Making Clutch’s “Hot Bottom Feeder” Crab Cakes

Posted in Bootleg Theater on July 31st, 2018 by JJ Koczan

clutch hot bottom feeder recipe

I have to think there are a decent number of Clutch fans having crab cakes this week. Certainly ever since the Maryland lords of groove unveiled their new single last Friday I’ve had the notion in my head. If you haven’t seen it, the track in question, “Hot Bottom Feeder,” comes from the four-piece’s impending album, Book of Bad Decisions, which is out Sept. 7 on Weathermaker Music, and the lyrics, as shown in the video at the bottom of this post, are a recipe for crab cakes. In the clip, vocalist Neil Fallon takes the audience cooking-show-style through the process and after he serves the results to guitarist Tim Sult, bassist Dan Maines and drummer Jean-Paul Gaster, the ending is actually a recipe card for what’s described in the verses. I decided to try it out.

Now, I’m an individual of particular taste when it comes to any number of things, food among them, but I’ve had a few Maryland crab cakes in my time. They’re a regional delicacy of the Chesapeake watershed and if I’m in the area and feeling flush with cash, I usually try to pick a few up frozen to bring home back north. Hasn’t happened in a while though. And a crab cake recipe from Clutch? It couldn’t be any more Maryland if it was a Baltimore Ravens bumper sticker. I hit the local fancy-ish grocer — not the super-fancy grocer, but the pretty fancy grocer — to see if they had any genuine Maryland crab meat. As the first words in the song go, “Never mind that stuff they sell from Vietnam/Get it from the Chesapeake but never from a can.”

The track recommends Backfin, but as Fallon notes, “There’s nothing wrong with Special.” I grabbed a container of what I thought was from Maryland because that was the address on back of the package, but found out after I brought it home it said “Product of India” on the top of the lid. I know I’m old because I suck at reading packages now. Used to have that down. So not a great start, but one presses on. I assembled ingredients: Some whole wheat bread crumbs because I have food issues and authenticity is a myth so keep the 4C. Ground mustard. Mayo. Butter. A raw egg. Some fresh chopped parsley. I’m not huge on parsley and was going to get it dried, but remembered in the video the shot of Fallon chopping it. I’ve trusted Clutch on way more serious issues than garnish herbs, so I rolled accordingly. The idea, after all, was to follow directions.

I was surprised there was no call for Old Bay Seasoning, but again, not my recipe. I resisted all kinds of temptation to embellish. Maybe some jalapeno pesto in there instead of mayo? Maybe some paprika and red pepper flakes to give it a kick? Nope. Keep it simple. This is folk food. It’s not meant to be elaborate. It’s meant to be something you make for your friends and/or family on a Monday afternoon. And yes, with The Patient Mrs. looking on — she doesn’t eat anything with a face, so I knew that was out — I did let The Pecan sample some crab meat as I made my way through the preparation.

Separating said Product of India in my fingers was probably the most time-consuming part, but there wasn’t much shell to find, so that was okay. I threw my ingredients all together in a mixing bowl and got a 1/2 cup measuring cup to shape the actual cakes. In the song, Fallon uses a biscuit cutter. I looked for one at the store, but no dice, so I made do with what I had. They turned out to be a pretty good shape, so as instructed, I stuck them “in the reefer” for a while to cool off, then browned some butter in a pan — also substitution, since “Hot Bottom Feeder” calls for a cast iron skillet; well, all my skillets are in another state, so again, I made do — put the baby on my shoulders and began to fry them on each side.

I didn’t cook a full pound of crab meat, because that’s an awful lot for basically me, but I wound up with three good-sized crab cakes that were awesome. And for all my doubting, I think the fresh parsley actually made a huge difference. Making them made me think about some of the other crab cakes I’ve had, and the difference that some of the “to taste” balances make — some with too much mayo, some with too much mustard, too much breadcrumbs, etc. On the whole, I was pleased. I had two for lunch, without my favorite beverage because time’s always a press these days and I wasn’t exactly eating to relax, and was kind of sitting on the third until I decided to call my mother and have her over for the third. She said it was delicious. Nice to have that support.

“Hot Bottom Feeder” is maddeningly catchy and I hope Clutch like it because it’s the kind of song that’s going to feature in live sets for years to come. I’d never made my own crab cakes before, but the chance to dig into this recipe was too good to pass up, and I sincerely doubt this will be the last time I make it. This week. My particular taste? Well satisfied.

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Live Review: Maryland Doom Fest 2018 Night Three, 06.24.18

Posted in Features, Reviews on June 26th, 2018 by JJ Koczan

maryland-doom-fest-2018-night-three-poster

Before I get started on the last night of Maryland Doom Fest 2018, I want to thank JB Matson and Mark Cruikshank for the incredible work they’ve put into making this event something truly special. Think Maryland was ready for a festival to help define and codify its generations-spanning underground scene? Maryland Doom Fest has done so in four years’ time, and not only has it helped give an understanding to what Maryland doom is, but it’s working actively to broaden those horizons as well. And its reach is growing. Not only in bands. Last night the dude standing to my left was there with friends from Portland, Oregon, and to my right was a handful of folks from Albuquerque, New Mexico, all packed right at the front of the stage. It’s growing, and quickly.

But as Maryland Doom Fest enters what might be its Golden Age in presenting shows people will talk about years later — “ah yeah, were you at Doom Fest when Windhand played?”, etc. — the event has also kept its head on its shoulders about the work in progress. It’s a grounded experience, very much of its place, and a thrill to be able to return here and see it, especially after missing last year. I very much hope to be back to Frederick and back to Cafe 611 in 2019.

I don’t mind telling you I rolled into the venue in time to catch the first band feeling like I’d had my ass kicked up and down 6th St. already — because I had, two days running — but the momentum of the final day of Maryland Doom Fest 2018 was as thick as the riffs and it was a pleasure to be shoved along to a riotous finish.

Happened like this:

Gateway to Hell

Gateway to Hell (Photo JJ Koczan)

Baltimore natives Gateway to Hell started a few minutes late, which unless I’m mistaken resulted in a shortening of their set. If so, all the more a bummer, because when they were done, I wanted more. They made their debut last year with the EP, Clovers (review here), and though I had a more metallic impression of them in my mind from that going into their set opening the last day of Maryland Doom Fest 2018, with an orchestra of effects there was an experimentalist psych edge to the guitar work of Alex Briscoe that blended with straight-ahead rhythms from bassist Eric Responsible (who wins the weekend as regards surnames) and drummer Dan Petrucelli, all of which gave frontman Jerrod Bronson ground to belt out lyrics over top. They had intense moments to be sure, but I wondered if their next release might bring more of that weirdo sensibility to bear in their sound. Fingers crossed. It worked really well on stage.

Bedowyn

Bedowyn (Photo JJ Koczan)

Comprised of vocalist/guitarist Alex Traboulsi, guitarist Mark Peters, newcomer bassist Channing Azure and drummer Marc Campbell, Raleigh, North Carolina’s Bedowyn were about as close as Doom Fest got to black metal this year, and well, it was pretty close. Bedowyn, who got their start in 2011 and have an EP and full-length under their collective belt, blend that genre with a handful of others — thrash, classic metal, heavy rock, and so on — to conjure an aggressive but still poised sound, and Traboulsi‘s vocals turned from screams to sort of cleaner shouts while Campbell‘s drums held together all the part changes and stylistic turns. They went on early, so got an extra five minutes to play and made the most of it as a standout coming from someplace different than just about everything on the bill, which, again, was packed the whole way through. Also, if I remember right, I was told Campbell played drums with two broken fingers, thereby earning immeasurable bonus points. So there’s that too.

Saints and Winos

Saints and Winos (Photo JJ Koczan)

I guess everyone was on the 4:15 doombus to Frederick, because all of a sudden I turned around and the room was was pretty full for Saints and Winos from Rochester, New York. Mixing clean and harsh vocals, they tipped hats to more extreme and sludgy sounds, but had their basis in heavy rock and roll and a somewhat classic style, with plenty of low end fuzz and metallic swing very much in the spirit of the weekend in those terms and as regards general ease of pace. Their debut album, the all-caps WE RISE, came out late last year and featured three-part harmonies from guitarist Joe Dellaquila, bassist Amanda Rampe and drummer J.B. Rodgers on songs like “Great Wall,” and there was some of that on stage as well but it didn’t quite come through the house P.A. with the same kind of balance. Hazards of being the third band on the bill with complex arrangements. They were engaging enough to make me dig into the record anyway, and while there’s room to grow in their sound, it was plain to hear that potential during their set.

