clearly well loved and no doubt will be dearly missed by family and friends alike.
A GoFundMe page is live now (link here, also below) and a benefit show has been organized in his honor for next Saturday, July 30 at G Boone’s in Boonsboro, Maryland, that features not only War Injun playing to memorialize Staubs‘ contributions to the sphere of MD doom, but a host of other luminaries from the area, including Beelzefuzz, Bailjack, Thonian Horde, Dee Calhoun of Iron Man, Dark Music Theory, Byrgan, and Thousand Vision Mist.
On behalf of the site and myself, condolences to all who knew Kenny Staubs and I hope the benefit show helps to celebrate the life he led and the music he loved.
July 30: KENNY STAUBS BENEFIT CONCERT
Let’s celebrate the life of Kenny Staubs, our brother, our friend, and War Injun guitarist. All proceeds pay for his trip to Heaven.
On July 15, 2016 the world lost an incredible man. Kenny was a musician, friend, brother and son. He was much to young and full of life. Kenny touched many lives and if you were lucky to know him, you loved him.
Saturday, July 30 at 3 PM $20 donation
G Boone’s 7704 Old National Pike, Boonsboro, Maryland 21713
Lineup: Beelzefuzz War Injun Thonian Horde Bailjack Dark Music Theory Byrgan Dee Calhoun Thousand Vision Mist
[Click play above to stream Foghound’s The World Unseen in full. Album is out Friday on Ripple Music.]
Originally set for a Spring release, The World Unseen is the second full-length from Baltimorean four-piece Foghound after 2013’s Quick, Dirty and High (review here). It’s also their first offering through Ripple Music, and like a lot of productions in which Mike Dean has a hand — he produced here along with Frank “The Punisher” Marchand and the band itself — one can hear some C.O.C. in a song like “Serpentine,” but in the context of the record as a whole, that becomes only one element at the band’s disposal.
Shades of fellow Marylanders Clutch, of a roughed-up Fu Manchu and of Alabama Thunderpussy‘s Southern edge show up, but primarily what’s happening in The World Unseen is Foghound are establishing their own style with those influences as a foundation. They do Baltimore proud in that, and over the course of its 10 tracks/43 minutes, the album offers a force of delivery well beyond that of the debut. The sound is tighter, the performances crisper, and the production sharper. Not that Quick, Dirty and High didn’t have its hard-hitting side, but The World Unseen sees each member of Foghound turning in the same direction and heading forward at breakneck speed, and the result is strong, clearheaded heavy rock and roll like “Message in the Sky” or “Rockin’ and Rollin’,” songs executed with no pretense of wanting to do anything more than kick ass and have a good time doing it.
More complex vocal arrangements also help bring out more of Foghound‘s sonic identity, drummer Chuck Dukehart and guitarist Bob Sipes splitting the bulk of the lead duties while also backing each other complemented by guitarist Dee Settar. Bassist Jim Forrester rounds out the lineup this time around, making a considerable impression under the guitar fuzz of “Truth Revealed,” and fitting well in Foghound alongside his former Sixty Watt Shaman bandmate Dukehart, who belts out his vocals with similar a physicality to how he hits his drums — a full-body process. The record starts off innocently enough with the roll of “Above the Wake,” one of three songs to hit five minutes with the later “Truth Revealed” and closer “Never Return,” but builds intensity as it moves toward each of its choruses, its loose groove tightening amid a flurry of guitar leads and rhythmic push.
The next two songs, “Message in the Sky” and “Serpentine,” help define a large portion of The World Unseen‘s personality, moving fast, making an impact and wasting zero time. Efficient, catchy and on the beat, they’re paired well together for the hooks they proffer, but all the more so because the more swinging “Serpentine” also provides a more flowing transfer into “On a Roll,” which has a nod straight off The Action is Go and a lyric about blasting off into space, just in case the classic stoner rock vibe wasn’t apparent enough. It was, but the song is almost maddeningly well written, and also the shortest at just over three minutes, so it’s not like it’s overstaying its welcome. “Give up the Ghost” recalls Down in its sung/spoken vocals and its style of riff, but by the time it arrives, Foghound have already established themselves as able to draw these things together to suit their own purposes, and they do likewise to close side A.
A more fervent thrust resumes with “Rockin’ and Rollin’,” which seems like as much a mission statement as anything else, another track that wastes no time getting to its point and offering another driving verse and memorable hook, put to good use, but “Truth Revealed” provides counterbalance with a more laid back groove, highlighting the tone in Sipes and Settar‘s guitars as a blown-out vocal tops as atmospheric accompaniment. They pick up the tempo for the last measure or two, but the prevailing feel is still less insistent, and the spacier instrumental “Bridge of Stonebows” follows up on that and pushes it further with subdued guitar, punctuating drum thud and rumbling bass that speaks to something foreboding but bittersweet, a solo in the second half a standout moment for its fluidity amid the build behind it. The side B interlude doesn’t so much derail the considerable momentum the band has built up to that point, but it does broaden and shift the overarching feel of the album, giving the return to a more straightforward approach on “Street Machine” a different context than it would have coming out of, say, “Truth Revealed” or one of the other tracks.
So be it. “Street Machine” remains catchy in the spirit of “On a Roll” and leads to “Never Return,” which makes a fitting enough finale but one can only hope isn’t prophetic in some way about the band itself. Its chugging riff, mid-paced push and larger sense of space come with lyrical escapism, but for what it’s worth, Foghound don’t sound like a group looking to make their end. Quite the opposite. They sound hungry, and when they return, it’ll be one to watch for, because while The World Unseen makes its primary impression in the quality of its songwriting and the tightness of its performances, it also showcases the real potential at heart in Foghound as they continue to develop. As a second full-length and a debut for this lineup, it marks an arrival for sure — almost for Ripple Music as much as the band itself — but it also feels like another step in a larger process of growth still to play out.
Try to stay with me on this one. Last weekend was Maryland Doom Fest 2016. I drove down from Massachusetts last Friday to Frederick, MD, for it with The Patient Mrs., dropping her off first at family friends’ outside of Baltimore. We had her car, which, on Sunday, died in the parking spot outside the venue and had to be towed to a garage to receive a new alternator. Okay. That’s step one.
Step two: I had to get back to Massachusetts on Monday to start my new job on Tuesday. As her car would not be ready in time, The Patient Mrs. rented another vehicle and came and picked me up in Frederick and north we went. The repair would end up costing $900, but I made it to work on Tuesday and all went well, so it could’ve been much worse. The snag was that her car remained in that garage in Frederick and the rental would also need to be returned to Maryland, so looming all week was this impending journey back down I-95/I-78 to swap out cars again.
