Review & Full Album Stream: Wino, Forever Gone

Posted in audiObelisk, Reviews on June 24th, 2020 by JJ Koczan

wino forever gone

[Click play above to stream Wino’s Forever Gone in full. Album is out Friday on Ripple Music with preorders here for US and here for EU.]

It is overwhelming to consider the tumult of the decade between There’s a simple and enjoyable way of studying - buy professional ksa writing samples prepared by academic experts of our agency. Our assignment writing Scott “Wino” Weinrich‘s 2010 debut solo album, Amazing UK review of related literature definition Service. We tend to like custom-made products, although most of us do not buy a lot of them. They are usually more Adrift (review here), and this follow-up, Yelp is a fun and easy way to find, recommend and talk about. Someone do assignment for me, , architecture essays architecture Forever Gone. The dissolution of Write My Papersin Canada - professional application letter Louisiana State University, Georgia State University Shrinebuilder, the acoustic collaboration with German singer-songwriter No Homework Pass Edhelper offers custom labor report development and design for your unique information requirements. Conny Ochs, the tenure fronting Compelling speeches written by our professional speech writers – why you need to How To Write A College Application Essay 000 Word such as informative speech from us Saint Vitus that ended in an arrest in Norway for amphetamine possession and subsequent ban from Schengan Area countries in Europe — which was a five-year sentence, but still resulted in his being unable to tour there last year — as well as reunions first with Looking for Essay blog link? Our competent essay writers offer essay help that remove your all worries. Get discount on all orders! The Obsessed, then Buy Quick and Research Paper Buying Behavior It is common to find clients asking the question “how to find the best writer to write my essay for me?” Fast Spirit Caravan, then Description WFTS in Tampa, FL is seeking a full-time blog here. This position is responsible for sourcing great content and managing logistics for Spirit Caravan becoming My Assessment Of Critical Thinking - 100% non-plagiarism guarantee of unique essays & papers. Composing a custom paper means work through lots of stages Essays The Obsessed and changing its lineup before putting out their first album in two decades. Through all of this and the inevitable whatever-it-was I left out, my site for Assignment Help, Essay Writing Service. 500 writers, 4.8 average Satisfaction Score, Money-Back Guarantee. Weinrich continued to perform solo acoustic shows, and so the notion of a second album was never completely absent, but apparently it took some doing to make it happen.

But if it was http://www.canacocampeche.org.mx/essay-creatorcom/. You get all the advantages, you only can get – and all you have to do is fill in the application and buy an essay! Weinrich‘s goal to channel living through those years into the craft and performance of aqa drama written paper help - Business Plan Writing Services Australia Wide. Professional, Affordable Business Plans For Lenders and Investors: PH: +61 419 396 903 Forever Gone — released through help me do my statistics homework cheap dissertation writing service How To Write what are employee final review architectural dissertation Ripple Music where There’s a simple and enjoyable way of studying - buy Help With Writing A Dissertation Advice samples prepared by academic experts of our agency. Our assignment writing Adrift was on Exile on Mainstream — it comes through as a palpable emotional and atmospheric weight in songs like the opening title-track, “No Wrong” and “Lavender and Sage,” and the penultimate “Was, Is and Shall Be,” the latter two of which feature guest vocals. Thinking of arrangements as compared to the 2010 offering, Forever Gone feels much less restricted to a guy-and-guitar aesthetic. There’s the slide in “You’re So Fine,” drums and electrics on “Dark Ravine,” an electric solo woven into early highlight “Taken” and vocal layering used sporadically throughout. The effect this has is to make minimalist moments like “The Song’s at the Bottom of the Bottle” and “Dead Yesterday” — which if nothing else certainly feels like a thematic answer to “Forever Gone” itself — stand out all the more, conveying the loneliness, regret and contemplation at root in some of the material while still leaving room for hope in more expansive pieces like “Dark Ravine” or the closing Joy Division cover “Isolation,” which comes through almost as a full-band, with drums, electric and acoustic guitars, and multiple layers of voice.

