Please note: This list is made up of my personal picks, not the results of the Readers Poll, which is ongoing — if you haven’t added your top 11 to that yet, please do.

It was an impossible task to keep up with everything that came out this year. I’ll say flat out that I didn’t. There are records that I just didn’t get to hear, and I should note at the outset that this list is mine. It’s based on my personal opinions, what I listened to the most this year and what I think 2011’s most crucial releases have been.

I’ve spent the better part of this week (and last, if brain-time counts) constructing this list, and I finally got it to a point where I feel comfortable sharing. Since last December, I’ve kept a Post-It of names, and all year, I’ve logged bands I’d want to consider for the final top 20. In the end, there were 78 bands and more that I didn’t get to write down for whatever reason. 2011 was nothing if it wasn’t overwhelming.

But here we are, anyway, and it’s done. Let’s get to it:

20. Suplecs, Mad Oak Redux

Released by Small Stone. Reviewed Nov. 5, 2010.

This is nothing if not a sentimental pick. Last year, I put Electric Wizard in the #20 spot because the record wasn’t out yet, and this year, I’m putting Suplecs (interview with bassist Danny Nick here) in just because I couldn’t imagine this list without them. Until literally a few minutes before I clicked “Publish” on this post, there was someone else in this spot, but ultimately, it had to be them. The New Orleans trio’s first record in half a decade wasn’t what I listened to most in 2011, it wasn’t the best album, or the most important, or career-defining, but when it came right down to it, god damn, I was just happy to have Suplecs back. It had been too long.

19. Elvis Deluxe, Favourite State of Mind

Released by Harmony Records. Reviewed June 14.

After a while, I was kind of shocked to find myself continuing to listen to Favourite State of Mind, the second album by Polish rockers Elvis Deluxe. The record’s dynamics didn’t immediately open up to me, but once I dug into the songs, I was wowed by their balance of catchy hooks and substantial-sounding riffs. The album was genre-relevant without being genre-minded, with vocal changes, organ, atmospheric shifts and a whole host of moods and turns. After hearing their 2007 debut, Lazy, I wasn’t expecting much out of the norm from Favourite State of Mind, and I’m still thrilled by just how wrong I was, and “Take it Slow” is among my favorite single songs of the year.

18. 40 Watt Sun, The Inside Room

Released by Metal Blade. Reviewed Aug. 11.

The gloomy opening statement from former Warning guitarist/vocalist Patrick Walker turned heads around the world with its unabashed emotional conviction, which was so much the central focus of the record as to be made a novelty by those who don’t usually consider doom an emotionally relevant genre (the widespread arguments against that notion I’ll leave for another time). What most stood out to me about The Inside Room was how the sentimentality translated into a gorgeous melodic sensibility and resulted in a lonely mood that was engrossing. On that level, it was easily among 2011’s most effective releases. It made you feel what it seemed to be feeling.

17. Sigiriya, Return to Earth

Released by The Church Within. Reviewed May 27.

It was an album that lived up to its name. Return to Earth marked the remaking of one of heavy rocks most stoned outfits: Acrimony. But, as Sigiriya (interview with drummer Darren Ivey here), the four-piece (down from five) would show that the years since the demise of their former band had found them progressing as musicians, resulting in a sound less directly stoner, more modern, more earthy. The songs, however, were what made it. It’s still a rare day that goes by that I don’t hum at least part of the chorus of “Mountain Goat” to myself, and if Return to Earth was a new beginning for these players, I can’t wait to see where they go next.

16. Totimoshi, Avenger

Released by At a Loss. Reviewed Aug. 16.

In addition to being Totimoshi‘s first album for At a Loss following the end of their deal with Volcom, Avenger was the first Totimoshi record since 2003’s ¿Mysterioso? not to be produced by Page Hamilton, and where 2006’s Ladrón and 2008’s Milagrosa moved away from some of the noisy crunch in the guitar of Tony Aguilar (interview here), Avenger managed to be both a return to form and a progression of the band’s melodicism. It seems, as ever, to have flown under most radars, but Totimoshi continue to refine their songwriting and have become one of the heavy underground’s most formidable and least classifiable bands.

15. Grifter, Grifter

Released by Ripple Music. Reviewed Aug. 30.