Book of Wyrms

Book of Wyrms (Photo JJ Koczan)

Look, I don’t want to say classic doom will never die, because let’s face it: everything fucking dies. Someday the ocean is going rise up and eat us all about 30 seconds before the asteroid hits and splits the planet in two, only to be later consumed by the sun, also dying, so yeah. Classic doom will die, but it sure as shit ain’t dead yet. Book of Wyrms made an intriguing opening statement with 2017’s Sci-Fi/Fantasy (review here), which came out via respected tonal specialists Twin Earth Records. The lineup of vocalist/effects-bringer Sarah Moore Lindsey, guitarists Kyle Lewis and Ben Coudriet, bassist Jay Lindsey and drummer Chris DeHaven dug into traditional stoner-doom vibes that were, indeed, a pleasure to witness, and their potential was writ large over their time on stage in much the same fashion as on the record. I don’t know if it’s the balance of samples vs. riffs or doomed aspects and more heavy rock roll and melody in Lindsey‘s vocals, but there’s something waiting to be tapped in their sound that, if they get there, will make all the difference for them. As it was, they carried the room with ease.

Sierra

Sierra (Photo JJ Koczan)

What a way to start a tour. And what a tour to start. Canadian three-piece Sierra obviously enjoyed launching a run of shows as they did last year at Maryland Doom Fest 2017, because they were doing the same thing all over again. This time, they’ll be out supporting fest-headliners Weedeater, and as they’ve been a steady presence on the Tone Deaf Touring circuit the last several years — they’ll also be at de facto sister fest Descendants of Crom in Pittsburgh this September — they’re tight enough in their delivery to have a professional sheen. They’re a tricky band as well, because it’s easy to watch them and say, “Okay, heavy rock, fair enough,” but that’s not it. There’s more just under the surface. To say Rush is a lazy comparison based on the simple fact of their northern origins, but they’re more prog than they let on, and they work smoothly in tipping that balance back and forth between the straightforward and the more complex. Of course, that makes them more exciting to watch, since they’re neither purely clinical nor just another collective bearing riffs, but instead offer something more varied between the two. It was my first time seeing them, and they were better than I knew, making a highlight of “Rainbows End” before finishing out with a cover of Black Sabbath‘s “Into the Void.”

Curse the Son

Curse the Son (Photo JJ Koczan)

However, I knew damn well that Curse the Son were going to be incredible. Perfect band for the setting, great slot, a room that would just bounce their volume off the walls. Yeah, it was gonna work out. And it did. It’s been a little bit — more than I’d prefer, certainly — since I last saw the Hamden, Connecticut, trio, and in that time, they’ve released their third album, Isolator (review here), signed to Ripple Music and brought in drummer Robert Ives alongside bassist/backing vocalist Brandon Keefe and founding guitarist/vocalist Ron Vanacore, so yeah, it’s been reasonably busy. Another band Maryland Doom Fest 2018 is sharing with Descendants of Crom, they also appeared at this Spring’s inaugural New England Stoner and Doom Fest, and as Vanacore announced from the stage, they’re working toward a new album for early 2019. “Huzzah” would be putting it mildly. They were the first band all weekend for whom I removed my earplugs and let go a little bit to headbang and really take in. A lot of Maryland doom resides in a mid-paced groove. Curse the Son play slower and lower, and that nod was exactly what my weary soul needed. With Vanacore‘s tonal morass and vocals cutting through, older cuts like “Spider Stole the Weed” and “Goodbye Henry Anslinger” were familiar and welcome, and though he had some rather significant shoes to fill, the swing and intensity Ives brought to the drums was a dead-on fit. They don’t really tour, but still, theirs was one of my favorite sets of the whole weekend, and if you’re reading this and you ever get the chance to see them live, do it.

Backwoods Payback

Backwoods Payback (Photo JJ Koczan)

Under general circumstances, I’m not one to gush, but I tell you know lie, I went up to each member of Backwoods Payback individually — to guitarist/vocalist Mike Cummings, bassist Jessica Baker and drummer Erik Larson, each separately — and told them how incredible their new album, Future Slum, is. I don’t even know how many times the word “awesome” left my mouth, but needless to say it was an embarrassing number. The thing about it is, they just absolutely nailed it. Same could easily be said of their set at Maryland Doom Fest 2018. Playing new material and old after opening with “You Don’t Move” from their most recent outing, 2016’s Fire Not Reason (review here), they absolutely laid waste to Cafe 611. And it’s for the same reason: everything has clicked. The songs, the lineup, the performance, the presence — it’s all in the same place and they’re experienced enough and smart enough to throw it at the audience in just the right way. And the conviction from all three of them. Plenty of bands this weekend meant what they were doing. To be blunt, nobody was phoning it in. But with Backwoods Payback, it was another level entirely, and when Cummings jumped off the stage toward the end of the set and shared the mic with a couple kids in the crowd who knew the words, it felt like a moment that encapsulated the band’s capacity to hit hard and still translate that their conviction into a meaningful experience. I’ll have more to say about the new record and I’ve already made plans to see them again next month, but this one was a landmark not to be forgotten anytime soon.

Caustic Casanova

Caustic Casanova (Photo JJ Koczan)

I knew Caustic Casanova were underrated, and seeing them for the first time, I guess I was interested to find out if I could find a reason why. Their sound is certainly accessible enough; the Washington, D.C./Frederick trio play a style of heavy rock that in part feels drawn from ’90s college/art rock weirdoism and part drawn from a desire to mash that against sonic pummel and punker drive, but they’re also a thoughtful band. Each part has its purpose, and even in their delivery live, there was a sense of focus that pervaded what they were doing. It was fun to watch, definitely, but there was a strong intent there — nothing felt like an accident, however experimental it may have been in the composition. One knows they’re Melvins fans because they did a cover of “Cow” on their latest 7″, but their style has much more to it than just post-Buzzo riffing and tryhard avant gardeship so often resulting from that influence. And if Caustic Casanova are underrated, the reason is precisely because they’re not easy to pin down. They’re a dynamic, complex trio given to deft rhythmic turns and an indie aspect to complement/contrast their heavier elements, and they don’t fit into any single genre tag necessarily beyond the blanket “progressive heavy rock,” which is a pale descriptor for the actual depth of character in the music they make.

Duel

Duel (Photo JJ Koczan)

The rest of the night would be given to riotousness, and Duel were the start of that. Up from their home in Austin, Texas, this would mark the largest tour they’ve undertaken in the US, but they come into it with multiple European stints on their CV. Recently also announced for Heavy Mash 2018 in October (info here), their latest release is actually a live album called Live at the Electric Church (review here) that Heavy Psych Sounds put out as a complement to their two to-date studio LPs, 2016’s Fears of the Dead (review here) and 2017’s Witchbanger (review here), and from that, I thought I had a pretty decent idea what to expect. What took me by surprise, though, was the energy behind what they were doing. They’re classic heavy rock in their stylistic root, but rather than present it as some staid relic to be showcased like a museum piece under glass, they instead break that glass with their bare hands, smear the blood over their faces and proceed to capture the dangerous spirit that drove the earliest days of riffery in the first place. Actually, they do more than just capture it. They make it their own, so that this sound so often associated with the past becomes something inextricably forward thinking. I dug the records, so wasn’t surprised to be into the live show, but the sheer vitality of it was staggering. They made it a celebration.

The Midnight Ghost Train

The Midnight Ghost Train (Photo JJ Koczan)

Their last show. Heavy rock and roll loses one of its most potent live acts in The Midnight Ghost Train, who made Maryland Doom Fest 2018 the occasion for their final gig. Ever? Maybe. One has learned time and again never to say never in rock and roll, but the band made it known in April they were calling it quits, and this was their version of going out with a bang. Did you ever get to see The Midnight Ghost Train? It’s a question I can see myself asking in conversation for years to come — they are a litmus test for music and performance as a kinetic force, and a comparison point to which few will be able to live up. Founded by guitarist/vocalist Steve Moss and ending with longtime drummer Brandon Burghart (I don’t know what else he’s got going, but I can’t imagine any band not wanting him in its lineup) and relative newcomer bassist Tyler Harper (also of Capra), they were fury incarnate with a bittersweet underpinning. I’ve watched The Midnight Ghost Train shows for a decade, and I tell you with no reservation that they’re among the most powerful heavy rock bands I’ve ever seen. Moss transforms into a shuffle-blues madman, Burghart‘s swing is nigh-unmatchable, and Harper stood toe-to-toe with the guitar, which is saying something. They will be missed. But they went out as they always were — on fire — and I stayed up front the whole time and felt fortunate to be there to see it, as I think did everyone else in the room. They were a big part of what made the day so special. And even if they get back together at some point, years down the line or whatever, the impact of this night, this set, stands as a monument to who they were as a group and Moss‘ realized vision of heavy, funky, bluesy righteousness.