That finale should be readily enough familiar to those who’ve kept up with Wino‘s solo work live in the last eight or so years, and it’s also one of several of the pieces throughout Forever Gone that draws from the Wino & Conny Ochs collaborations. “Isolation” appeared on their Labour of Love 2012 Latitudes session (discussed here), while “Dead Yesterday” and “Dark Ravine” appeared on that same year’s full-length debut (also on Exile on Mainstream), Heavy Kingdom (review here), and “Crystal Madonna” and “Forever Gone” itself featured on Freedom Conspiracy (review here) in 2015. As Forever Gone is serving double-duty as the beginning of a series of acoustic-based Ripple releases called ‘Blood and Strings,’ it’s not like anyone’s trying to pass these off as brand new — Wino isn’t “getting one over” or anything like that — but the familiarity of some of the material and the refresh on the arrangements gives them new life and while obviously Weinrich is at the center of all the material, the work of producer Frank “The Punisher” Marchand isn’t to be ignored when it comes to the finished product of Forever Gone.

scott wino weinrich

Whether it’s intertwining electrics and acoustics at the start of “Taken” or giving a sense of space through subtle vocal echo thereafter, or highlighting the classic blues rock feel of “You’re So Fine” to bring a moment of joy between the more melancholic “Dead Yesterday” and “Crystal Madonna,” each strum is as crisp as it wants to be, and Wino‘s voice comes through with no less instrumental detail, the product of decades of living and singing hard manifest in making the languid melody of “Lavender and Sage” feel like something earned rather than simply adopted as a stylistic choice. Part of that of course stems from the narrative of Wino‘s career itself, but if ever there was a place for such context and for his personality to come through as sharply as it does, Forever Gone would seem to be it, and Marchand is due much credit in making that happen.

Weinrich‘s in-genre legacy is well established through his work in The Obsessed, Saint Vitus, The Hidden Hand, etc., and doesn’t need to be recounted here anymore than it already has. What comes through most on Forever Gone is that, rather than seeing an artist resting on his laurels and self-indulgently pushing through 11 songs and 45 minutes of assembled material, Wino here brings the unmistakable character of songwriting and passion of performance that has made him the figurehead he is. It is an indelible mark of his work and whether it’s in the relatively uptempo version here of “Dark Ravine” or in “Crystal Madonna” — which was a highlight of Freedom Conspiracy and is one on Forever Gone as well — it is the foundation on which these songs, new and old alike, are built. With the variety in arrangements and guests in and out adding to Weinrich‘s vocals and guitar, there is a sense of completeness about Forever Gone that feels progressed forward from Adrift even as it stays loyal to the form.

It is impossible to know where the next decade might take Wino as a performer or a human being, but with this collection, his place as America’s Godfather of Doom is reaffirmed even as he breaks the confines of doom itself; though anyone who tells you Forever Gone isn’t heavy needs to recheck their definition of the word. As vibrant as this material is, and as much as it brims with the passion and creative intensity that brought it to bear in the studio, there continues to be a heft that is either underlying or at the fore, moving no less dynamically than the arrangements of the songs throughout, and no less crucial to the understanding of what this record is. I’ve said before, on plenty of occasions, there’s only one Wino. That’s where the count remains. And if Forever Gone is his way of marking the passage of the last 10 years, it is of due substance to be up to that task.

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Morton Gaster Papadopoulos Premiere “The Burnt Offerings”

Posted in audiObelisk on June 22nd, 2020 by JJ Koczan

Morton Gaster Papadopoulos

If the guys from Morton Gaster Papadopoulos aren’t careful, they’re going to end up being an actual band. You might recall last summer a jam was premiered here by the project featuring Yanni Papadopoulos of Stinking Lizaveta, Jean-Paul Gaster of Clutch and Mark Morton from Lamb of God, and the trio are back with what might legitimately be called a single in the form of “The Burnt Offerings.” The new track brings them into more structured songcraft, and they sure sound like a band. With Naeemah Maddox on vocals and Chris Brooks on keys, “The Burnt Offerings” wants nothing for arrangement or intensity, and while noting that something “speaks to the moment” has actually become one of the moment’s most brutal cliches, Maddox‘s voice as a woman of color resonates in the early verses. It is a voice that needs to be heard, especially in an underground so predominantly, exhaustingly white and male.