With their 2010 EP release, upstart British trio Grifter informed us that The Simplicity of the Riff is Key, and on their self-titled Ripple Music debut, they put that ethic to excellent use, resulting in straightforward, catchy songs that were as high-octane as they were low-bullshit. The ultra-catchy “Good Day for Bad News” showed Grifter at the top of their form, and with a dose of humor thrown in, Grifter was the drunken stoner rock party you always wanted to be invited to and, of course, finally were. Now if only I could get Skype to work and get that interview with Ollie Stygall moving, I’d be happy to tell him personally he put out one of 2011’s most kickass rock records.

14. The Book of Knots, Garden of Fainting Stars

Released by Ipecac. Reviewed June 16.

I don’t know what’s most impressive about The Book of Knots‘ Garden of Fainting Stars — the songs themselves or that they were able to make any songs at all. With upwards of 20 guest spots around the core four-piece, the third in a purported trilogy of records from the avant rock originalists was an epic in every listen. Songs like “Microgravity” and the Mike Watt spoken word “Yeager’s Approach” pushed the limits of both genre and expectation, and miraculously, Garden of Fainting Stars was cohesive and enthralling in its narrative aspect. If it really was their last album, it was triumphant in a manner befitting its expanding-universe thematics.

13. Ancestors, Invisible White

Released by Tee Pee. Reviewed July 5.

Had it been a full-length, Invisible White would be higher on this list. Many out there who were enamored of Ancestors‘ 2008 Neptune with Fire debut have gone on to bemoan the Californian collective’s shift away from extended sections of heavy riffing and tales of sea monsters and other things that go “doom” in the night. I’m not one of them. The Invisible White EP was a brave step along a fascinating progression, and as Crippled Black Phoenix didn’t release a new album in 2011, I was glad to have Ancestors there to fill that morose, contemplative void, and I look forward to seeing how they expand on the ideas presented on Invisible White (if they decide to stick to this direction) for their next full-length.

12. Elder, Dead Roots Stirring

Released by MeteorCity. Reviewed Oct. 5.

Speaking of shifting approaches, still-young Massachusetts trio Elder also moved away from the Sleep-centric methods of their 2008 self-titled debut on the follow-up, Dead Roots Stirring. Still based very much around the guitar work of Nick DiSalvo (interview here), Elder songs like “Gemini” and the über-soloed “The End” pushed an influence of European heavy psych into the band’s aesthetic, and the result was both grippingly heavy and blown of mind. As an album long delayed by mixing and business concerns, when Dead Roots Stirring finally arrived, it was a relief to hear that Elder, though they’d varied the path, were still headed in the right direction.

11. The Gates of Slumber, The Wretch

Released by Rise Above. Reviewed May 5.

Hands down the year’s best traditional doom release. The Wretch so gleefully and so earnestly employed the conventions of ’80s-style doom — most especially those of Saint Vitus and Trouble — that even though the lyrical and musical content was miserable, I couldn’t help but smile as I listened. Songs like “Bastards Born” and “The Scovrge ov Drvnkenness” pushed The Gates of Slumber away from the barbarism the Indianapolis outfit had been touting on their last couple albums, including 2008’s Conqueror breakthrough, in favor of a more purely Chandlerian plod. “To the Rack with Them” remains a standout favorite and a line often referenced in my workplace dealings.

10. Weedeater, Jason… the Dragon

Released by Southern Lord. Reviewed Jan. 6.

I don’t know what you say to someone at this point who doesn’t like Weedeater. It just seems like a terrible way to go through life, without the madman ranting of “Dixie” Dave Collins (interview here) echoing perpetually in your ears, or never having witnessed their ultra-viscous fuzz in person. Jason… the Dragon was one of the earliest landmark releases of 2011, and practically the whole year later, it retains its hold, whether it’s the stomping fury of “Mancoon,” the lumbering groove of “Long Gone” or the surprisingly melodic “Homecoming.” The hard-touring, hard-hitting band did right in recording with Steve Albini to capture their live sound, and Jason… the Dragon was their strongest outing yet in terms of both songwriting and that unmistakable quality that makes Weedeater records Weedeater records.

9. Rwake, Rest

Released by Relapse. Reviewed Sept. 6.