My job is in Rhode Island and gets out early on Fridays. 1PM. After swinging through Frederick to get her car and dropping off the rental, we got to where we were staying Friday night at 11PM. Between that, the fact that I’d survived my first week at a new job while still feeling positive about the experience, and the likewise impending trip back north, there was basically zero fucking chance I wasn’t going to The Sound Garden in Baltimore to do some serious-business record shopping before we hit the road.
So that was Saturday morning. My foot still screwed up, I hobbled toward the Psychedelic section (which had moved since last I was there) and started grabbing discs. Some new, some old, some in between, but The Sound Garden is arguably the best record store I’ve been to on the Eastern Seaboard — my heart will always hold a place for Vintage Vinyl in NJ, of course — so I knew I was going to find plenty.
I don’t record shop the way I used to. It used to be constant, a snag-this-snag-that process to put CDs on the shelf. I’m a little less likely to find stuff now, buy more online and direct from bands, and so on, but though I couldn’t really walk in the early part of the day, I still very much enjoyed digging through the rows to see what there was that needed to get bought. Turned out I did fine:
Maria Bamford, Ask Me About My New God! Beastmaker, Lusus Naturae Causa Sui, Return to Sky Comet Control, Center of the Maze Conan, Revengeance Death, For all the World to See Earthless / Harsh Toke, Split Flower Travellin’ Band, Satori Graves at Sea, The Curse that is Graves at Sea Mammoth Weed Wizard Bastard, Noeth ac Anoeth The Meters, Look-Ka Py Py Monolithe, Epsilon Aurigae The Motherhood, I Feel so Free The Peace, Black Power The Pretty Things, S.F. Sorrow Valley of the Sun, Volume Rock
Some of that was stuff I had to own on principle. How often do you run into a US-based store with El Paraiso Records distribution? Causa Sui, then, was a must. I was likewise surprised and thrilled to see Mammoth Weed Wizard Bastard and Monolithe, so those were musts. The Death record (and documentary) was recently re-recommended to me from a trusted source, so I figured I’d grab that, and then stuff like Graves at Sea, the Earthless / Harsh Toke split, Comet Control, Valley of the Sun and Beastmaker were records I’d written about that I wanted physical copies of anyway. I’m about 80 percent sure I already have a copy of the latest Conan. but thought I’d get it while I was there, and if I wound up with a double, worse things have certainly happened.
From the aforementioned Psychedelic section, a couple treasures in Flower Travellin’ Band‘s Satori, which was also the first of the haul I put on, its hard-thudding krautrock-inspired proggy proto-metal enough to gloriously alienate a room, and The Pretty Things‘ concept album S.F. Sorrow, and The Motherhood‘s I Feel so Free — all ’70s-era outings. The Funk/Soul section yielded The Peace and The Meters, and Comedy/Spoken Word the Maria Bamford, which I picked up in no small part because her show on Netflix, Lady Dynamite, is so remarkably brilliant. If you haven’t yet watched it, do so immediately.
By the time I got through finding Monolithe, Graves at Sea and Beastmaker in the metal section to grabbing the Death record as I walked past it on my way to the register, I was feeling considerable discomfort at standing on my right foot, which was in the same supportive cast — I call it “das boot,” well aware that the actual German word means “boat” — I had on at the fest last weekend. That put something of a rush on the tail end of the shopping experience as I needed to get somewhere I could sit down, but while I probably could’ve spent a few more hours dicking around at The Sound Garden, I don’t at all feel like I missed anything except perhaps a t-shirt from the store, which I’ll grab next time, and for a trip that was made under less than ideal circumstances, I definitely felt as I walked out that I’d made the best of the time I had.
There are all kinds of record shop ratings out there, but if you happen to be in Fells Point or the greater region, The Sound Garden really is one of the best stores I’ve ever been to, and it continues to be a destination in my mind for when I’m around. It made the long drive back north that much easier to endure, which is saying something in itself.
Posted in Whathaveyou on July 1st, 2016 by H.P. Taskmaster
Makes complete sense that Baltimore heavy blues rockers The Flying Eyes would celebrate their 10th anniversary by going on tour abroad for a month-plus. Complete sense. I’m not even being sarcastic. The band has all along done their road work on other continents — they haven’t been to Europe since 2014, but were in South America in 2015 and again earlier this year — and 10 years later, I’m not sure they’ve ever done the US coast to coast in the same way they’ve hit the various parts of the EU. I could be wrong about that, but either way, their priority has for years been the international market. They seem to have done well on that model.
To wit, 10 years as a band. Most acts don’t last that long. It’s been three years since their last proper full-length, 2013’s Lowlands (review here), so they’re due another studio offering, but they’ve hardly relented at all in that time on travel, and it’s awfully hard to be in two places at once.
Cheers to them on the anniversary. Tour dates follow:
After a two year absence from Europe, The Flying Eyes are returning to celebrate their 10th Anniversary as a band. The tour includes 8 diferent festival perfomances in Austria, Greece Germany, Belgium and Czech Republic, concluding with Maginificent Music Festival in Berlin, also marking 10 Years of MAGNIFICENT MUSIC:
05.08.2016 – AT Waldhausen, Lake On Fire Festival (Sold Out) 06.08.2016 – GR Almiros, Los Almiros Fest 11.08.3026 – DE Göttingen, Dots 12.08.2016 – DE Plattenburg, Aquamaria Festival 13.08.2016 – DE Dortmund, Junkyard Open Air w/ All Them Witches 14.08.2016 – BE Geel, Yellowstock Festival 15.08.2016 – DE Köln, Sonic Ballroom 16.08.2016 – DE Kiel, Schaubude 17.08.2016 – DE Hannover, Café Glocksee 18.08.2016 – DE Halle/Saale, Hühnermanhattan 19.08.2016 – DE Frankfurt/Main, Nachtleben 20.08.2016 – CZ Trutnov, Trutnov Open Air 21.08.2016 – CZ Praha, 007 Klub 25.08.2016 – DE Bielefeld, Forum 26.08.2016 – DE Dresden, Beatpol 27.08.2016 – DK Copenhagen, Stengade 28.08.2016 – DE Münster, Rare Guitar 31.08.2016 – AT Salzburg, Rockhouse Bar 01.09.2016 – AT Wien, Arena 02.09.2016 – AT Innsbruck, pmk 03.09.2016 – DE Stuttgart, Goldmarks 05.09.2016 – PL Warsaw, Klub Hygrozagada 06.09.2016 – PL Gdynia, Ucho 07.09.2016 – DE Hamburg, Magnificent Music Night @ Klubsen w/ Wucan 08.09.2016 – DE Leipzig, Magnificent Music Night @ UT Connewitz 09.09.2016 – DE Jena, Magnificent Music Festival 10.09.2016 – DE Berlin, Magnificent Music Festival
Posted in Reviews on June 27th, 2016 by H.P. Taskmaster
The car died as I pulled it into the spot outside Cafe 611, and it was abundantly clear it would not start again sans professional assistance. Oh, and it’s The Patient Mrs.‘ car. So there’s that.