Weedeater

Weedeater (Photo JJ Koczan)

Well, if one band over the course of the three-day event was going to ignite a genuine mosh, it might as well be Weedeater, whose tonal dominance was evident from soundcheck onward despite “Dixie” Dave Collins breaking a string on his bass. Years of near-constant touring have given North Carolina’s Weedeater a reputation that well precedes them, and though it had been years since I last caught them, I knew the lumbering sludge that was about to unfold as soon as they hit into “God Luck and Good Speed” to open their set, with guitarist Dave Shepherd and drummer Carlos Denogean doing no shortage of the heavy lifting when it came to rolling out massive, lumbering nod. I’m too old for that slam-dancing shit, so I hightailed it from the front of the stage on the quick, but Weedeater left no question as to why they were headlining. What the hell else could possibly follow them? They’ve made a career on sounding unhinged, and even down to Denogean wailing away at his kit, they lived up to that, but they’re long since veterans, too, so they’re not just fucking around. They’re professionally fucking around. Good work if you can get it. The crowd knew the set the whole way through, and though Weedeater are coming up on due for a follow-up to 2015’s Goliathan (review here), which they’ve basically been on tour supporting since it came out, their command of the stage wasn’t something that just happened. It was whittled down from the years of grinding on the road they’ve done. Worth it? You’d have to ask them, but watching them play for the first time in a long-enough while, they looked like a band that made themselves headliners the hard way, and who have earned every accolade, every top slot, every laudatory hyperbole they’ve gotten. Like so much of the festival that led up to them, they were the right band, right time.

I saw and met a lot of really wonderful people this weekend who had absurdly nice things to say about this site and whatnot, from the Horseburner guys to hanging out with Mike from Backwoods Payback and Leanne Ridgeway from Riff Relevant, to seeing Paul-forever-to-be-known-as-MadJohnShaft and talking about the various European fests he hits, Dave Benzotti, Erik Larson, Earl Walker Lundy, Ron Vanacore, Deanne Firkin, Billy from Philly and the gents from The Age of Truth, Mark and Pete from ZED, Uncle Fezzy, Darren Waters, Dee Calhoun, Shy Kennedy, Pat Harrington, the dudes from Bailjack, Steve Moss, Melanie Streko, Lisa Hass, Chuck Dukeheart and the Foghound gang, Mat from Castle, Doomstress Alexis, Mark Schaff, Justin from Molasses Barge, Brenna from Lightning Born, on and on and on.

Thank you is my point. People say incredible stuff about this site, and I can’t ever really let myself hear it, but I’m happy if someone feels positively about a thing that happens here. Every now and then I do too. This weekend was one of those times. Thank you for reading and being a part of it.

It was five and a half hours north in the car when I let out of the Super 8 in Frederick to get to Connecticut, which is how this review ended up being later than I’d prefer, but so it goes. Before I end the post, I need to send a special thanks to The Patient Mrs., whose management and running point on The Pecan the last few days made this trip possible in the first place. That’s a hard job, even more for her than for me, and I owe her eternally for her efforts in allowing me to pursue crazy ideas like, “so I’m gonna go to Frederick for a weekend and hit Doom Fest you got the baby okay cool thanks.” It means more to me than I can say.

More pics after the jump. Thanks again all.

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Live Review: Maryland Doom Fest 2018 Night Two, 06.23.18

Posted in Features, Reviews on June 24th, 2018 by JJ Koczan

maryland doom fest 2018 night two poster

This scene is staggering. In terms of enclaves of hard and heavy, Maryland doom might be rivaled only by Floridian death metal and New York hardcore for longevity, and I’m pretty sure neither of those dates back to the early ’70s. Think about that. For almost as long as there’s been an idea of “heavy,” there’s been Maryland doom. And the number of lifers in bands and out boggles the mind. At best, I’m an interloper here, and I’d never claim otherwise. Every year or two or three, I’m lucky enough to come down for a fest or something like that, poke my head around and be humbled by the spirit that lives in this place. To actually be a part of it? I can’t imagine.

Maryland Doom Fest has taken on the responsibility not only of representing its native creatives, but in providing the scene a bridge to the outside world as well. The second day of Maryland Doom Fest 2018 did like day one and branched out in geography and sound, the scope of the festival increasing each year even as it maintains its ties to the place whose banner it flies. There’d be plenty of doom, but noise and heavy rock as well, metal both tangible and intangible, and more besides. You bet your ass it’s overwhelming. Maryland Doom Fest comes but once a year. Gotta make it count.

Another rainy day in Frederick set the gray-sky tone for a bill that would start out dark and work its way to the murkiest finish of all with Windhand headlining. Here’s how it happened:

Electropathic

Electropathic (Photo JJ Koczan)

As with Unorthodox last night, the new band fronted by Gary Isom, guitarist in Weed is Weed and former drummer in Spirit Caravan, Pentagram, Valkyrie and others, is a cross-generational affair. Along with drummer Ronnie Kalimon (formerly of Asylum, Unorthodox, etc.), Electropathic features young bassist/backing vocalist Zak Suleri and lead guitarist Eli Watson, both of Et Mors, and with Isom in the frontman role, they ran through a set of classic Maryland doom. Defined in no small part by their lack of pretense, they seemed to still be feeling out where they were ultimately headed as a band. They formed in the back half of last year by all appearances, so while none of them is a stranger to the stage, they’re in the process of developing their chemistry and sound. Likewise, Isom was still internalizing his position at the fore — even in Weed is Weed, he’s off to the side of the stage. He held it down though and their riffs resounded like a clarion to the converted still making their way in — time to go to church, school, whatever. Just time to go.

Molasses Barge

Molasses Barge (Photo JJ Koczan)

Hailing and hauling from Pittsburgh, Molasses Barge reaffirmed the connection between Steel City and Maryland doom that’s been there since the days of Dream Death‘s original run and probably even before that. The five-piece released their self-titled album in 2017 on Blackseed Records and had songs from that and new material in tow, which frontman Brian “Butch” Balich announced from the stage saying drummer Wayne Massey “calls this one ‘Tin Snake,'” or something thereabouts (hard to read the notes, sorry if I’ve got the title wrong). Balich is a formidable presence on his own, as he’s proven over the years in Penance, Argus and most recently Arduini/Balich, and in Molasses Barge he sets his powerful voice the task of cutting through the low end tone rollout from guitarists Justin Gizzi and Chuck Forsythe and bassist Amy Bianco that, presumably is what gives the band its name. Classic heavy riffs and a touch of metal underpinning, they were unsurprisingly met with welcome by the early crowd, and brought out Iron Man frontman Dee Calhoun to co-front a cover of that band’s “On the Mountain” to pay righteous homage to founding guitarist “Iron” Alfred Morris III, who passed away earlier this year.

Shadow Witch

Shadow Witch (Photo JJ Koczan)

I said as much to vocalist Earl Walker Lundy after their set, but I’ve always sensed something a little weird in Shadow Witch. Across the Kingston, New York, four-piece’s two albums to-date, last year’s Disciples of the Crow (review here) and 2016’s Sun Killer (discussed here), there’s been an edge of something standing them out from the pack. Having now seen them live, I feel like I have a better sense of what it is. In no small part, it’s Lundy himself. He carries across his vocals with utmost conviction and purpose, and backed by bassist David Pannullo, guitarist Jeremy Hall and drummer Doug Thompson, he ran his voice through a range of effects and performed barefoot — a bravery in itself considering the amount of spillage I’ve seen on that stage over the last two days — as free in is movement physically as his voice was to carry across the songs. They dwell in a between-genre space and remaining excitingly difficult to classify, but what matters is they carried their passion over to the audience, who met it with welcome. Good band. Better band than people know. Better band than I knew.

Doomstress

Doomstress (Photo JJ Koczan)

Speaking of bands I should’ve seen already, I went into Doomstress‘ set with the distinct impression that their recorded material to-date has yet to do them proper justice. They tour regularly on week and week-plus runs and had been on the road for four nights already en route to Cafe 611, so it seemed likely the Houston four-piece would be on top of their game. Not to toot my own horn, but I was right. They’re a better band than they’ve shown on either of their short releases. It’s a question of balance in their sound. Not just between tonal heft and aggression/attitude or the commanding stage presence of Doomstress Alexis on bass and vocals with guitarists Brandon Johnson and Matt Taylor and drummer Buddy Hachar (also of Greenbeard), or of between the classic and the modern, but between the actual instruments themselves. The live wash of tone suits them, with Alexis‘ vocals cutting through, where on their recordings thus far there’s more separation of instruments. It’s dirtier live, and for the high quality riffs they play, that dirt fits really well. Especially coupled with the fact that their performance was so tight, it was like they were daring the crowd to match their energy level.

The Age of Truth

The Age of Truth (Photo JJ Koczan)

Another band it was my first time seeing (that’s five in a row!), Philly four-piece The Age of Truth had been hanging out all weekend and getting down with some shenanigans the first night of Maryland Doom Fest, but when they got on stage, it was all business. Well, mostly business. One seems to recall vocalist Kevin McNamara saying something before they went on about taking his shirt off and rubbing his nipples on the microphone — it didn’t happen, though it might’ve been an interesting bit of performance art; “what do those nipples signify?” and so on — but with the start of the set, he, guitarist Mike DiDonato, bassist Bill Miller and drummer Scott Fressetto launched into the most noise-rocking set the festival has thus far featured. Their blend of heavy rock groove and crunching tones and riffs made their Kozmik Artifactz-delivered debut, Threshold (review here), an aggro joy, and their live interpretation of those songs as well as the new cut “Palace of Rain” was all the more engaging for the ferocity of its realization. The slow-rolling-int0-quicker-shuffle of “Caroline” was a highlight, but I won’t take anything away from the impact of “Honey Pot” or anything else either. With an injection of melody into the newer stuff, they left some intrigue as to where they might be headed — a proper tease of something to watch for. It’ll be worth keeping an eye out.