I was surprised to see Rwake crack the top 10. Not because their first album in four years, the Sanford Parker-produced Rest, wasn’t superb, but because of how much the songs on the album stayed with me after listening. The Arkansas band’s last outing, Voices of Omens, was heavy and dark and had a lot going for it, but Rest upped the songwriting on every level and together with frontman CT (interview here) adopting a more decipherable shout over most of the record’s four main extended tracks, Rwake felt like a band reborn, and theirs was a highlight among several 2011 albums that showed there’s still room for individual growth and stylistic nuance within the sphere of post-metal.

8. Hull, Beyond the Lightless Sky

Released by The End. Reviewed Oct. 14.

It was back and forth, nine and eight, between Rwake and Hull for a while, but when all was said and done, the fantastic scope of Beyond the Lightless Sky gave the Brooklyn triple-guitar masters the edge. With a narrative structure behind it and a breadth of ambience and crushing, post-doomly riffing, Beyond the Lightless Sky was the defining moment that those who’ve followed Hull since their Viking Funeral demo have been waiting for. In concept, in performance, in sound and structure and heft, it absolutely floored me, and of all the heavy records I’ve heard with the tag applied to them in 2011, Hull‘s second full-length seems most to earn the tag “progressive.” A stunning and groundbreaking achievement.

7. Mars Red Sky, Mars Red Sky

Released by Emergence. Reviewed Aug. 29.

One of 2011’s most fascinating developments has been the boom in European heavy psychedelia, and the self-titled debut from French band Mars Red Sky was among the best releases to blend a jam-based sensibility with thick, warm fuzz and memorable riffs. Together with the sweet-hued vocals of Julien Pras (interview here), those riffs made for some of the most infectious hooks I heard all year on songs like “Strong Reflection” and “Way to Rome,” and where other bands jammed their way into psychedelic oblivion, Mars Red Sky were able to balance their focus on crafting quality songs, so that although they sounded spontaneous, the material was never self-indulgent or lacking accessibility. One just hopes they don’t lose sight of that musical humility their next time out.

6. Grayceon, All We Destroy

Released by Profound Lore. Reviewed on March 8.

There was a point earlier this year at which I had forgotten about All We Destroy. After reviewing it in March, I simply moved on to the next thing on my list, and the thing after, and the thing after. But before I knew it, in my head was the voice of Jackie Perez Gratz, singing the line “As I live and breathe” over her own cello, the guitar of Max Doyle and Max Doyle‘s drums. It got so persistent that, eventually, I went out and bought the record, because the mp3s I’d been given to review simply weren’t enough. That was probably July, and I don’t think I’ve gone a week since without listening to Grayceon. So although I classify it in the same league as Rwake and Hull in terms of what it accomplishes in and for its genre, All We Destroy gets the extra nod for the fact that I simply haven’t been able to let it go. And though I’ve come to further appreciate “Shellmounds,” “Once a Shadow” and “A Road Less Traveled,” the 17-minute “We Can” — from which the above-noted lyric is taken — remains the best single song I heard in 2011.

5. Red Fang, Murder the Mountains

Released by Relapse. Reviewed Feb. 16.

On paper, this one should’ve flopped: Band with minor buzz and a cool video hooks up with indie rock dude to record an album of dopey riffs and beardo bombast. Instead, Red Fang‘s second album and Relapse debut became the 2011 vanguard release for the Portland heavy underground, which is arguably the most fertile scene in the US right now. They toured the record widely, and made another killer video for the mega-single “Wires,” but the reason Murder the Mountains is top five material is because it’s lasted. It was February that I reviewed this record, and March that I interviewed guitarist/vocalist Bryan Giles, and I still can’t get “Into the Eye” and “Hank is Dead” and “Number Thirteen” (especially the latter) out of my head. When it came down to it, the songs on Murder the Mountains lived up to any hype the album received, and I’m a sucker for quality songwriting. I mean, seriously. That key change late into “Number Thirteen?” It’s the stuff of the gods.

4. Graveyard, Hisingen Blues

Released by Nuclear Blast. Reviewed Feb. 25.