That puts the tally of busted shit at: my feet (I’ve been wearing a supportive boot cast all weekend, not sure if I’ve mentioned that yet), my camera, and my wife’s car. Maryland Doom Fest 2016, you have thoroughly kicked my ass.
None of that is the fest’s fault, of course. After an awesome two and a half weeks, I was due a couple hits, and if anything, yesterday, the third and final day of the festival with another 11 bands on the bill starting at 3PM, it was the music that kept my head up while I was flipping out about things like waiting for tow trucks, The Patient Mrs. never picking up her phone, how the fuck I’m going to get back to Massachusetts with a dead car so I can start my new job on Tuesday, and so on. I’m thankful for that. Not sure I’d have made it through the afternoon otherwise without spontaneously combusting.
Time to wrap this thing up. If you’ve checked out the reviews of night one or night two, thanks, and thanks for reading this one too.
One more time, hello Frederick:
I’ll admit it was somewhat strange to watch Bert Hall on stage holding a guitar. The longtime Maryland doomer has played bass through the years in Revelation and Against Nature and now is also handling thick strings and fuzzy-hat for Beelzefuzz, but in Mangog it’s guitar and backing vocals to complement those of Myke Wells. Completed by drummer Mike Rix (ex-Iron Man) and bassist Darby Cox, the four-piece announced this week that they’d signed to Argonauta Records for the early 2017 release of their debut album. Presumably most of what they played, whether it was “God” or “Into Infamy” or “Meld,” comes from that record, but they also played two of the three cuts — “Ab Intra” and the title-track — from their 2015 debut EP, Daydreams Within Nightmares. The band played their first show at Maryland Doom Fest last year, and are still finding themselves as a unit, but seemed to be on the right track with their aggressive blend of doom and metal. Wells was also the first frontman to stand on the P.A. speakers in front of the stage, so points there as well.
The first, but not the last. Bassist/vocalist Blake Dellinger of Flummox, in checked leotard regalia and with one eye blacked out, also got on that speaker, in addition to thrashing around just about everywhere else on the Cafe 611 stage as he, guitarist Drew Jones, and drummer/vocalist Jody Lester tore into their raucous stoner thrash, which it’s easy to imagine has been a highlight of the last couple years at house shows in their native Murfreesboro, Tennessee, as well as other haunts around the South lucky enough to book the band. Youth was on their side, sure, but they still delivered one of the weekend’s most energetic sets, and had the chemistry between them to stand up to the force of their delivery. They’re also reportedly responsible for the Tennessean Sludge Fest, which this August features Place of Skulls, Doomstress, Shroud Eater and Order of the Owl, among many others, so clearly doing good work on multiple levels.
Hailing from my beloved Garden State, sludge torquemongers DopeRider proffered massive tones offset by a couple stretches of ambience, putting them in league with the likes of Connecticut’s Sea of Bones or any number of crushers in the post-YOB sphere, and that is a compliment as far as I’m concerned. Their slow-churning, growling, thudding lumber wasn’t the first bout of extremity the weekend had seen — one still recalls Philly’s Black Urn starting off Friday — but it did speak to the expanding definition of what Maryland Doom Fest might continue to encompass. Uniformly brutal in their approach, DopeRider — who released a debut demo last year with the tracks “Drugged up Demonoid” (15:09) and “Fractal Resin” (6:07) — were thankful to the crowd, guitarist/vocalist MP saying that there wasn’t much like this in Jersey. I know from personal experience that’s 100 percent true, but little doubt DopeRider would’ve stood out on the bill whatever the context. Will keep an eye out for what they do next.
I’ll admit that for a decent portion of D.C. residents Seasick Gladiator‘s set, I was outside dealing with the tow truck driver from AAA. Actually he was the second, past the one who tried to jump the car to no avail, so yeah, it took a minute. What I saw of the instrumental outfit offered metallic doom marked out through the use of violin, adding a sense of drama to the material as strings invariably will. They had some progressive edge that didn’t necessarily feel showy or overly self-righteous, and from what I heard sounded pretty fluid. Meanwhile, outside, the car still refused to start — battery? alternator? — and had to be dragged onto the back of the flatbed and hauled off to some local garage. A genuine what the fuck moment, but like I said, the music kept me going. Somehow I doubt it will be the last opportunity to catch Seasick Gladiator, and from the glimpses I got and from watching the end of their set after the truck drove away, their appeal came through even despite distraction.
I’ll never pretend to even feign impartiality about any band Joe Wood is playing in. Aside from being a former bandmate, the Borgo Pass and Eternal Black drummer is among the nicest, most sincere individuals I’ve ever met — King of the Dudes — and whether he’s behind the kit or in the crowd, any day I get to see Joe is a good day, including this one. He is not, however, all that Eternal Black have working in their favor. Atop rolling The Obsessed-style riffs, the NY three-piece with Wood, guitarist/vocalist Ken Wohlrob and bassist Hal Miller, fit right in with the sphere of Maryland doom but had more than a touch of Northeastern intensity to their approach as well, particularly from Wohlrob‘s vocals. The same was true of their first demo (review here), which was released last year, but they had a host of new songs in the set — “Snake Oil and Coffin Nails” was a highlight, along with “Sea of Graves” — and announced plans to record this summer/fall for a debut full-length, which will be one to anticipate. Granted NYC is four to five hours from where I live depending on traffic, but I still felt I probably should’ve seen Eternal Black by now. Glad I got to in such a setting.