Switchblade Jesus

Switchblade Jesus (Photo JJ Koczan)

Before Switchblade Jesus took the Cafe 611 stage, I was asked by Borgo Pass drummer and all-around-excellent-human-being Joe Wood what they sounded like. The first two words that came out of my mouth were “Texas” and “riffs.” To be fair, that’s not by any means all the three-piece of guitarist/vocalist Eric Calvert, bassist/vocalist Chris Black and drummer Jon Elizondo have to offer, but if you’ve never heard them before, it’s a start. They made an encouraging self-titled debut (review here) in 2013 and followed up last year with a contribution to Ripple Music‘s The Second Coming of Heavy split series (review here), which took the foundation of that initial offering and expanded it significantly, pulling back on some of the burl in favor of a more nuanced approach. Their set in Maryland? With Calvert and Black sharing vocal duties and Elizondo pounding away behind, they rose to the occasion. In front of the stage, the crowd headbanged and raised fists and dug in nearly as much as the band itself, whose set was flawless near as I could tell. I’ve seen them twice now, been impressed both times, and could only expect that trend to continue for the next round, whenever that might be.

Foghound

Foghound (Photo JJ Koczan)

The weekend’s emcee, Dave Benzotti, choked up in reading his intro to Foghound, which also served as a remembrance of those the Maryland doom scene has lost over the last year, including bassist Rev. Jim Forrester of Foghound (also Serpents of Secrecy, ex-Sixty Watt Shaman, etc.), and reasonably so given the tragedy of the circumstances of his passing. The inevitability of that loss working its way into the current chapter of Foghound‘s life as a band was thick as the Baltimore four-piece got going, but if they were working toward catharsis, they were doing so with volume and intensity as their means. Their third album, Awaken to Destroy,on which Forrester performs bass and new bassist Adam Heinzmann contributes vocals alongside those of drummer Chuck Dukeheart III and guitarists Dee Settar and Bob Sipes, is done and in the can, and they played material from it both during their own set — the title-track — and afterwards through the P.A., which went unnoticed by many by Dukeheart later explained was a way to get Forrester‘s playing heard even if people didn’t realize they were hearing it at the time. As they also played with a portrait of Forrester signed by many with messages of love (I didn’t have the courage), his presence and absence were both deeply felt by the room, but the music was a fitting tribute and a comfort alike.

Cavern

Cavern (Photo JJ Koczan)

Prog prog prog. Also, prog. It’s fun to watch a band who so delight in being bizarre or outside the norm, and while local instrumentalists Cavern were for sure the odd men out on the bill, that suited them remarkably well and I can only imagine it wasn’t the first time they’ve found themselves in that position. Drummer Stephen Schrock played a kit with his toms out flat before him while Zach Harkins ran his guitar through one of the most elaborate pedal boards I’ve seen this weekend and still had room on stage for a Moog to add atmosphere to the intricate and complex songs they played. Denizens of Grimoire Records, they were a perfectly timed departure. Following Foghound with another straight-up rock band would only be doing said band a disservice, but Cavern were coming from somewhere else completely, so there was no real comparing the two outfits. A jolt to the flow of the night that only served Cavern well, since with all their looped parts, woven-through noise and underlying groove, “jolt” seemed to be the whole idea. It would be all-go riffing from here on out, but whether one considers them on their own merits or in the context of the Maryland Doom Fest 2018 lineup, their efforts toward the bizarre were duly appreciated.

The Watchers

The Watchers (Photo JJ Koczan)

The second Ripple Music act on the bill to have made the trip from the Bay Area behind ZED, four-piece The Watchers delivered one of the most professional sets I’ve seen so far this weekend. I mean, The Obsessed were pro-shop, right? And so were ZED, since they’ve been mentioned, but The Watchers had it all down — from riffs to looks to delivery to vocalist Tim Narducci and guitarist Jeremy Epp working the crowd with natural showmanship while bassist Cornbread and drummer Carter Kennedy locked in groove after groove of rock-solid heavy rock, playing selections from this year’s Black Abyss (review here) as well as the preceding EP, Sabbath Highway (review here). They had a near-commercial level of catchiness, but since that’s not a thing that exists anymore, I’ll just note that as much clear effort as they put into their presentation, the accessibility of the songs came from the songs themselves and the quality of their construction. Were they up there selling it? Absolutely. And kicking ass while doing so, but if the material itself wasn’t so strong the whole thing would’ve fallen flat. The foundation of the entire show was the material itself, and accordingly that show was an utter joy to watch.

Earthride

Earthride (Photo JJ Koczan)

I actually went back and looked up the last time I saw Earthride. It was at Days of the Doomed in 2012 (review here). I also recalled seeing them in Brooklyn in 2011 sharing the stage with When the Deadbolt Breaks, which was a noteworthy coincidence since that band’s guitarist/vocalist, Aaron Lewis, happened to be playing bass in Earthride, having joined just prior to the Maryland band’s just-ended tour with The Skull. Still, six years (and eight days) of not seeing Earthride? Far too fucking long. Dave Sherman, who’d been hanging out all weekend, took the stage in celebration of the welcome-home party that their set was, and with Lewis, guitarist Greg Ball and drummer Eric Little behind him, he held court for what was an absolute highlight of the fest as a whole. I’d been thinking of them as headliners the whole day, and while they didn’t play last, there was definitely a main-event feel going into their set, which started out with “Earthride,” boasted the new single “Witch Gun” (discussed here), the title-track to 2010’s Something Wicked (review here) and capped with “Fighting the Devils Inside You” from 2005’s sophomore LP, Vampire Circus (discussed here). Sherman held the audience and never relinquished his grasp on their attention, and the crowd was as switched on as I’d seen the whole fest. Like I said, they weren’t the headliners in name, but really, they kind of were. And rightly so.

Castle

Castle (Photo JJ Koczan)

Man, I want to hear Castle‘s new album. So bad. The core duo of bassist/vocalist Elizabeth Blackwell and guitarist/vocalist Mat Davis will issue that long-player through a yet-to-be-announced label, but they’re a touring band at their core. They get out. In talking to Davis after their set, he called their current stint a “quick one.” To put that in perspective, it’s a cross-country tour with 12 dates. I’m assuming what he meant was that it was nothing like the weeks-long voyages that will invariably follow the new full-length’s release, and I guess that’s fair, but 12 dates isn’t nothing either. Last time I saw Castle was Maryland Doom Fest 2016 (review here) as they were marking the release of that year’s Welcome to the Graveyard (review here), and though I knew it was coming, I was still blindsided by their intensity. Thrash, doom, classic metal, heavy groove and delighted pummel. Think of them as extreme traditional metal. They bring a classic sound to bear in their material — a number of classic sounds, actually — but have a ferocity to their execution of that which sets them apart from anything that might be considered “retro.” Coupled with the willful eeriness of their atmospheres and cultish themes, they can be all over the place, but that only makes them harder to pin down, and thus, all the more a thrill to watch. As the penultimate act of the evening, they were a last-minute kick in the ass before things got as far out as they would go, and though it had been a long day by then, Castle revived the spirit even as they seemed to herald its demise.

Windhand

Windhand (Photo JJ Koczan)
Windhand were the night’s headliner. They could’ve slinked in late, hid themselves backstage, got on, done their set, collected whatever there was to collect afterward and been on their way. Instead, the Richmond, Virginia, four-piece, who are arguably the most successful East Coast doom band of their generation and whose influence only continues to spread — trying to come up with another name and can’t; if you have one, I’d love to talk it out — hung around all day. They were back and forth through the venue, watching bands, meeting people, this and that. They had the option to take part or not to take part and they took part. And for a group at their level, on Relapse, having toured the world, etc., that’s not nothing. When they finally got on stage and got going, their fog-drenched riffs were as overwhelming as I remembered, and even though they’ve pared down from a five-piece, there was no discernible gap in volume from vocalist Dorthia Cottrell, guitarist Garrett Morris, bassist Parker Chandler and drummer Ryan Wolfe, who produced a soulful, lurching onslaught the likes of which Maryland Doom Fest had not yet known. Their new album, Eternal Return, was announced in April and will be released by Relapse as the follow-up to 2015’s Grief’s Infernal Flower (review here). No doubt it’s one of the most anticipated doom records for the rest of 2018 and whenever it rears its head will be yet another grueling landmark in a catalog that, at this point, teems with them while also constantly showcasing Windhand‘s progression. It was late, but in front of the stage was a press of humanity, and Windhand justified the urgency with a wash of volume and low end that was on a level all its own. A headlining slot well earned.

It’s almost 1PM on Sunday as I wrap this up and I still need to sort photos, shower and change clothes before I head out from Sparks to Frederick, so I’ll turn you over quickly to the pics after the jump and just say thanks for reading.

Because really, thanks for reading. More tomorrow, if you can believe it.