I wasn’t particularly a fan of Swedish rockers Graveyard‘s 2008 self-titled debut. Even watching them at Roadburn in 2010, I was underwhelmed. But when I heard Hisingen Blues and was able to get a feel for what the retro-minded foursome were getting at stylistically — and most of all, that they were acknowledging that they were doing it without being glib or ironic about it — I found the material irresistible. We’re getting into seriously indispensable records now; ones that I’ve been unwilling to leave home without since they came, in, and Graveyard‘s Hisingen Blues has been a constant feature in heavy rotation. Everything from the devilish testimony of the title-track to the wiry guitars of the chorus to “Ungrateful are the Dead,” to the Skynyrd-ified solo capping “Uncomfortably Numb”: It’s been a year of revelry in all of it, and since they overcame my prejudice to impress on such a level, Graveyard (interview with drummer Axel Sjöberg here) are all the more deserving of their spot on this list.

3. Sungrazer, Mirador

Released by Elektrohasch. Reviewed Sept. 9.

What I hear in the second album from Dutch trio Sungrazer is the heralding of a new generation of fuzz rock. Taking influence from their forebears in Colour Haze and Kyuss, the three-piece of guitarist/vocalist Rutger Smeets (interview here), bassist/vocalist Sander Haagmans and drummer Hans Mulders followed and surpassed their stellar 2010 debut on every level, playing heavy riffs on expansive psychedelic jams and still finding room for some of 2011’s most memorable choruses in songs like “Sea” and “Goldstrike.” In so doing, Sungrazer affirmed the character of next-gen European fuzz and placed themselves at the fore of their scene, with touring and festival  appearances to support. For their warmth of tone and for the fact that I spent the better part of the summer streaming the record through the Dutch website 3voor12, there was no way they were going to be left out of the top 20. It wasn’t until I sat down and actually put the numbers together, though, that I realized how vital Mirador actually was.

2. Lo-Pan, Salvador

Released by Small Stone. Reviewed Feb. 16.

I was lucky enough to be sent some rough listening mixes of Ohio outfit Lo-Pan‘s Small Stone Records debut (following a reworked reissue of their Sasquanaut sophomore full-length), and in my email back to label head Scott Hamilton, I told him I thought he had a genuine classic on his hands. A year, I don’t even know how many Lo-Pan gigs and listens through Salvador later, I still feel that way 100 percent. If you were from another planet, and we got to talking at a bar, and you asked me what rock and roll should sound like in the place where I’m from, I’d hand you Salvador. I still think they should’ve started the album with “Generations,” but if that’s my biggest gripe, they’re clearly doing alright. “Bird of Prey” was the best live song I saw all year, and I saw it plenty, and cuts like “Bleeding Out” and “Struck Match” set the standard by which I’ll judge American heavy rock for a long time to come. Like the best of any class, Salvador is bigger than just the year in which it was released, and at this point, I don’t know what else to say about it.

1. YOB, Atma

Released by Profound Lore. Reviewed July 6.

This is as good as it gets, and by “it,” I mean life. YOB‘s last album, 2009’s The Great Cessation, was my album of the year that year as well, and I knew from the second I heard the self-produced Atma that nothing to come this year would top it. Like Ufomammut‘s Eve in 2010, Atma brings the entire genre of doom along with it on the new ground it breaks, refining what’s fast becoming YOB‘s signature approach even as it pushes ever forward. I still have to stop whatever I’m doing (not exactly good for productivity) whenever “Prepare the Ground” comes on, and songs like “Adrift in the Ocean” and “Before We Dreamed of Two” were humbling. Seriously. Humbling. Listening to them was like looking at those photographs from the Hubble that cover trillions of miles that we’ll never know and reveal gorgeous colors where our naked eyes only see black. If that sounds hyperbolic, thanks for getting it. YOB guitarist/vocalist Mike Scheidt (interview here) is, almost in spite of himself, one of American doom’s most crucial contributors, and with Atma, he and the rhythm section of bassist Aaron Reiseberg and drummer Travis Foster released what is without a doubt the best album of 2011.

A few quick housekeeping items and we’ll call it quits. First, honorable mentions. If this list went to 25, also included would be The Wounded Kings, Earth, Larman Clamor, Olde Growth and The Atlas Moth. Roadsaw were also in heavy consideration, so they’re worth noting, as are many others.

Obviously, I couldn’t include them, but two of my favorite releases in 2011 also came from Blackwolfgoat and HeavyPink, and I’m thrilled and honored to have helped put them out in the small way I did.