North Carolina’s Toke were the only band of the weekend to bring their own lights, and their focus on presentation likewise extended to how they carried themselves on stage, each of the three members putting his full body into the groove of their hard-hit, swinging riffs, seeming way more influenced by Sleep live than on their 2014 demo, High Friends in Low Places (review here), but still marked out on the harsher end of sludge by the vocals, which were on the more searing end of screams. Comprised of Tim, Bronco and Jeremy, they reminded some of Elder‘s Matt Couto in the drumming style, but were on an entirely different trip sonically, and for a band who doesn’t yet have an album out, they had steady command over the stage, the room, and their consuming tonal largesse. Very obviously a band who’s done some road time — they played Denver Electric Funeral Fest earlier this month — and one who’ve dug in hard to their practice space. They were high among the most pleasant surprises at Maryland Doom Fest 2016, all three days.
Foghound were not a surprise, true, but they were a joy to watch all the same. The Baltimore heavy rock kingpins are on the cusp of releasing their second album, The World Unseen (review forthcoming), on Ripple Music, and they absolutely blew me away last fall at Vultures of Volume II (review here), also in Maryland, but to hear those songs now and know them better, whether it’s the ultra-catchy “Rockin’ and Rollin'” or “Message in the Sky,” “Never Return,” “Above the Wake,” “Serpentine,” etc., was an entirely different experience, drummer Chuck Dukehart III and guitarists Bob Sipes and Dee Settar sharing vocal duties while bassist Jim Forrester held down the low end. Playing a set entirely comprised of new material only emphasized how far beyond 2013’s Quick, Dirty and High (review here) they’re ready to be, and like last time I was fortunate enough to catch them, they were air-tight musically, varied in the vocal arrangements and executed their set on a foundation of strong, waiting to be noticed songwriting. I know it kicks ass, but I’m eager to find out how The World Unseen catches on with listeners once it’s out, as I’m sure the band is as well.
Like Foghound before them (and several others), Delaware’s Wasted Theory brought a sampling of their next outing, which is set to be recorded this fall, reportedly, for a 2017 release. I was talking the other night to guitarist/vocalist Larry Jackson, Jr., about the next Wasted Theory and he asked what I’d want to hear on it. Basically what I’d be looking for is a step forward from 2014’s Death and Taxes (review here). I’d want to hear that the band — Jackson, guitarist Dave McMahon, bassist Rob Michael and drummer Brendan Burns — was pushing itself in terms of melody and songcraft. Hard to judge from one live airing, but they seemed to be headed in that direction, bringing a more aggressive edge to some of the Southern groove that on the last album was such a huge part of their take. They still had a definite update-the-’70s classic heavy rock vibe, and Jackson‘s gravely vocals added burl as ever, but that progression that one might hope to hear in their sound came through at Cafe 611. They still have to record the next LP, but hopefully it follows suit when it arrives.
I’ve seen dark Virginian rockers King Giant a handful of times now — three or four, maybe, most recently at the aforementioned Vultures of Volume II (review here) — and their sheer have-their-shit-together factor remains hugely impressive. Dudes know exactly what they want their songs to do, where they want to put that Todd Ingram solo, what the verse is moving toward, etc. Vocalist Dave Hammerly had two mics setup with various kinds of compression, and the double-guitar five-piece proceeded to do their thing, which is to offer up grooving slabs of moody Southern heavy, bordering on metal in their attitude but really more about atmosphere than aggression, or at least about toying with that balance. “Requiem for a Drunkard” from 2015’s Black Ocean Waves (review here) was a high point sonically if a particularly downer vibe, but really, King Giant are in league with the safer bets you might make when it comes to quality of craft and performance in their style. It’s not always what I’m looking for stylistically, but for as much as King Giant put into their band, it’s impossible not to respect them.
Karma to Burn
Kind of hard to believe it’s been nearly five years since the last time I saw Karma to Burn. Night and day. With the lineup of founding guitarist Will Mecum, bassist Eric Clutter and drummer Evan Devine the West Virginian instrumental powerhouse were in nothing but top form for their set. One might expect them to be on after having just done a month on the road with The Obsessed across the US, but propelled by Devine‘s crash, they rode Mecum‘s riffing with an energy I’ve never seen from them. The most recent cut they played was “57” from 2014’s Arch Stanton (review here) — though I thought I heard part of “62” as well — and of course their signature piece, “20” from 1999’s Wild Wonderful Purgatory was aired to a particularly fervent response. They were the only band of the weekend so far as I saw who elicited anything close to moshing, and it was well-earned. Just a killer show, front to back, and while I know Karma to Burn has a history of burning through rhythm sections, what Clutter and Devine bring to the band alongside Mecum isn’t to be understated. True power trio form, continually without compromise or bullshit.
“We’ve been here since eight o’clock,” said Mos Generator frontman Tony Reed, “and I’m drunk.” To be fair, it was long past eight by the time the Port Orchard, Washington, heavy rockers took the stage for their headlining/fest-closing set. My fingers were crossed they’d have copies of their new album, Abyssinia (review forthcoming), but no dice. Bought a shirt instead. Their set launched at a furious clip and did not relent, drummer Jon Garrett stepping up to righteously follow what Evan Devine brought to Karma to Burn as bassist Sean Booth served to anchor the material and bolster the impact of Reed‘s guitar. “Lonely One Kenobi” was an early highlight, followed by “There’s No Return from Nowhere” from the new record and “Breaker” and the title-track from 2014’s Electric Mountain Majesty (review here), Reed, of whom I’ll make no bones about being a fan, letting his vocals soar for the latter while completely owning the stage and bringing the room along with him. Hard not to smile watching him on stage — someone so obviously born to do what he’s doing who then set about working really, really hard at it for decades — and he kept the intensity of performance going until the house lights came up as they played “This is the Gift of Nature.” The room had thinned out somewhat by then, as it will, but after a full hour of go-go-go, there was zero slowdown whatsoever. Some bands just want to rock and roll, and Mos Generator do so with a pure reverence for the form that few would dare attempt to match. They were absolutely on fire.
As I write this, I’m on the road in a rental car, headed back north. I start my new job tomorrow. The Patient Mrs., who was visiting family elsewhere in the state, came and picked me up in a rental car and is currently driving me and Postman Dan, who came along for the trip, north. As there’s been no word from the mechanic that the car got towed to, I’ll have to drive back to Frederick on Friday to pick it up. Serves me right for something, I’m sure. Unanswered emails, perhaps.
Before I cut out, I want to thank JB Matson and Mark Cruikshank for having me on board as a sponsor and for having me down to cover Maryland Doom Fest 2016. I know these reviews have been somewhat fraught in their context, but Matson and Cruikshank put on a hell of a show over these three days, and should be commended both for the efforts and the results yielded. I can only hope they keep it going and hope they’ll have me involved again next year.