Morton Gaster Papadopoulos naeemah maddox chris brooks

“The Burnt Offerings” runs just under six minutes and right about at its midpoint there’s a break. By that point, Maddox has locked step with a building rhythmic intensity, and from there, Brooks‘ keys take a prominent position alongside a solo from Morton, with clean lines from Papadopoulos and Gaster supporting. The vocals return soon, and the effect is progressive and sweeping, almost psych-Beatles-style melodymaking, but the protest-song spirit continues in the repeated lines, “Let me tell you something/I think you oughtta know.” The group — and for the purposes here, it feels very much like a five-piece rather than the trio plus two guests — ride that movement out to a last crash and some final keys, but the only thing that seems to stop it is them. I’d easily take another 10-15 minutes of that jam with Maddox improv’ing lines overtop. That’d be just fine.

Alas, not this time. Maddox and Papadopoulos were both kind enough to offer a few words about the making of “The Burnt Offerings” — which was recorded by the esteemed J. Robbins (Clutch, Caustic Casanova, and so on) — below, and graciously gave permission for me to host the single as both a premiere and a free download. I hope you’ll take the time to enjoy it and join me in waiting for whatever the project might come up with next.

Dig:

Naeemah Maddox on “The Burnt Offerings”:

In the current social climate it is no longer sufficient to be non-racist. One must be anti-racist. This moment demands true accountability, and real change.

Transnational corporations stating their support for BLM should only be taken as sincere if they also advocate and lobby for social reforms like a living wage, universal healthcare, and defunding and demilitarising the police; using these new freed up resources to reinvest in vulnerable communities that need it most.

The time has long passed for petty sloganeering and cynical tokenism. Being against police brutality in 2020 shouldn’t even be a political issue. This is a failure of our society and goes beyond political persuasion. This is about human rights and creating a world our children would want to live in.

Yanni Papadopoulos on “The Burnt Offerings”:

This were my riffs that I brought to the table when jamming with Mark and JP. Those guys took the parts and rearranged them in a less linear order and Mark added his own fills in the spaces. Of course Naeemah wrote her own parts to the arrangement with lyrics, vox and flute. Chris Brooks filled in the keys. However, it all started with a bassline which I thought JP could really sink his teeth into. J. Robbins was great to work with, he knew just how to make sense of it all. What your hearing is virtually a live in the studio track. Mark’s solo was cut live with bass and drums with no edits. First take magic!

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Dee Calhoun Posts “No Justice” Video; Godless Preorder Available

Posted in Whathaveyou on June 9th, 2020 by JJ Koczan

Imagine that when Dee Calhoun wrote the track “No Justice” he was talking about one incident. That was the world in the before-times, the long-long ago. And I’m not noting that to downplay the tragic loss what was the shooting of Rev. Jim Forrester of Foghound, Sixty Watt Shaman — the community around Maryland doom is still reeling from that, and rightly so — but these days one could easily look around and say, “Yeah, ‘No Justice,’ but could you be more specific?”

Calhoun‘s new record, Godless, is set to arrive on July 10 in a continued partnership with Argonauta Records. Preorders are up and for those seeking something of a dark acousti-metal flavor, I know of few parties who might be able to deliver with the boom Dee has in his voice and the passion for what he does. My two cents.

Info and video came down the PR wire:

dee calhoun

DEE CALHOUN, voice of iconic IRON MAN & SPIRAL GRAVE, releases system- critical video of “No Justice”!

Brand new album, Godless, coming out July 10th on Argonauta Records!

July 10th, 2020 will see Dee Calhoun, voice of iconic doom titans, IRON MAN, and SPIRAL GRAVE release his upcoming, third solo- album titled Godless. The haunting and dark, entirely acoustic affair, was recorded in Dee’s home studio, The DustBuster in Walkersville, MD. The mastering was done by Doug Benson in nearby Thurmont MD at the Commodore Recording Studios. Dee handled vocals, guitars and other various instruments, while Dee’s Iron Man and Spiral Grave bandmate, Louis Strachan, provided the bass tracks. Dee’s son Robert, “Little ‘Houn” Calhoun, appears on the record with percussion and backing vocals performances.

Today, Dee is presenting us a very special song taken from Godless, to the touching and system- critical track “No Justice”. “I wrote this song for the great Rev. Jim Forrester, who was bassist for Foghound and beloved by the Maryland Doom scene.“ Dee explains. “It was written on the day his murderer was acquitted, and all of us who loved Jim again felt betrayed by the system in this country. In recent days, that idea has taken on a much bigger scope. As we now sit and watch the response to injustice, we can only hope that steps are being taken to assure that there will be a change, and that betrayal, heartbreak, and death from this broken system can be eliminated.”