And as I said above, there are records I didn’t hear. I haven’t heard the new Black Pyramid yet. Or Orchid. Or a bunch more that I could go on listing. I’m only one man and this is only my list, for better or worse. Again, I really do hope you’ll contribute yours to the group poll, the results of which will be out Jan. 1.

I’ll probably have some more to wrap up 2011 as the month winds down, but until then, thank you so much for reading this and the rest of the wordy nonsense I’ve put up the whole year long. Your support and encouragement means more than I’m able to tell. Here’s to 2012 to come.

Well, not exactly from them, but definitely featuring them. The video below was made with clips from the 1978 Lord of the Rings cartoon edited in with Olde Growth‘s 10-minute, three-part epic, “Cry of the Nazgul/The Second Darkness/To the Black Gate.” I’m posting it because it rules, both the video and the song, which is taken from the band’s self-titled MeteorCity debut.

And about that song: Given all the riotousness that takes place before the third and final movement of the track, you’d think the bass/drums-only duo would have a hard time coming up with sufficient payoff, but they totally nail it, cutting back on the heavy vocals at just the right time to add subdued melody — just the opposite of what you expect in listening — in a breathy delivery that practically paints the walls in groove and brain matter. It doesn’t so much hold the attention as it crushes it.

Thanks to MeteorCity for sending this along in their latest label update:

Founded in the sun-bleached desert lands of Albuquerque, New Mexico, in 1998 by Jadd Shickler (also of the band Spiritu) and Aaron Emmel, the imprint MeteorCity had its humble beginnings supporting a genre of underground rock that, to date, finds kinship among relatively few listeners. The two were new to underground rock. I recall interviewing Shickler years back and he told me that people would ask him if his online store, All That’s Heavy, would be stocking the new Orange Goblin album, and he said, “Yeah, of course!” and promptly set about to discover who the band was. 1998 was, if nothing else, a long time ago.

Along the way, though, MeteorCity became inextricably linked with All That’s Heavy and eventually with the much-missed StonerRock.com, becoming one of the most important heavy rock imprints of the post-Man’s Ruin era. Starting with the first Welcome to MeteorCity compilation in 1998, Shickler and Emmel helped establish what stoner rock became in the wake of Kyuss‘ demise, and albums released from Nebula, Solace, The Atomic Bitchwax, Blind Dog and Eternal Elysium provided a model for bands and other labels alike.

In 2007, Shickler and Emmel said goodbye to the label they started and the scene they helped found, selling the site to Dan and Melanie Beland, who had previously taken over All That is Heavy (now with the full “is”) in addition to hosting StonerRock.com. Their farewell came in the form of another comp, this time the three-disc …And Back to Earth Again — for which I was fortunate enough to have contributed to the liner notes, and which was less an inflation of an ego and a “look what we did, how important we are” than a “I can’t believe how lucky we were to put out so much good music.”

Shickler and Emmel, who were admittedly burned out on the genre, went on to other work, and Dan and Melanie embarked on a string of incredibly strong releases, effectively revitalizing MeteorCity and declaring in no uncertain terms that a new generation of the heavy underground was rising to the fore. Full-lengths by Black Pyramid, Elder, Snail and Freedom Hawk (among others) demonstrated that not only was there life in the style, but that the label had its ear to the ground when it came to finding bands and choosing which acts to highlight.

Adopting the ethic of taking on acts with strong self-releases and bringing them under the MeteorCity fold, the imprint released CDs from SardoniS, Egypt, Valkyrie and Dead Man (again, among others), and though StonerRock.com met its demise at the end of last year, the enterprises of MeteorCity and All That is Heavy have continued on into 2011, with the label re-releasing the self-titled debut from Boston duo Olde Growth, the second album from New Keepers of the Water Towers, and most recently, a compilation of vinyl-only and previously-unreleased tracks from Black Pyramid called Stormbringer, with more expected before 2011 is through.