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Live Review: Maryland Doom Fest 2018 Night One, 06.22.18

Posted in Features, Reviews on June 23rd, 2018 by JJ Koczan

maryland doom fest 2018 night one poster

Over the last four years since its inception, Maryland Doom Fest has become a defining force for its many-storied local scene and for the Eastern Seaboard at large. Its reach nowadays goes well beyond those imaginary borders, of course, but its lineup has always remained cognizant of its core inspiration and purpose — you’re always going to find some Maryland doom at Maryland Doom Fest. 2018’s roster of acts, which is the broadest in terms of style and geopgraphy to date, is no exception. With headliners The Obsessed, Windhand and Weedeater, Maryland Doom Fest 2018 reaffirms its commitment to the oldschool groove and its newer-school interpretations, even as acts like HorseburnerUnorthodoxCavern, DuelEarthrideCaustic Casanova, and many others with them, speak to the same meld of styles and origins.

I could go on all day about that, but as ever with festivals, there’s little time for musing amid the 15-minute set-changeovers and sheer onslaught of stuff to catch. Held as ever at Cafe 611 in Frederick, Maryland Doom Fest 2018 boasts a lineup of 32 bands — nine tonight, 12 tomorrow and 11 on Sunday. My goal? To see all of them. Front to back. Staring down the barrel at the outset it seems nigh-insurmountable, but the truth is it’s going to be a total blast and I know it.

Travel south to Maryland from Massachusetts, with an about-to-be-eight-month-old, is a days-long process, and I’m reminded that two years ago when I made the trip, I was bogged down by a car breakdown and about to start a new job the following Tuesday. It was insane. I’m sure 2018 will be much more relaxed. Ha.

Enough preamble. Let’s boogie:

Horseburner

Horseburner (Photo JJ Koczan)

I’m not sure the world knows it’s anxiously awaiting the third full-length from West Virginian progressive heavy rockers Horseburner, but it probably is. First band of the weekend and they had heads banging both onstage and off. They were exciting to watch, and their 2016 album, Dead Seeds, Barren Soil (review here) — which was reissued last year by Hellmistress Records; the vinyl was in the merch area to the side of the venue — remains a favorite in its manifestation of what might’ve happened had Mastodon become a heavy rock band while keeping their initial heft instead of going ultra-prog as they did. There were some technical difficulties in the drums, but no real delay, and the trio dynamic — could’ve sworn they used to be a four-piece — played well during the set, with no shortage of crunch in their tone but an overarching groove that they never seemed to relinquish. The record’s good, but they’re better live, with the melodies cutting through the push and a bit of hop-into-the-crowd interaction in the finale.

Geezer

Geezer (Photo JJ Koczan)

Back in January, New York psych-blues jammers Geezer announced they were working on a new album. Accordingly, the triumvirate of guitarist/vocalist Pat Harrington, bassist Richie Touseull and drummer Steve Markota shared three new songs for the Maryland Doom Fest 2018 crowd. I hounded Harrington after they finished for the titles: “Spiral Fires,” “Dig” and “Black Owl.” The latter provided some highlight low end work from Touseull, and it was “Dig” with a particularly fuzzed out guitar solo and a bit of cowbell from Markota that I’m dying to hear a studio version of. Supporting their latest release, Psychoriffadelia (review here), they also celebrated 2016 self-titled (review here) at the end of their set with the memorably catchy “Dust” and the spacious “Sun Gods.” Having made their debut in 2013, they’ve moved into veteran status and stage presence relatively quickly, and I took particular interest in a lack of slide guitar from Harrington, wondering if perhaps he put it down in order to focus on more intricate styles of playing in the newer songs. Seems like maybe an interview question to file away for later. In any case, they pulled a packed early crowd and were well known to them, playing out the story of a band whose potential is being realized at that very moment for all to see.

Bailjack

Bailjack (Photo JJ Koczan)

Double-guitar four-piece Bailjack had the distinction of being the first Maryland-based act at the festival. Based out of Boonsboro, they had four songs on the setlist, none of which seems to have stemmed from their 2016 debut, Show Me Your Heart. I’d been fortunate enough to see them once before down this way (review here), but they struck me all around as a tighter and more cohesive band. Guitarists Jason Barker and Blake Owens shared lead vocal duties effectively, changing up the soulful and classic heavy rock moods between them with support from Ron “Uncle Fezzy” McGinnis (also Pale DivineAdmiral Browning, Thonian Horde, etc.), which left drummer Alex Llewellyn as the only one without a mic. He kept plenty busy with the locked-in groove of “Predominantly Green,” though, which like just about everything else they played was deceptively complex in its execution, working around a straightforward groove with personality and depth. They were a fitting complement to Geezer‘s ultra-roll, and at one point while they played I looked around and couldn’t believe we were only three bands into the night. The vibe was so set and so thick in the room that it felt like everyone had been there for a day already. Awesome.

Lightning Born

Lightning Born (Photo JJ Koczan)

North Carolina’s Lightning Born played Maryland Doom Fest last year as well, but as they went public earlier this month about signing to Ripple Music for the release of their debut album this Fall, it seems only appropriate that they should make a return appearance. Their bassist, who just so happens to be Mike Dean of Corrosion of Conformity, just happened to be in France playing another festival — some little shindig called Hellfest or something like that; ha — so filling in was guitarist Erik Sugg‘s Demon Eye bandmate, Paul Walz. I don’t know if it was Walz‘s first time holding down bass duties in Lightning Born or what, but he obviously knew the songs well, and despite some hi-hat difficulties at the outset for drummer Doza Hawes (ex-Hour of 13), once they got going, they were locked in and clearheaded in their intent between heavy rock, doom and classic-style songcraft led by the powerful presence of frontwoman Brenna Leath (also of The Hell No). My first time seeing them and they did nothing but impress, and even putting the pedigree aside for a moment, it’s easy to see why Ripple — who already had a showing in Geezer and would have another before the night was out — would pick them up. Not only do they make the most of their members’ experience in terms of knowing what they want to do, but they obviously have the chemistry between them to make it happen. Would be interested to see them with Dean, and I won’t say he wasn’t missed — nothing against Walz‘s work, it just happens to be that that’s Mike fucking Dean we’re talking about and anytime you get to catch him play is a win — but Lightning Born might as well have named themselves Lightning in a Bottle, as that seems to be what they’ve got.

Disenchanter

Disenchanter (Photo JJ Koczan)

This was by no means Disenchanter‘s first trip to the East Coast — they’ll also be (relatively) back this way later this year for Descendants of Crom in Pittsburgh — but it was the first time I’ve been lucky enough to see the band play. Having toured from their home in from Portland, Oregon, over the last week, the trio sounded like it. Pro shop. Guitarist/vocalist Sabine Stangenberg expressed the band’s gratitude for being included in the lineup and sent out “Green Queen” to any pot smokers in attendance. There may have been one or two. She and bassist Joey DeMartini and drummer Huwy Kilgora Williams set forth a set that pushed even further into the doomed elements that Lightning Born featured in some of their riffs, but had a distinguishing factor that marked them out as a West Coast act nonetheless. I couldn’t quite figure out what it was; tempo? Melody? Rhythm? I actually kind of lost myself while they were playing trying to get an answer. They fit right in with the lineup in tone and influence, to be sure, but there was still some individualized edge to their approach that was a standout factor. Eventually I whittled my hypotheses down to the upbeat nature of their grooves and was willing to leave it at that and, oh, I don’t know, just enjoy the rest of their set, but whatever it was, it made them a highlight of the evening at Cafe 611. Glad I finally was able to watch them.

Thousand Vision Mist

Thousand Vision Mist (Photo JJ Koczan)

Statistically speaking, three out of the four top acts for the evening could be called locals, and Thousand Vision Mist, who also played Maryland Doom Fest 2016 (review here), and a fest-associated gig during last year’s edition, came supporting late-2017’s Journey to Ascension and the Loss of Tomorrow (review here), their debut album. Between that record and having seen them before, they were pretty familiar to me as well as to the assembled in front of the stage, but guitarist/vocalist Danny Kenyon, bassist/vocalist Tony Cormulada and drummer Chris Sebastian still had a few surprises up their collective sleeve in terms of the twists and turns of their material. By the time they started, it was clear just what a special night this was. The flow of bands was right on, each group pulling something different together from the one before while still making sense in the overall context of the night, and with Kenyon‘s roots in Life BeyondThousand Vision Mist maintained a Maryland doom feel despite not really playing doom so much as doom strung through a filter of progressive metal. Precise, driven and complex, they nonetheless had a central groove to tie it all together, and even when Kenyon broke a string, prompting an interlude from emcee Dave Benzotti, they were able to pick back up and end out as though nothing happened. The place was jammed in any figurative sense you want to think of it, and Thousand Vision Mist signaled a turn toward the headlining portion of the night. Right band, right slot.