If they do, I think next time I might just fly in. But I always say that.
Posted in Reviews on June 26th, 2016 by H.P. Taskmaster
I don’t think it’s the record for how many bands I’ve seen in one day, but it has to be close. After a pummeling Day One at Cafe 611 (review here), Day Two of Maryland Doom Fest 2016 featured a whopping, nigh-on-overwhelming 12 acts, starting at 2:15PM and running until shortly before 2AM. Joy among joys, my camera continues to be non-functional, but I did the best I could with my phone and kept it at that. Not sure what I’m going to do about that one yet. Cry a little? Yeah, maybe. Maybe on the way home.
For now, as Jesse “The Body” Ventura once so eloquently put it, “I ain’t got time to bleed.” Day Three starts in a scant couple hours and after two days of marathon nonstop heavy, I’m ready to get back into the fray. Let’s do this thing.
Iron Man frontman Dee Calhoun recently released his debut solo record, Rotgut (review here), and provided a direct contrast in how the second day started at Maryland Doom Fest 2016 as compared to the first, which opened with Black Urn, who I think remain the most extreme sludge act of the weekend so far. “Screaming Mad Dee” played acoustic heavy metal blues, joined on semi-unplugged bass by Iron Man bandmate and all-around master of things low-end Louis Strachan, and started his set with the album-opener “Unapologetic,” which I suspect is something of a creedo for the singer. Maybe I should say singer/guitarist, since Calhoun proved his mettle on the latter throughout the set, bringing out his son, Rob Calhoun, for a particularly touching rendition of “Little Houn Daddy Houn” that was as genuinely heartwarming as anything I’ve ever seen at a heavy show, and closing out with a cover of Black Sabbath‘s “Snowblind,” the solo for which is a test for any guitar player. Bolstered by Strachan taking on Geezer Butler basslines — talk about “in your element” — Dee nailed it, and the filing-in early crowd, who caught on to shout “cocaine!” for the second verse, was glad to be along for the ride.
Thousand Vision Mist
Fronted by guitarist/vocalist Danny Kenyon and taking their name from the debut of his former band, Life Beyond, the three-piece Thousand Vision Mist offered one of the day’s most individualized takes on a doomed approach, their progressive turns enacted fluidly by the rhythm section of Tony Comulada (who’d also play later with War Injun) and drummer Chris Sebastian. It hasn’t been that long since I saw them for the first time last fall at Vultures of Volume II (review here), and the impression at MDDF wasn’t much different. People were still filing in as Kenyon and company made their way through the memorable “Darklight” and “Tears of the Moon,” the second of which also served as the centerpiece of their 2015 demo, which was available at the merch table and is their only release to-date so far as I know. They closed with another cut from that initial offering, “Heart String Wild Fire Blues,” finding a place for themselves between Rush and The Obsessed. Not at all bad territory to stake out.
Minnesota’s Wicked Inquisition said early into their set that this was “in all likelihood” their last show ever. The band formed in 2008 and released their self-titled debut (review here) last year after a demo and a couple EPs, blending oldschool thrash, classic metal and doom fluidly on cuts like “M.A.D.” and “Death of Man.” I don’t know for sure, but I’d assume part of the reason they’re calling it quits is that guitarist/vocalist Nate Towle has joined Virginia-based Satan’s Satyrs, and that’s a hell of a back and forth from MN to VA. Whether or not the breakup is permanent is of course up to the future, but Towle, guitarist Ben Stevens, bassist Jordan Anderson and drummer Jack McKoskey leaned toward doom as one of the weapons in their arsenal to be broken out when called for and otherwise kept their metallic tinge shining via some slow-Slayer dual-guitar to keep the crowd hooked. It worked. Cheers to Towle on getting the Satan’s Satyrs gig, which seems like a good one if you want to tour, and best of luck to everyone in Wicked Inquisition going forward. I’m glad I got to see them while I could.
Long-running Baltimorean outfit Ironboss are about to issue what may or may not be their first album in more than a decade in the form of Rock Fuck Fight, and their set brought the further intrigue of featuring Bruce Falkinburg — hardly recognizable with short-cropped hair from the last time I saw him, which admittedly was years ago when he was playing with The Hidden Hand — on guitar. The burly brand of heavy the five-piece elicited was much less sludge than I thought it would be, I couldn’t help but have a harsher impression thinking back to 2001’s Guns Don’t Kill People… Ironboss Does!!, but I guess that was 15 years ago and a different lineup. Granted, there was a touch of chaos in the atmosphere, almost punkish, but the songs resided in a mid-paced push, comfortable but still aggressive. They apparently just tracked six songs live with J. Robbins, so it would seem that Ironboss have returned to kill again.
Been a couple years and a 2015 self-titled debut since I saw Chicago’s Spillage make their stage debut at Days of the Doomed II in Wisconsin (review here), but my prevailing memories of the the band were still positive. Members of the Trouble family tree via founding guitarist Tony Spillman, who’s worked with that legendary Midwestern outfit for some untold number of years, and through Spillman‘s tenure in Earthen Grave, they for sure had that aspect to their sound, but the energy of their delivery and the classic metal vibe that guest-frontman Elvin Rodriguez brought with him in his Dio-style presentation was well suited to making an impression of their own. Along with album tracks like “In Hell,” opener “The Darkness” and “Land of Opportunity,” Spillage closed out with the Cliff Richard cover “Devil Woman,” which also appeared on the record and which they played when last I saw them as well. A staple, then. Hard to argue. After 12 bands, that swinging hook remained among the most prevalent on my mental jukebox.
What a joy it is to watch Wizard Eye play. The Philly trio roll heavy grooves beamed in from sonicstonersubspace and the obvious pleasure they take in doing so is infectious. Another act who played Vultures of Volume II last fall (review here), they’ve since released their self-titled 2015 sophomore album (review here), with its excellently crusted take on heavy vibes. Guitarist Erik Caplan had his theremin handy, as always, but along with the caveman shouts from bassist Dave Shahriari and the steady swing from drummer Mike Scarpone, what came through most to me this time around was how killer a guitar player Caplan is. With that theremin, he could easily drop out during solo sections and wail on the theremin, its squealing awesomeness taking the place of any guitar work. Instead, he absolutely shreds out leads and then lights up the theremin on a cut like “C.O.C.” from 2010’s Orbital Rites debut. So it’s adding to the sound, rather than compensating for something not there. It makes all the difference seeing them do a set, which I’m glad to do every single time I’m able.