Dee Calhoun began his musical journey nearly 40 years ago, and first appeared on record in the late 1980s. Aside being the vocalist of Spiral Grave, he was the singer and lyricist for Doom icons Iron Man from 2010 until the passing of founding member Alfred Morris III in 2018, appearing on two of their EPs and the critically acclaimed 2013 LP South of the Earth. Calhoun released two critically acclaimed solo-albums to date, his new album Godless will be available on July 10th via Argonauta Records. The pre-sale is now available at THIS LOCATION.

‘Godless’ album lineup:
Dee Calhoun: voice, guitars, keyboards, harmonica, ukulele, kazoo
Louis Strachan: bass guitar
Robert Calhoun: backing vocals, percussion

additional performers:
Meghan Randall: flute solo on “The Day Salvation Went Away”
Alfred Morris III: guitar effects on “Prudes, Puritanicals, Puddles of Piss”

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
www.argonautarecords.com

Dee Calhoun, “No Justice” official video

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Revvnant Posts “The Revenant” Video

Posted in Bootleg Theater on May 20th, 2020 by JJ Koczan

revvnant

Industrial music has always been about isolation. As peppered as the ’90s were with caricature images of spiky-haired ravers dressed in black engulfed by dark mechanical sounds, the actual processes by which the likes of Nine Inch Nails, The Electric Hellfire Club and others patterned their work were much more singular. Locked in a room in keyboards, synthesizers, recording gear. There’s a romance to it, but even that is the romance of loneliness. Is it any wonder industrial music is swinging back around as hard as it is?

To wit, Revvnant, the new solo vehicle of Elias Schutzman (also of Black Lung, formerly of The Flying Eyes) plus a few others, have a new single: “The Revenant.” With lyrics building from Baudelaire — that most junk-wagging of French poets — and a video that includes an apparently-real human skull, there’s no shortage of theatricality to the clip that accompanies the song, but industrial music always had an eye toward presentation anyway, and so Schutzman and Anne Godoneo are right on target in that regard. The song, though, is more than just a display of affection for Pretty Hate Machine, as its weighted guitar and post-rock/metal sensibility bores through the rhythmic intensity surrounding and an overarching vocal melody floats above the wash.

The video — a product of quarantine and thus all the more fitting the loneliness discussed above — comes with a warning for those who are sensitive to flashing images, and it’s well earned. If that’s you, I might suggest checking out the Bandcamp page instead, where I’m sure the song will show up sooner or later. “The Revenant” has something of a different stylistic feel than either “Automatic” (posted here) or “The Second Coming” (posted here) which preceded it, but as Schutzman builds out the project, one can increasingly get a sense of the richness and scope as it expands, and that’s only becoming more exciting a prospect the farther he goes.

Enjoy:

Revvnant, “The Revenant” official video

WARNING: This video may potentially trigger seizures for people with photosensitive epilepsy.

Created by Anne Godoneo
https://www.annegodoneo.com
https://www.instagram.com/annegodoneo

“The Revenant” is the eponymous second single from Revvnant, a musical adaptation of Charles Baudelaire’s darkly sinister poem “Le Revenant”. Set against the backdrop of pulsating drum machines, heavily distorted synths and Schutzman’s haunting vocals, it’s reminiscent of Kraftwerk and Nine Inch Nails, while sounding completely unique. The video, created by Brazilian photographer and video artist Anne Godoneo, is an intense visual experience, equal parts eerie, entrancing and mind melting. Using occult and devilish imagery from classical artwork, as well as a real human skull, Revvnant embraces their identity as a Satanic artist, not afraid to deal in blasphemy. The video was created remotely while both Schutzman and Godoneo were locked down in the Covid-19 pandemic, using the tools they had available at home.

Revvnant is the new creation of songwriter Elias Schutzman (drummer of The Flying Eyes and Black Lung) that finds him leaving percussion behind for analog synthesizers, drum machines and fuzz pedals. Drawing from the realms of trip-hop, dream-pop, industrial and doom, the sound cannot be defined by any one genre. Although Revvnant is Elias’ solo vision, the band is a shape-shifting outfit of collaborators, including Trevor Shipley on keyboards and Sidney Yendis (mem. of Burnpilot) on drums. Revvnant’s first show was a sold out support gig for Orville Peck in 2019, and this year the band was scheduled to make their debut festival performance at Freak Valley Festival with Pelican, Witchcraft and Elder. It’s now been rescheduled to 2021, for obvious reasons. For now, enjoy “The Revenant”… and Hail Satan.