Unorthodox

Unorthodox (Photo JJ Koczan)

A decade has passed since Unorthodox issued their last album, Awaken, via The Church Within Records, but if you want to be fair, that album came a full 14 years after 1994’s sophomore outing, Balance of Power, which was of course preceded by their 1992 debut, Asylum, but their set was still enough of an event that both Bobby Liebling of Pentagram and Dave Sherman of Earthride — pivotal figures in this scene if ever there were any — stood at the side of the stage to watch them. From their beginnings as Asylum, whose 1985 demo, The Earth is the Insane Asylum of the Universe, saw reissue via Shadow Kingdom in 2008 (review here), guitarist/vocalist Dale Flood has remained the sole founding presence, and as he’s now based in Nashville, Tennessee, he’s settled in with bassist/vocalist Blake Dellinger and drummer Alan Pfeifer, both also of the band Flummox, injecting a youthful vigor into the rhythm section that seemed to bring Unorthodox‘s classic downtrodden MD doom to life. They even had a new song, called “Horus,” that found Dellinger taking lead vocal duties, and Flood couldn’t help but smile as the set played out, the crowd eating up every single second of the rare live set. New album? Hell if I know. To my knowledge, Unorthodox played the first Maryland Doom Fest in 2015 and as I recall were going to play 2016 as well but didn’t end up making it, so I’m not sure I’d count this set as indicative of a full return to activity, whatever that would mean anyway, but if they wanted to build something from it, that vitality was right there in the band waiting to be harvested. They killed. End of story.

ZED

ZED (Photo JJ Koczan)

For my up-at-5AM-usually-asleep-by-nine ass, it was getting late, and I don’t mind saying so. Ibuprofen for a sore back; protein bar for stamina; water on the face for refreshing; water down the gullet for sheer survival — these are the essential tools of the sober weekend festival. One could simply pound six or 12 beers and none of it would matter, I suppose, and from the look of the dudes falling asleep in the side room of Cafe 611, some had clearly gone that route, but the truth was that ZED were all the shove I need to get through to the end of the evening. Everything else was overkill in comparison to their noise-tinged heavy rock, one riff after the next crunched out at max volume through the guitars of frontman Peter Sattari and Greg Lopez, the bass of Mark Aceves adding even further heft to be shoved forward at an impressive pace considering the mass of it by drummer Sean Boyles, who when the Bay Area outfit were done turned around and held up his hat to deliver the message “fuck everything” as plainly as possible. New song “Strippers” signaled a follow-up in progress to their 2016 third album, Trouble in Eden (review here), and one assumes that will arrive like its predecessor via Ripple Music, given how hard ZED were repping the label, from Lopez‘s beanie to Sattari‘s Freedom Hawk hat and Ripplefest shirt to Aceves‘ High Priestess tee. Gotta fly that flag, and they did it proud with a raucous delivery that lost nothing of its professionalism for its blanket electricity. Seemed like the crowd up front was pretty familiar with their stuff — at one point I also looked over and saw fest co-organizer JB Matson singing along stage-side — but I’d be willing to be they turned a few heads as well and made some new fans. It was that kind of set. If “fucking a rock” was a genre, that’s what ZED would be.

The Obsessed

The Obsessed (Photo JJ Koczan)

I don’t think there’s anywhere you could put The Obsessed on a Maryland Doom Fest bill except at the top. That’s where they were in 2016 and it’s where they deserved to be again. Would Maryland doom exist without them? Maybe, but certainly not in the form it has today. It’s been an eventful couple of years for guitarist/vocalist Scott “Wino” Weinrich and the outfit in which he cut his teeth beginning back in the late ’70s when they started under the moniker Warhorse, but with their first album in 23 years behind them in 2017’s Sacred (review here) on Relapse, the trio of Weinrich, bassist Reid Raley (see also: Rwake) and drummer Brian Costantino were as classic as one could ask and a reminder of just how much of a blueprint for the style The Obsessed have always been. Copious touring in support of Sacred has made them maddeningly tight, and with a blend of new material and old in the set, they spoke to where they are today as well as where they came from — perfectly on theme for the night and the weekend as a whole. As the last of the nine bands playing, they shut the place down and it’s hard to imagine there’s any more one could’ve asked for when they were done. The Obsessed, like basically Pentagram and no one else of the region (Black Sabbath being, of course, universal), are essential and foundational when it comes to Maryland doom. Maryland Doom Fest 2018 welcomed them accordingly, and honestly, I think if they played every year here for the next five headlining one of the nights, they wouldn’t meet with any complaints. From “Sacred” itself to “Neatz Brigade” and “Sodden Jackal,” they proved how hard the heart of this scene and this aesthetic continues to beat. Oh yeah, and they were unbelievably loud. Like, might-as-well-take-your-earplugs-out loud. So, you know, bonus.

After flailing toward a 24-hour gas station and a 90-minute ride back to the town of Sparks, where I’m staying, I crashed out around 2:30 and was up a tragically short time later. Still, first day was excellent and there’s nothing I could ask of a leadoff night that wasn’t delivered. Maryland Doom Fest 2018 day two kicks off in a couple hours and, hell’s bells, I need a shower, so I’m gonna get on that, but there are more pics after the jump if you’re interested.

Thanks for reading.

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Clutch Announce North American Tour for Fall

Posted in Whathaveyou on June 21st, 2018 by JJ Koczan

clutch 2 (Photo by Dan Winters)-1400

What, you didn’t think Clutch were going to tour to support their new album? Did they ever really stop touring to support the last one? Or the one before that? They barely take a break at this point to record, so yeah, obviously they’re announcing a new tour. They finished the last one. Time for the next one.

My only question is where Sevendust came from on this bill. Even when I think it, I’ll very rarely go all out and say a band sucks, but I’ve never been a Sevendust fan, even during their late-’90s commercial radio peak, and I liked some really shitty stuff when I was in high school. Some good stuff, but yeah, some really shitty stuff too. Never Sevendust though.

I guess Clutch are keeping it eclectic, which is admirable in a way, but I’ll be super-duper-curious to see the crowd for this one. Info comes from the PR wire:

clutch tour banner

CLUTCH ANNOUNCE BOOK OF BAD DECISIONS TOUR DATES WITH SEVENDUST AND TYLER BRYAN & THE SHAKEDOWN

Clutch has just announced US/Canada Fall tour dates for their “Book Of Bad Decisions Tour 2018.” Clutch is making the following special offer for this tour: The price of a ticket when purchased in advance online includes a physical CD copy of Clutch’s new album “Book of Bad Decisions.” Fans will receive information on how to redeem the album after purchasing the advance ticket online. Offer valid through 10/29/18, open to US residents only. Not valid on Resale tickets. Offer only valid for Clutch headline dates. Festivals, Canadian headline dates and the October 13th date with System of a Down are exempt from this offer. Tickets go on sale to the public on Friday, June 22nd at 10AM local time and will be available at www.pro-rock.com and www.facebook.com/clutchband.

Supporting the tour will be Sevendust and Tyler Bryant & The Shakedown.

Book of Bad Decisions, CLUTCH’s 12th studio album is scheduled for a worldwide release on September 7th, 2018 via their own Weathermaker Music label. The album was recorded at Sputnik Sound in Nashville, TN by producer Vance Powell (Jack White, Chris Stapleton, The Raconteurs, The Dead Weather) and consists of 15 new tracks.

Clutch Book Of Bad Decisions Tour with Sevendust and Tyler Bryant & The Shakedown:

Sun/Sep-16 Chicago IL Riotfest **
Tue/Sep-18 St Paul, MN Myth Live
Wed/Sep-19 Kansas City, MO Uptown Theater
Fri/Sep-21 Houston TX House of Blues
Sat/Sep-22 San Antonio TX River City Rock Fest **
Sun/Sep-23 Dallas, TX Gas Monkey Live
Tue/Sep-25 Orlando, FL House Of Blues
Thu/Sep-27 Norfolk, VA The NorVa
Fri/Sep-28 Raleigh, NC The Ritz
Sat/Sep-29 Atlanta, GA The Masquerade *
Sun/Sep-30 Louisville, KY Louder Than Life **
Tue/Oct-02 Denver, CO Ogden Theater
Wed/Oct-03 Salt Lake City, UT The Depot
Fri/Oct-05 Boise, ID Knitting Factory
Sat/Oct-06 Spokane, WA Knitting Factory
Sun/Oct-07 Seattle, WA Showbox SODO
Mon/Oct-08 Vancouver, BC Commodore Ballroom
Tue/Oct-09 Portland, OR Roseland Theater
Thu/Oct-11 San Francisco, CA The Regency Ballroom
Fri/Oct-12 Los Angeles, CA El Rey Theater
Sat/Oct-13 San Bernardino, CA Glen Helen Amphitheater w/SOAD ***
Sun/Oct-14 San Diego, CA North Park/Observatory
Mon/Oct-15 Tempe, AZ The Marquee
Wed/Oct-17 Tulsa, OK Cain’s Ballroom
Thu/Oct-18 Sauget, IL Pop’s Nightclub
Fri/Oct-19 Grand Rapids, MI 20 Monroe Live
Sat/Oct-20 Detroit, MI The Filmore Detroit
Sun/Oct-21 Pittsburgh, PA Stage AE
Tue/Oct-23 Toronto, ON Rebel
Thu/Oct-25 Worcester, MA The Palladium
Fri/Oct-26 New York, NY Irving Plaza
Sat/Oct-27 New York, NY Irving Plaza
Sun/Oct-28 Philadelphia, PA Electric Factory

*= no Sevendust
** = festival date / Clutch and festival bill only
*** = date w/ System of a Down/ no Sevendust

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

www.facebook.com/clutchband
www.instagram.com/clutchofficial
www.twitter.com/clutchofficial
www.pro-rock.com
www.youtube.com/user/officialclutch

Clutch, “Gimme the Keys” lyric video

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Friday Full-Length: Earthride, Vampire Circus

Posted in Bootleg Theater on June 15th, 2018 by JJ Koczan

Earthride, Vampire Circus (2005)

Like any long-lived scene, Maryland doom has watched ’em come and go. Bands get together, bands fall apart, mix members, grow into something else, etc. Lifers in anything are fewer and farther between. About 30 seconds into watching Dave Sherman front Earthride and there’s no imagining he’s anything else.