Along with Holly Hunt, Shroud Eater and a couple others, Jacksonville’s Hollow Leg are among the principal reasons to be sad when the polar ice caps melt and Florida sinks under rising sea levels. The four-piece of vocalist Scott Angelacos, guitarist/vocalist Brent Lynch, bassist Tom Crowther and drummer Tim Creter have never failed in my experience to deliver lethal sludge like some fucked-up cousin of Sourvein, but as 2016’s Crown (review here) showcased, their sound has only grown richer over the years and they brought that feel to Maryland Doom Fest 2016 in “Seaquake,” “Electric Veil” and “Coils” along with the earlier digital single “God Eater” (posted here). With Lynch adding to Angelacos‘ dudely rasp, the vibe was even more unhinged as they played, and next to Wizard Eye they seemed only to build on the intensity of volume and heft while keeping the vicious push moving forward. Labelmates with Dee Calhoun on Argonauta Records, they’ve been on the road with Irata for the better part of a week and sounded tight enough to make one believe they were a few shows deep. Clearly too abrasive for some, but I thought they were right on.
I guess they went with the name War Injun because calling themselves “Maryland Doom Allstars” would sound too much like a softball team. Fronted by Internal Void‘s J.D. Williams, featuring, as noted, bassist Tony Comulada, along with guitarists Russ Strahan (ex-Pentagram, as well as Weed is Weed and many others) and Kenny Staubs (Outside Truth), and drummer JB Matson — one of the organizers of Maryland Doom Fest 2016 — it’s a formidable grouping nonetheless. Their groove was likewise formidable. Matson didn’t make it easy for his own outfit, putting them after Wizard Eye and Hollow Leg as a lead-in for Brimstone Coven, but War Injun not only pulled one of the night’s best crowds, they absolutely leveled the place. Williams, who’d performed the night before with Internal Void, remained a complete madman on stage, and the riffs from Staubs and Strahan were classic Maryland doom through and through, peppered with more aggressive push. Last time I saw them was Stoner Hands of Doom XI in 2011 (review here), and they hit even harder than I remembered.
Like Castle yesterday, I feel like I came out of Brimstone Coven‘s set with an entirely deeper appreciation for what the West Virginian outfit does. Next month, they hit the road for a handful of Midwestern dates with Castle, as it happens, and both bands are ones that you just have to see live to really understand. That’s not to take away from what Brimstone Coven — “Big John” Williams on vocals, Corey Roth on guitar/vocals, Andrew D’Cagna bass/vocals and Justin Wood on drums — were able to do on their 2016 debut LP, Black Magic (review here), but the impression they made on stage was on a different level, Williams, Roth and D’Cagna coming together to completely nail down vocal harmonies over weighted doom riffing, shedding some of the cult rock vibe of the record in favor of an almost progressive feel with moments of brash heavy rock for counterweight. It was the kind of set that made me want to go back and take another look at the album, the highlight being “Slow Death,” which seemed at first like a strange one for Williams to shout out “to the ladies,” but ultimately made sense in light of the lyrics. They were the day’s most pleasant surprise, though I probably shouldn’t have been surprised.
Of all the sets I’ve seen vocalist Eric Wagner perform — and at this point I’ve seen him perform a few — he always looks like he’s having the best time with Blackfinger. Granted, he was all smiles at Roadburn this year with The Skull as well, but there’s a level of appreciation for some of Blackfinger‘s more Beatlesian melancholy in tracks like “I am Jon” and “On Tuesday Morning,” both from their 2014 self-titled debut (review here), that comes through visually on stage and in the vibrant presentation of the material. Having Terry Weston of Penance/Dream Death on guitar doesn’t hurt either, but with guitarist Matthew Tuite, bassist Matthew Cross and drummer David Snyder, the lineup did justice to Wagner‘s legacy in Trouble as well as their own sonic persona. As always, Wagner‘s charisma as a frontman made him a focal point, but that’s nothing new for him, and he handled the room with his usual laid back flair. Somehow it wouldn’t seem like a doom fest if he didn’t show up in one outfit or another. He carries so much of the essence of the sound with him wherever he goes.
Place of Skulls
Once again, in the tonal battle of Victor Griffin vs. the universe, Victor Griffin wins by a landslide. It took Place of Skulls a while to get going — something with the guitar stack, I don’t know — but once the set started, the trio were among the highlights of the weekend so far. With the night’s biggest crowd at attention, Griffin held court alongside his Death Row bandmate Lee Abney on bass/backing vocals and drummer Russell Lee Padgett, but I could be wrong. It’s been six years since they released As A Dog Returns (review here) — though the 2013 self-titled debut from the short-lived In~Graved project (review here) seems to have been rebranded as a Place of Skulls release this year — and five years since last I saw them play, but for it being the first time in a while, Place of Skulls were very much still Place of Skulls, the band who released one of the best American doom records of all time in 2003’s With Vision, from which they aired the title-track, “The Monster,” “Long Lost Grave” and “Last Hit” along with a cover of The Animals‘ “Misunderstood” that has become a regular feature in Griffin-related sets, be it with In~Graved or Pentagram. Like Eric Wagner, Griffin takes a lot of who he is from band to band, and his mark on doom is unmistakable.
I’ve seen Bang play upwards of 15 times on two different continents in the last two or three years, and they’ve never been a letdown. Like the day started easing into the heavy with Dee Calhoun‘s acoustic set, Bang — who also had a new drummer — provided the sweet swing that would smooth the way out. The classic heavy rockers, playing to support reissues of their catalog on Svart Records, were given a rousing introduction by Dave Sherman of The Obsessed, who cited them as a major influence for Maryland doom as a whole and his career specifically. From there, Frankie Gilcken launched the opening riff of “Keep On,” and Bang were underway. Bassist/vocalist Frank Ferrara was in top form through “Lions… Christians,” “The Maze” and the ballad “Last Will and Testament,” which was given its usual intro. It was late and the room had dissipated somewhat, but Bang‘s tones were as warm and inviting as ever, and plenty of people held on until the finish, savoring every moment they could get. Again, not by any means my first time at the dance with these cats (except the drummer), but they remain something truly special to watch and are a testament to the enduring appeal of heavy’s essential formative years.