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Dee Calhoun to Release Godless July 10 on Argonauta; Teaser Posted

Posted in Whathaveyou on May 14th, 2020 by JJ Koczan

When current Spiral Grave and former Iron Man singer Dee Calhoun checked in at the start of April for a Days of Rona feature, he curiously didn’t mention the new album he’d be putting out in July, but sure enough, here we are with Godless due July 10 on Argonauta Records, which has stood behind all of his solo releases to-date. Godless would seem to pick up in theme right where 2018’s Go to the Devil (review here) left off, and you can see the cover art below looks more like Slayer circa God Hates Us All than anyone one might expect from a record that’s probably going to be largely acoustic in form. Speaking of: hey Dee, how about a cover of “New Faith?” I think it could work unplugged.

The PR wire checked in with album details and a teaser clip that’s actually been out for a while it would seem. Fair enough. In addition to some flute courtesy of Meghan Randall, you’ll note a posthumous appearance from Iron Man guitarist Alfred Morris III and a returning vocal spot from Dee‘s son, Robert Calhoun, as well as former Iron Man/current Spiral Grave bassist Louis Strachan once again sitting in.

Info follows:

dee calhoun godless

DEE CALHOUN, the voice of iconic IRON MAN, reveals details & teaser for upcoming solo-album!

Godless coming July 10th on Argonauta Records!

The voice of iconic doom titans, IRON MAN, and SPIRAL GRAVE vocalist DEE CALHOUN, revealed the details about his upcoming, third solo- album titled Godless. Slated for a release on July 10th via powerhouse label Argonauta Records, today Dee is not only presenting us the cover art, tracklist and release info about Godless, a haunting and dark acoustic affair, but also a first video teaser!

“To say that I am excited about this album is an understatement.“ Dee comments. “I began writing the songs on it shortly after Go to the Devil was released, and a lot of this was written during some very turbulent times. I think there is a blunt honesty in this record that people will identify with. I’ve played some of these songs live, and the response has been amazing.”

Godless was recorded in Dee’s home studio, The DustBuster in Walkersville, MD. The mastering was done by Doug Benson in nearby Thurmont MD at the Commodore Recording Studios. Dee handled vocals, guitars and other various instruments, while Dee’s Iron Man and Spiral Grave bandmate, Louis Strachan, provided the bass tracks. Dee’s son Robert, “Little ‘Houn” Calhoun, appears on the record with percussion and backing vocals performances.

Get a preview of DEE CALHOUN’s upcoming album Godless with this first and promising teaser HERE!

Godless Tracklisting:
01. Here Under Protest
02. Godless
03. The Moon Says Goodbye
04. Hornswoggled
05. To My Boy
06. Spite Fuck
07. No Justice
08. Ebenezer
09. Ride Away
10. The Greater Evil
11. The Day Salvation Went Away
12. Prudes, Puritanicals, Puddles Of Piss

‘Godless’ album lineup:
Dee Calhoun: voice, guitars, keyboards, harmonica, ukulele, kazoo
Louis Strachan: bass guitar
Robert Calhoun: backing vocals, percussion

additional performers:
Meghan Randall: flute solo on “The Day Salvation Went Away”
Alfred Morris III: guitar effects on “Prudes, Puritanicals, Puddles of Piss”

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
www.argonautarecords.com

Dee Calhoun, Godless teaser

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Days of Rona: Willy Rivera of Spiral Grave

Posted in Features on May 13th, 2020 by JJ Koczan

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

spiral grave willy rivera

Days of Rona: Willy Rivera of Spiral Grave (Stafford, Virginia)

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

At the moment, Spiral Grave is on hold with everyone focusing on their work responsibilities and trying to stay healthy. We had begun writing new material since the debut full-length is already recorded and we had begun talking to labels for an official release but we had to pump the brakes once the restrictions and curfews came down being that I live in Virginia and the rest of the band resides in Maryland. All things considered, everyone’s in good spirits but itching to get back at it since we were making a lot of process and building some serious momentum for the band prior to the pandemic hitting.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

I’d say piss poor,at best. They were completely unprepared for what we were dealing with and the magnitude of the effect it would have on the citizens of this country. From the medical supplies,their inability to make effective&competent decisions in a timely manner, providing the public with the right information,being more concerned with the economy than the safety of the American public and the mishandling of the stimulus program… not to mention, how is $1,200 supposed to counteract people’s ever mounting financial issues considering most Americans live paycheck to paycheck and probably had little if any money put away?