Sherman has fronted Earthride for over 20 years. The band got their start while he was still playing bass in the original incarnation of Spirit Caravan and released their self-titled debut EP in 2000 that was a clarion to the converted. Even more than the deeply weighted grooves and tonal low end thick enough to feel it in your chest, Earthride‘s Earthride was marked by a pervasive grit that would become a hallmark of the band along with classic-style hooks and a self-awareness of their place within the sphere of American doom. Over time, that place would only become more their own as they signed to Southern Lord Recordings for the release of their 2002 full-length debut, Taming of the Demons and its 2005 follow-up, Vampire Circus.

Both albums are nothing short of essential stoner doom. Earthride offer such a specific vision of what heavy is and should be, and on Vampire Circus, sometimes that’s aggressive, as with “Understand” and all its talk of coffin nails, and sometimes it’s just about following the riff, as on the bouncing title-track or the leadoff cut “Fighting the Devils Inside You,” which would become a hallmark of the band’s approach and the start of an opening salvo that by the time it’s done winds up comprising the entire first half of the record through the organ-laced “Dirtnap” and up to the aptly-titled “Interlude,” although quite frankly it’s not like there’s any dip in quality as “God’s Own Medicine” layers screams into its chorus and finds drummer Eric Little thudding out on his toms through verses telling tales of addiction horrors and igniting a chase with Kyle van Steinburg‘s guitar and Rob Hampshire‘s bass. Or anywhere, for that matter. The laid back fuzzer “Loss” follows with a mellow opening of drift that holds for nearly a minute and a half of its near-six-minute stretch. It’s a departure from the more straightforward material before it, but the character of the song is consistent to be sure, and even when it gets heavy — which, yes, it most certainly does — “Loss” retains that semi-psychedelic mood enough that it’s no surprise when it dips down again after the initial hook. Blues. Psychedelic blues. The chugging riff that emerges is quintessential Earthride in its nod, and van Steinburg makes a highlight of the solo just before the four-minute mark.

“Loss” is also a departure in its finish in that it jams out. As loose as Earthride sometimes sound in their ultra-swinging, cauldron-stirring rhythms on Vampire Circus, the structures of their songs are generally pretty straightforward. Cuts like “Fighting the Devils Inside You” and “Understand” and even “God’s Own Medicine” take a relatively traditional approach to craft: verses, choruses, bridges, solos, and so on. Identifiable parts making up the pieces that when put together make for memorable tracks. The ideal scenario, and an essential facet of Earthride‘s sound in terms of a deceptive simplicity that unfolds its true depths on repeated listens. Where “Loss” leaves that behind is after the aforementioned solo, as it moves back through a heavy chorus and into a spontaneous-sounding ending that makes one realize just how tight everything up to that point has been. It won’t belong before the speedy and winding “For Wrath and Ruin” is offering the advice to “Rip your head off and smoke your brain,” but even the context in which song appears is changed because of the breadth that “Loss” adds to entire album. And again, it’s subtle. It’s not something immediate. But it’s crucial to the overall impression the record makes.

Likewise, as much as “Fighting the Devils Inside You,” “Understand,” “Vampire Circus” and “Dirtnap” marked out their place at the start of Vampire Circus, so too does “For Wrath and Ruin” begin an ending salvo that’s quicker than just about anything before it. A reference to Black Sabbath‘s “Heaven and Hell” in the penultimate “The World I Live” is continually appreciated, and though it’s not as motoring as “For Wrath and Ruin” before it — some residual Spirit Caravan stylization there, perhaps; one can hear it too in “God’s Own Medicine,” and fair enough given Sherman‘s contributions to that band — the mood is still more uptempo than on the earlier material or even “Loss” after which the shift into the higher gear is made. “Swamp Witch” finishes and brings back the organ from “Dirtnap” — played by Mick Shauer, then also of Clutch — and finds itself capping Vampire Circus locked once more into a classic heavy midtempo groove, more Mountain than Sabbath, but with obvious Deep Purple overtones thanks to Shauer‘s guest spot.

Earthride are in conversation there and throughout with Southern metal and heavy blues — an engineering job from Mike Dean of Corrosion of Conformity is never going to hurt in that regard — but the real success of Vampire Circus lies in taking what Earthride were feeling out through the Earthride EP and Taming of the Demons and telling their audience, “this is ours,” owning their sound and truly making it their own. The album ends its 10-track/43-minute run cold with a sweep of organ keys and a sudden cutoff of the riff, as if to mark out the inevitability of more to come. It’d be five years before Earthride would answer Vampire Circus with 2010’s Something Wicked (review here) on Doomentia Records, and though the years subsequent would be a tumult, with Sherman taking part in the reunion of Spirit Caravan, that band’s becoming a revived The Obsessed and an eventual split there that found him going back to Earthride to release last year’s Witch Gun single (discussed here) through Salt of the Earth Records, the extended time between full-length outings has found Earthride nonetheless increasing their profile among Maryland’s always prolific doom underground. As I type this, they’re wrapping a tour with The Skull that finds Sherman joined by a new lineup that includes When the Deadbolt Breaks‘ Aaron Lewis on bass, and they’ll be making an appearance at Maryland Doom Fest 2018 next week in Frederick, where no doubt they’ll be greeted with the respect and admiration they’ve long deserved and reaped by a scene that considers them one of its own. I can’t wait to see it.

As always, I hope you enjoy. Thanks for reading.

Coffee’s good this morning. It’s a little past 4:20 in the morning now and I’ve been up for about two hours. Enough time to make my way through a first pot off the Chemex with my lighter roast that I call The Obelisk Heavy Psych Blend, because I fantasize about someday having my own coffee in a way more than just filling out bean proportions on a web form through Dean’s Beans. There were talks for a minute there, but nothing seems to have come of it to-date. Oh well. In any case, coffee’s good. I’m on the last cup and I’d grind more but don’t want to wake the baby and thereby also The Patient Mrs., thus making myself Dickweed of the Morning, which is a role I’ve played too many times already.

We’ve been down in Jersey all week, staying at a house in Parsippany that used to belong to my grandmother, who passed away last September. I grew up about two minutes up the road, at a house in a neighborhood called Glacier Hills on a street called Forum Ct. where my mother still lives with my sister, her husband and their two sons. They just got a new kitten. It showed up in their driveway and they named it Solo, because Han, and Star Wars.

Saw them a lot this week, and it was great to be with my family. I’ve missed out on a lot with my nephews living in Massachusetts and it’s a little sad to see, but I’m happy for the time I’ve had with them. It’s not over, necessarily. The Patient Mrs. and I will be back here, but the next two weeks are more running around. We’re back up to Connecticut later today, then to Massachusetts on Monday until probably Wednesday. Wednesday we’re back to Connecticut because we’re hitting the Yankee game on Thursday — day game; bringing the baby to his first baseball game; so stoked — and I’m picking up my new camera at B&H in Manhattan, then it’s back here for the night and on to Maryland on Friday morning in time for the start of the aforementioned Maryland Doom Fest, which will be the first test of that camera. Going to be a crazy, packed weekend, but my goal is to see all of it. A couple late nights ahead. None of that going-to-sleep-at-8:30 stuff I’ve been doing for the last however long. Kind of bit me in the ass last night (earlier tonight?), I guess. I’ve always liked some me time on the overnights though. Music and coffee and the clacky of the keyboard. Mark it a win.

No doubt by this afternoon I’ll be saying something else.

I miss New Jersey. This is my home. I speak the way people here speak. The food here tastes right. The trees look the way I see trees when I close my eyes. Not that I have money to hit them, but I know where the record stores are and the fastest way to get to each. I know where to buy the pesto that it’s worth the 25 minutes to drive to buy.

Anyway.

Before all the shenanigans next weekend — I won’t close out next week because I’ll be writing over those days — next week is packed full. Subject to change, of course, but here’s what’s in the notes:

Mon.: Lord review/track premiere; Captain Caravan video; announcement from Ripple Music.
Tue.: Pushy review/track premiere; Death Hawks video.
Wed.: War Cloud video premiere. Maybe a review of the new Chubby Thunderous Bad Kush Masters or something else.
Thu.: Mountain of Smoke review/track premiere.
Fri.: Announcement from Cursed Tongue Records. Review of something or other.