Within minutes of getting back to the Super 8 after the show, I was falling asleep. Still, I felt better after last night than Friday, and with 11 more bands playing tonight, that’s probably a good thing. First band starts in about two hours, and I need coffee, so I’m gonna take care of that as priority one and then go from there.
Posted in Reviews on June 25th, 2016 by H.P. Taskmaster
It was a hell of a ride, and by that I mean I sat in traffic from about 8:30 in the morning until I walked into Cafe 611 in Frederick, Maryland, just in time for the start of the first band at 5:15PM. I soon found that my plan to not wear the supportive boot for my continuing ankle pain was, let’s say, ambitious. Basically I couldn’t stand up for more than like five minutes at a time. Fortunately the boot was in the car. Then my camera broke.
This is the part where normally I’d say “some you win, some you lose,” but the quality of the first night of Maryland Doom Fest 2016 — the second edition of the festival put on by JB Matson and Mark Cruikshank; still kicking myself for missing it last year — was such that I couldn’t really feel too down about any of the above, except perhaps the camera, which served me well for half a decade and hopefully I’ll be able to have fixed in the near term, no doubt at significant cost. Not for this weekend, though. Bummer.
Well. Now that I think I’ve gotten all or at least most of the bitching out of the way, we can get down to business. Like I said, I watched from the first band on, as much as I was able, and got pictures on my phone after the camera went down. I did the best I could.
Alright, here goes:
Clearly a trial by fire for the room. Some fests might try to ease the audience into the event; Maryland Doom Fest 2016 not so much. Philadelphia’s Black Urn would wind up being the most extreme band of the night, digging their way into vicious sludge metal topped by growls and screams exclusively, proffered through two guitars finding balance in the mix with bass that seemed utterly dominant at first but soon enough evened out. That kind of stuff runs the risk of coming across as samey when you don’t know the songs — they have a 2015 demo and a 2016 EP, The Pangs of Our Covenant, out, but this was my first exposure to them — but Black Urn knew when to change the pace up, and their faster parts had a heavy rock edge to them that set well alongside the grueling brutalities they fostered otherwise. Plus vocalist John Jones wore an Iron Monkey t-shirt, and that’s just about always going to earn some extra points in my book.
The Californian heavy atmospheric doom rockers were a treat for anyone who showed up early, playing through a considerable investment portfolio of amplification, fresh-looking Oranges and Sunn for the guitar of Kyle Stratton and the bass of John Chavarria, while drummer Jeff Tedtaotao punctuated the massive rolling grooves elicited from them. They’d been on tour for about a week supporting the recently-released, Billy Anderson-produced Shaman’s Path of the Serpent (stream here; review here), and “Gravity” was a highlight of the set, which rightly focused on the new album and its ambient largesse, in which one can hear shades of anything from YOB to Neurosis to Deftones in Stratton‘s vocals to Tool in some of their quiet, winding parts. It’s a varied blend, and they can make it move as well when they want, but they were impressively fluid front to back, and seemed most at home with the three of them locked into any number of lumbering progressions, of which they offered plenty.
I’ve been watching Admiral Browning play shows for more than a decade. I say this not to brag about having seen the band a bunch of times, but to emphasize the point that when they take a given stage, I still don’t know what to expect. Oh, you can be sure that guitarist Matt LeGrow, bassist Ron “Fezz” McGinnis and drummer Tim Otis will offer dizzying technicality and frenetic groove, but just where they might take that is perpetually up in the air. Their 2015 tape EP, Corvette Summer (review here), found them experimenting further with incorporating vocals into their long-instrumentally-focused sound, and it worked. At Maryland Doom Fest 2016, it wasn’t a question. Both LeGrow and McGinnis had mics and used them liberally. I’ll admit it was a somewhat jarring sight — as I said, they were strictly instrumental for a long time — but they’ve developed relentlessly over their years together, and that process obviously continues unabated. Nothing new to say I’m looking forward to what they do next, but it’s true all the same. Way underappreciated band.
Probably should’ve seen these cats by now. Led by guitarist/vocalist Erik Sugg, North Carolina’s Demon Eye have been tearing it up on the Eastern Seaboard for the last couple years, also journeying west this past April to tour alongside Disenchanter in support of their second record, 2015’s Tempora Infernalia (review here), and after hearing such encouraging things about their stage presence, yeah, it felt overdue. Sugg was indeed very much in the lead position, bantering with the crowd between songs, headbanging and stomping in classic rock style, backed by drummer Bill Egan on vocals and lead guitarist Larry Burlison while Paul Walz‘s Rickenbacker tied it all together in the low end. They opened with “End of Days” and closed with “Sons of Man,” both from the new record, but “From Beyond” from 2014’s Leave the Light (review here) was a highlight as well, their songs upbeat. In my notes, it just says “ace songwriting,” so we’ll leave it at that, and while I’ll admit some of their cult themes leave me a little cold, both their craft and the energy of their performance are absolutely undeniable.
With guitarist/vocalist Greg Diener and drummer Darin McCloskey both now in Beelzefuzz and bassist/backing vocalist Ron “Fezz” McGinnis sharing his time with Admiral Browning and several other projects, Pale Divine has kind of become a part-time institution, but in all the years I’ve seen them — I think the first time was in Philly with The Hidden Hand, circa ’04 — they’ve never failed to deliver on their particular kind of woeful traditional doom. Though they’re not actually from the state, they were a perfect centerpiece for Maryland Doom Fest 2016’s first night, and the assembled crowd, younger and older, showed their appreciation duly. As I was dealing with my just-busted camera, I’ll admit my attention was somewhat divided, but Pale Divine don’t screw around on stage, and they closed their set playing something they’ve never played before. Diener gave the title but of course I missed it, in the back fumbling with the camera battery and lens as I was, sadly to no avail. The doom felt perhaps even more appropriate in such a context.
Ruby the Hatchet
Philly-region five-piece Ruby the Hatchet are on something of a mini-tour this week, up the Northeast in the formidable company of Black Mountain. Not at all their first run in support of last year’s way-right-on Valley of the Snake (review here), but they’ve also reissued their first record, Ouroboros, on vinyl through Tee Pee Records, and I’d imagine when the chance to do shows with a group like Black Mountain crops up, or to, say, play Maryland Doom Fest 2016 on the night The Obsessed are headlining, it’s a thing you do your best to make happen. Starting off their set with the memorable “Heavy Blanket” from Valley of the Snake, they jammed profusely and featured what I think might be the weekend’s only on-stage organ, so bonus points there. Vocalist Jillian Taylor was in firm command on stage, her vocals run through a close delay for a live-doubletracking effect that only made their cultistry seem more resonant. Taylor, together with bassist Lake Muir, guitarist John Scarperia, drummer Owen Stewart and organist Sean Hur, have pretty clearly mastered the post-Uncle Acid blend of hooks and bounce, and set about reshaping them to suit their own melodic purposes. One expects that will be a process that plays out over the next several years/albums, but they were impressively tight and for my first time seeing them, I was glad I finally did.