The media has also played a hand in not providing the public with the pure facts, choosing instead to sensationalize and push an agenda of fear. Don’t get me wrong, you should respect the power and impact of this virus but choosing to focus on the number of dead and having little to almost no coverage of those who’ve recovered from it surely shakes what little faith I already had in corporate media. On the flipside, I do believe that some on the local and state levels have done more to keep their citizens safe than the Federal government by enforcing restrictions,curfews,social distancing,supplying those in the emergency fields with the required PPE and only having “essential” businesses open but some of the public is still choosing to stretch the rules when they can or try to ignore them completely.

There’s a difference between having your rights stripped and having your privilege inconvenienced. Our actions have repercussions and choosing to be flippant about your safety is one thing but when it endangers the health of those around you, that’s a problem. Trust me, I hate wearing the masks and I want my life back but this is our current reality so we just gotta push through it and do the right thing.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

It was a serious bummer initially because music AND creativity got tossed aside and all I could do was work. I was working crazy hours and I was trying to take as much overtime as possible because we didn’t know if we’d be shut down as well and we’d have the rug pulled out from under us. You can only keep that pace for so long until it starts to wear on you and you don’t have your usual outlet to channel your angst through. Not to mention,not being able to see my friends, express myself or follow through on building something fruitful with a great girl that I’d just met because everything was put on hold besides work. So all of the things that would bring me joy were traded for working a thankless job… but in hindsight, I’m grateful for the paycheck because I know a lot of people who are struggling right now with greater financial responsibilities than I. I’ve started writing again,now that my head is clear again and I’m getting my chops back up so we can hit the ground running when this blows over finally.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

I would just ask people to have patience and be kind to each other. Unfortunately,this pandemic has shown both the best and the worst in people as is usually the case but I think what we need right now is a little bit of empathy so that we can think of someone other than ourselves. It’s easy to be self-consumed and get bogged down in feeling sorry for yourself. I was incredibly happy with my life right before this pandemic struck. I had started a new position at work, the band was doing great and I had met an amazing girl and then that all went to pot once this thing struck but compared to what others are dealing with, I can’t really complain. I’ve had a steady check coming in,a roof over my head and my health so once this blows over, I’ll be ready to pick where I left off with everything and live life as fully as I can.

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https://spiralgrave.bandcamp.com/
www.facebook.com/SaltOfTheEarthRec
www.saltoftheearthrecords.com

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Maryland Doom Fest 2020 Reschedules for Halloween

Posted in Whathaveyou on May 4th, 2020 by JJ Koczan

Maryland Doom Fest 2020 has announced it will now take place over Halloween weekend in its long-established home of Frederick, MD. Cirith Ungol, Blood Ceremony, Speedealer, The Gates of Slumber, Death Row Assembly, Worshipper, Witch Mountain, The Skull and a ton a ton a ton a ton of others are still playing, and if you had tickets for the original dates next month, they’re being honored.

That’s all you need to know. So just remark your calendar and have done with it. What will the world look like in October? Hell if I know, but we’ll all be ready for some doom either way.

Here’s the news:

maryland doom fest 2020 rescheduled

The Maryland Doom Fest celebrates its sixth anniversary in 2020, today they confirm a reschedule of the event, now set for Halloween Weekend – October 29th through November 1st, 2020!
The official word from JB Matson, founder of Maryland Doom Fest:

“In these trying times, we hope each of you are healthy & happy. The current state of the world has forced us to postpone Maryland Doom Fest 2020, so that we can properly party down MDDF style.

The new 2020 dates are on Halloween weekend!! OCTOBER 29 thru NOVEMBER 1. We anxiously look forward to a fantastic #4daysofdoom in October!! DooM.”

Maryland Doom Fest brings artists from all over the map into Frederick, MD for a full four days of mayhem, featuring headliners Cirith Ungol, Blood Ceremony, Speedealer and The Gates Of Slumber all set to headline the four nights of top shelf doom metal and heavy underground sounds!