I lost a lot of stuff for the Quarterly Review when my laptop was stolen in the UK, including my notes for what would be included. I’ve built some of that back up, but am still down on a bunch of things I know are just gone. There may be reviews I promised to people that won’t happen now. I don’t even know. In any case, I should be good to go on it by the start of next month, the week of July 4, I think. It’s in the planning stage now, and behind schedule, obviously.

Not gonna leave on that bummer note though, but rather relish the opportunity to get to know a whole new crop of albums, EPs, and so on. I also confirmed this week that I’ll be attending SonicBlast Moledo in Portugal in August. More on that to come, but obviously I’m very much looking forward to it.

Thanks for reading this week, and if you’re at Maryland Doom Fest next weekend, I’ll hope to see you there. Fingers crossed that new camera happens/works. I’d feel like a dope standing there taking photos on my phone all weekend. Ha.

Please have a great and safe weekend. Forum and radio.

The Obelisk Forum

The Obelisk Radio

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Clutch Set Sept. 7 Release for Book of Bad Decisions; “Gimme the Keys” Streaming Now

Posted in Whathaveyou on May 21st, 2018 by JJ Koczan

clutch (Photo by Dan Winters)-1400

All along in the recording process for their new album, Book of Bad Decisions, and particularly in a behind-the-scenes video series they’ve put out that you can see in its entirety on their website, Clutch have talked about capturing their live energy in working with producer Vance Powell and I think the newly-posted record-opener “Gimme the Keys” bears that out. No doubt the record has its ebbs and flows in terms of push — I don’t know if Clutch‘s listenership would let them put out an album without a blues song on it if they tried — but “Gimme the Keys” is a kick in the ass from start to finish and makes an excellent intro into what still has pro-shop studio clarity but maintains a stage-born vitality that’s as signature Clutch as Jean-Paul Gaster‘s drum fills. First taste? I dig.

You can dig too if you feel up for streaming the track at the bottom of this post. Album’s out Sept. 7 on Weathermaker Music; preorders up now. Details follow courtesy of the PR wire:

clutch book of bad decisions

CLUTCH TO RELEASE NEW ALBUM “BOOK OF BAD DECISIONS” SEPTEMBER 7th

Maryland rockers CLUTCH have announced Book of Bad Decisions as the title of their new studio album.

Book of Bad Decisions, CLUTCH’s 12th studio album is scheduled for a worldwide release on September 7th, 2018 via their own Weathermaker Music label.

The album was recorded at Sputnik Sound in Nashville, TN by producer Vance Powell (Jack White, Chris Stapleton, The Raconteurs, The Dead Weather) and consists of 15 new tracks.

“With Vance Powell as producer we were able to make a very different kind of an album. The songs feel as if they could jump out of the speakers!” says drummer Jean-Paul Gaster. Bassist Dan Maines seconds that when he says “Recording in Nashville with Vance Powell gave us a new and fresh approach towards making an album that truly captures the live energy of Clutch in a way I don’t think we’ve done before.” Guitarist Tim Sult adds “Laying down guitar tracks with Vance was fun and inspiring. Going through and trying out his and his engineer, Mike Fahey’s collection of vintage amps was one of my favorite recording studio experiences. I think the outro solo of “Emily Dickinson” turned out particularly great.”

The album cover was designed by renowned photographer Dan Winters.

Book Of Bad Decisions track listing:
1. Gimme the Keys
2. Spirit of ’76
3. Book of Bad Decisions
4. How to Shake Hands
5. In Walks Barbarella
6. Vision Quest
7. Weird Times
8. Emily Dickinson
9. Sonic Counselor
10. A Good Fire
11. Ghoul Wrangler
12. HB Is in Control
13. Hot Bottom Feeder
14. Paper & Strife
15. Lorelei

The first single from Book of Bad Decisions is “Gimme the Keys” and will be released May 18th, 2018. The accompanying lyric video was created by David Brodsky.

The song is about the band’s first tour back in 1991, a time where they began to cut their teeth in the live music business, dealt with show cancellations and incidents on the road. One particular show in a shed surrounded by cornfields in Lawrence, Kansas ultimately turned ugly over a missing microphone and accusations brought by drunk and gun-toting security people at the end of a long day. “Gimme the keys they can keep the guarantee | Gimme the keys and get the hell out of dodge” is a reflection of the mood of that night.

Pre-ordering the new album Book of Bad Decisions starts May 18th at www.pro-rock.com.

This single is the first of four to be released over the next couple of months as an instant gratification track when pre-ordering the album at:

iTunes (https://itunes.apple.com/us/album/book-of-bad-decisions/1376829212&app=itunes)
Amazon (http://amazon.com/dp/B07CNYD1R7).

All album formats (CD, 24-page book with CD, 2xLP Standard Black, Limited Colored 2xLP, and 2xLP Picture Disc) will have the same 15 tracks. In addition Weathermaker Music will release two very limited 7” Picture Discs.

“I’ve never been one for nostalgia,” says Neil Fallon, “I’ve always shied away from it. But after 27 years of this, I realize that there is a wealth of stories to look back upon as lyrical fodder. As the saying goes, ‘You don’t know where you’re going until you know where you’ve been.’ Not all the songs reference our collective experience as a band, but ‘Book of Bad Decisions’ seemed like an apt name for these various chapters, whether factual, fictitious, or somewhere in-between.”

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion

www.facebook.com/clutchband
www.instagram.com/clutchofficial
www.twitter.com/clutchofficial
www.pro-rock.com
www.youtube.com/user/officialclutch

Clutch, “Gimme the Keys”

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Shadow Woods IV Announces Venue & Lineup Change

Posted in Whathaveyou on May 14th, 2018 by JJ Koczan

shadow woods iv banner

Hey, things happen. Sometimes lineups change, sometimes venues change, sometimes dates change. I think if you’re going to attend a festival, you know the underlying premise of ‘subject to change’ is always a factor. You have to be flexible about these things. Shadow Woods IV — the 2018 installment of I think what’s become one of the East Coast’s most essential and meticulously curated events — was going to happen this year in Virginia. Well, now it’s going to happen back in Maryand where it’s taken place in past years, and the dates have changed. There’s been some shuffling of the lineup as a result. You know what? Who cares? You still go, because it promises an experience unto itself.

That’s my take. If you were planning on heading to this thing, you should still be planning on heading to it.

From the PR wire:

shadow woods iv poster

Shadow Woods Metal Fest Announces Date & Venue Change, New Lineup Details!

The 2018 edition of Shadow Woods Metal Fest (aka Shadow Woods IV) had hoped to debut this year’s fest in a new location in Virginia, but it was not to be. The festival will return to the original Maryland location, Camp Hidden Valley. Due to changes in dates and venue, changes to the festival line-up had to be made.

Shadow Woods IV will now be held Sept 13-15, 2018 at Camp Hidden Valley (located at 4722 Mellow Rd. White Hall, MD) so that the fest could be presented in the manner that attendees have come to expect. All previously issued tickets will be honored for the new dates. Refunds will be given upon request by emailing Shadow.Woods.LLC@gmail.com.

“I did not arrive at this decision lightly,” said fest organizer Mary Spiro of Shadow Woods Productions, LLC. “But as I continued to try to work with our initial venue in Virginia, it became painfully evident that the location would not have created the type of experience I wanted to give fest devotees, to the bands performing, or to myself and our volunteers who would have to manage it. Fortunately I was able to contact the new owners of Camp Hidden Valley (the 200-acre children’s camp was sold in early 2018). If we intend to preserve the spirit of the fest and present it in the manner that it deserves, this was our best option. I investigated many other venues in the hopes of keeping the dates intact but with no luck. I worked furiously to resolve this in the best way possible and as quickly as possible. If there is any silver lining, it is that we are returning home to a familiar place where the fest was born and to the forests and fields that our Friends of Shadow Woods all love.”

Here’s what’s new: UADA and PANZERFAUST will no longer be able to play the fest; they will play the post-fest show on September 22 at The WindUp Space in Baltimore, along with IMPERIAL TRIUMPHANT and two past fest favorites NIGHT RAIDS and DARK WATER TRANSIT. TOMBS will also not be able to play the fest and were not able to play a rescheduled event.

The remainder of the Shadow Woods IV lineup remains remarkably unchanged, and three new bands have been added. As in previous years, Camp Hidden Valley will feature three alternating stages, this time it will be Woodland, Pavilion and Hall.

The entire festival lineup is listed below. Weekend and Day tickets, as well as camping, cabin and parking passes are available at https://ticketing.events/app/portal/1/2362/shadow-woods-iv

http://www.shadowwoodsmetalfest.com/
https://www.facebook.com/shadowwoodsmetalfest/
https://twitter.com/ShadowWoodsMF
https://harpersferryadventurecenter.com/

Shadow Woods Metal Fest 2018 playlist

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