Speaking of bands I should’ve seen before — as I realize I have a couple times at this point — fucking Castle. The hard-touring San Francisco outfit sounded so much like a group used to being on the road. Some bands just develop that thing. They show up in a room, assess the place, the people, the sound, say, “Okay, we can kick ass here,” and then do. That’s exactly what Castle did. They’re the kind of band who could make you believe in heavy metal. A lot of what they played was new — they’re touring to herald the arrival of their new album, Welcome to the Graveyard, which is out July 12 on Ván Records — and their righteously individualized blend of thrash, traditional metal, doom, heavy rock and roll, etc., speaks to some mystical bygone era when metal was about not compromising, putting a fist in the air against expectation and going on tour forever. Castle were so deep into what they were doing that I think they could’ve been anywhere and it would’ve been the same, that trance taking hold early on as they locked in and holding sway for the duration of their set, which seemed short when it was over. They’ve made themselves pretty available for in-person experience over the years, and now I understand why. I don’t think it’s really possible to get them until you see them live. I’m late to the party on that one, I know, but they didn’t seem to care if it was somebody’s first time, fifth time, or however-manyeth time seeing them. Everyone got their ass handed to them equally.
Not to toot my own horn, but I said not too long ago that if you get the chance to see Internal Void, you should do it, and their hour-long set at Cafe 611 only affirmed the truth of that. The four-piece of vocalist J.D. Williams, guitarist Kelly Carmichael, bassist Adam Heinzmann and drummer Brian Goad packed out the room shoulder to shoulder and were clearly as glad to see the hometown crowd as the hometown crowd was to see them, even before Carmichael started shredding out solos, before Williams widened his eyes and loosed his gravely sneer, and before they brought out original drummer Eric Little to play a couple cuts from 1993’s Standing on the Sun, marking the first time that album’s full lineup had shared the stage in 23 years. With their own banner behind them, Internal Void epitomized Maryland doom. Their workingman’s grooves, classic edge and sans-bullshit delivery spoke to everything that has allowed the scene in and around Frederick to flourish for the last three decades to where it is now and where it’s headed in the future. Last time I saw Internal Void was at the Afterburner for Roadburn 2012, and several others remarked that it had been several years since they last played, so that might well have been their most recent show. Either way, they brought it hard for the Maryland Doom Fest 2016 crowd and were a joy to watch. If you get the chance to see them, do it. Don’t hesitate.
I’m not sure anyone would’ve been a better fit to headline Maryland Doom Fest than The Obsessed. I mean that wholeheartedly. Their legacy as a band — only more so now that guitarist/vocalist Scott “Wino” Weinrich has brought in his Spirit Caravan bandmate Dave Sherman (recent interview here) on bass/backing vocals, alongside new drummer Brian Costantino — is so tied to that of Maryland doom that you just don’t have the one without the other. Their set might be considered a victory lap for the month-long tour they just did with Karma to Burn (who also play this weekend) as much as a precursor to their hitting the studio with Frank “The Punisher” Marchand in a couple weeks to record their first album since 1994. In addition to The Obsessed staples “Neatz Brigade,” “Streamlined,” “Protect and Serve” and “Blind Lightning,” they worked in a couple Spirit Caravan cuts, among them “Retroman” and the ultra-rolling “Sea Legs.” It was late, and the room began to thin out some as they made their way toward the close of the evening with “Freedom,” but in giving a look at some newer material with the speedy “Be the Night” and the more expansive “Sacred” (which has been kicking around Spirit Caravan sets for a few years now and has older roots), The Obsessed looked ahead in addition to celebrating their legacy, and that seemed no less appropriate. Even after Internal Void, they held the room wrapt, and there was zero doubt to whom the night ultimately belonged.
Next show starts in a little over an hour, so I gotta get moving. No extra pics on account of the broken camera, but thanks for reading anyway.
Posted in Whathaveyou on June 22nd, 2016 by H.P. Taskmaster
After an initial foray into Maryland doom with the release of Iron Man frontman Dee Calhoun‘s solo record earlier this month, Italian imprint Argonauta Records has announced another pickup from that crabbiest of states — newcomer outfit Mangog. The group, which features bassist Bert Hall, also of Beelzefuzz and formerly of Revelation, and drummer Mike Rix, formerly of Iron Man, will make their full-length debut through the label early next year with the ominously-titled Mangog Awakens, a follow-up for their initial EP, Daydreams Within Nightmares.
Looking forward to getting a glimpse of these guys live at Maryland Doom Fest this weekend. The label sent the following background info along with word of the signing:
ARGONAUTA RECORDS – NEW SIGNING: MANGOG
Beyond proud to announce that US doomsters MANGOG are now part of our family!
Mangog is a doom metal band based out of Baltimore, Maryland. Formed by bassist Bert Hall Jr. (Revelation and Against Nature), Drummer Stephen Branagan (Revelation, Against Nature and Yet So Far), Major Company’s Bassist Darby Cox and Final Answer’s Vocalist Myke Wells. In February of 2015 Drummer Mike Rix (formally of doom legends IRON MAN) replaced Steve Branagan.
After a year of REVELATION and AGAINST NATURE being on hiatus, bassist Bert Hall Jr. (now on guitar and vocals) assembled a lineup to form a dark alliance founded on the copious use of punishingly heavy riffs, odd ball time signatures (13/8 anyone?) and dystopian lyrics. The band entered the studio in March 2015 and recorded their debut EP titled “Daydreams Within Nightmares”. One year later in 2016 the band completed recording its first full length CD “Mangog Awakens”, and was signed to Argonauta Records.
The band says: “Mangog would like to thank Gero for singing us to Argonauta Records, he has fastly become our fifth band member in a sense and we look forward to his expertise and guidance in our future collaboration with this great label.”
The album MANGOG AWAKENS will be released in CD/DD by early 2017.
MANGOG are: Myke Wells – Vocals Bert Hall Jr. – Guitars/Vocals Darby Cox – Bass Mike Rix – Drums