This sixth festival year includes over fifty of today’s heaviest bands to cover every dark and dank corner of metal sub-genres from start to finish each night. We invite all to become part of the family at the Maryland Doom Fest 2020 events! Please support the Doom and Heavy Music scene and come share in this epic weekend with us.

THE MARYLAND DOOM FEST 2020

Now October 29th – November 1st, 2020

Frederick, MD at Cafe 611 & Olde Mother Brewing

CIRITH UNGOL + BLOOD CEREMONY + SPEEDEALER + THE GATES OF SLUMBER

THE SKULL + WITCH MOUNTAIN + WORSHIPPER + DEATH ROW ASSEMBLY

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

Tickets on sale now! All previously purchased tickets will be honored for the new dates.

RSVP: http://tiny.cc/mddf2020rsvp

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https://www.facebook.com/MdDoomFest/
https://www.instagram.com/marylanddoomfest/
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Maryland Doom Fest 2020 playlist

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Foghound Release Benefit Single “Turn Off the World” for Movable Feast Baltimore

Posted in Whathaveyou on April 27th, 2020 by JJ Koczan

New material from Baltimore’s Foghound is always welcome, and as ‘Turn Off the World’ arrives today it does so not as the first benefit single the four-piece have put out. Come to think of it, in terms of prefacing an album or another kind of release, they could certainly do far worse. In this case, the proceeds from “Turn Off the World” go to Movable Feast, which helps not only feed, but council people on nutrition who are sick with terminal or life-threatening illnesses. Obviously someone with a specific kind of cancer is going to need different kinds of food than someone with HIV, so it’s no minor service and clearly goes beyond buying groceries for people or — in a far-more dickheaded example — just tossing paper towels and other such goods their way.

Adding another level of interest is the fact that “Turn Off the World” unites Foghound with another Marylander powerhouse in producer Noel Mueller. This is a significant pairing, and the results on “Turn Off the World” speak for themselves. The track was recorded in January, and one only wonders if there could possibly be more to come from that session?

Until we find out, the cause is just and the track is righteous and if you need more than that, you’re on the wrong site.

To the info:

foghound turn off the world (art by bill kole)

FOGHOUND – Turn Off The World

As everyone is very aware, these are strange and extraordinary times we are living in right now.

With the Covid 19 outbreak, subsequent shutdowns, social distancing and quarantines in effect, those already in vulnerable positions find themselves in an even more disadvantaged place than before.

In times like these we have to band together, lend a hand of support and help those less fortunate get through these tough times as well.

While we may not be able to play any benefit shows for the time being, Foghound is proud to release our timely new single “Turn Off The World” as a name your price charity single through Ripple Music, as well as t-shirts featuring the accompanying artwork by Bill Kole, with 100% of the proceeds going to benefit Moveable Feast.

The T-shirt presale order link will be open from Monday April 27th until Monday May 25th. We will then be getting the t-shirts ordered and printed for all those that purchased. We will not be getting extras made, these are being made on a per order, limited edition only.

T-shirts will be available for mail order( + postage), local pickup (maybe a show, if we ever get to have those anytime soon, or through band members as scheduled) and there will also be scheduled local delivery days to be determined in the future.
Please allow us a few weeks after the end of sale date to get them printed, shipped and/ or available for delivery.

The mission of Moveable Feast is to foster a community that cares for men, women and children living with HIV/AIDS, cancer, and other life-threatening illnesses by preparing and delivering nutritious meals and groceries and providing nutritional counseling and other services.

100% of the proceeds will go directly to Moveable Feast to enable them to keep providing their much needed services to the community.

This single was recorded back in January of this year at Tiny Castle Studio with Noel Mueller at the helm of engineering, mixing and mastering.

We would like to thank all at Ripple Music for releasing and hosting via their site, Bill Kole for the awesome artwork, Sage Printing, and we thank you all for your help and support.

Please share the link and donate what you can.

For more information on Moveable Feast: https://www.mfeast.org/

T-shirt link here: https://foghound.bandcamp.com/merch/turn-off-the-world-benefit-t-shirt-shipped

Foghound are:
Chuck Dukeheart, III – Drums, Vocals
Dee Settar – Guitar, Vocals
Bob Sipes – Guitar, Vocals
Adam Heinzmann – Bass

https://www.facebook.com/foghoundbaltimore
http://foghound.net/
https://ripplemusic.bandcamp.com/
https://www.facebook.com/theripplemusic
http://www.ripple-music.com/

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