The inevitable question, then, is where to start. If you’re new to the label or maybe have a couple of the discs you picked up along the line, which in their catalog are the most essential releases? Well, here are my picks…

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Originally a 2010 self-release, the self-titled debut from Boston bass/drum duo Olde Growth is given a second look thanks to MeteorCity. The 46-minute offering plays to a wide host of riffy influences, and the duo do well in carving out an identity for themselves among the melee of energetic songs. Of the seven tracks on Olde Growth, only the feedback interlude “Red Dwarf” is under five minutes long, but the cuts nonetheless move quickly one to the next, and no matter what tempo they’re working in – thrashingly fast, drearily slow or somewhere in between – Olde Growth pull off an immediacy in the music that might be their greatest asset. Parts abound in the songs, and there are both chorus-based and more linearly-structured passages (the third track is a three-parter), but as complex as bassist/vocalist Stephen Loverme and drummer Ryan Berry get, they don’t lose sight of either the thickness of tone or the subtle melodicism that finds its way into sections of Olde Growth, and that works much to the album’s benefit.

Being a duo with bass and drums and playing this genre, one would be remiss to not cite Om as an influence – conceptually if not musically. If that reference shows up anywhere, it’s in the late-album instrumental, “Everything Dies,” or the contemplative, subdued beginning of 10-minute closer “Awake.” The bulk of Olde Growth owes more to the likes of Sleep and High on Fire (if you want to stay in the same family tree of bands), with some more bombastic tertiary-feeling desert influence and a dose of Acid King’s expansive doom in the clean-sung sections of “Sequoia.” Loverme, in addition to writing inventive riffs on which the songs are based, has a good sense for varying his vocal approach. Screams, shouts and melody are all well placed over the music, starting immediately with a rhythmic/melodic interplay on opener “The Grand Illusion” that provides Olde Growth’s most memorable chorus. Lyrically centered around the occasional bit of epic stoner nature worship (see “Sequoia”), with “Cry of the Nazgul/The Second Darkness/To the Black Gate” being – appropriately enough – a trilogy based on J.R.R. Tolkien’s The Lord of the Rings, Olde Growth prove consistent mostly in terms of the quality of their material and the heaviness of atmosphere they affect. Everything else on these tracks feels like it could change at a moment’s notice.

In such cases, it’s often easy for a band to come across as overly angular, but Loverme and Berry avoid this with the injection of stoner groove like that which shows up in the break of “The Grand Illusion” or for the bulk of the sludge-laden “Life in the Present.” They’re not technically focused by any stretch, but the duo does work well together and that’s essential to the album’s success. Early into “Cry of the Nazgul,” Berry’s drums seem to cut through the mix more than is warranted, which, honestly, I don’t know how you avoid when Loverme is on the low end of the low-end and there’s nothing else to fill out the sound, but the abrasion doesn’t necessarily feel like it’s anything more than Olde Growth wanted it to be, and “The Second Darkness” is faster and more melodically aware, setting up one of the full-length’s arguable apexes in “To the Black Gate,” where Loverme layers his vocals over a frantic riff/crash combination. If not for what was still to come on “Sequoia” and “Awake,” it would probably be the most satisfying moment on the album.

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Upon sampling their self-titled debut, I thought Boston‘s massively-toned Olde Growth were good enough to justify hanging out in a Jersey basement with a bunch of 20 year olds to see. That’s pretty damn good, as far as I’m concerned. The bass/drums duo have announced they’ll reissue said self-titled through MeteorCity on April 26, and good for them. They made a killer record and the more people who hear it, the better.

The PR wire has info and the scoop from bassist/vocalist Stephen LoVerme:

Heavy Boston, Massachusetts, duo Olde Growth will release its eponymously-titled debut Olde Growth on April 26 via MeteorCity. Recorded by AJ Peters at Black Box Studio (Batillus, Disappearer), the album features seven tracks of powerhouse doom metal “inspired by noise, nature, sound and space.” The group features Stephen LoVerme (bass / vocals) and Ryan Berry (drums), but the sound it delivers is thick enough to make you think they have an army behind them pummeling away.

“We wanted the album to have a raw, immediate quality to it, the kind you get from playing live in the same room together. So that’s exactly what we did,” commented LoVerme. “I think we struck a pretty good balance between raw and polished; the sound is thick, warm and organic, and a listen all the way through will take you on a winding journey through some unexpected places. For our debut record we couldn’t be happier!”

Olde Growth tracklisting:
1. The Grand Illusion (6:47)
2. Life in the Present (5:12)
3. Cry of the Nazgul / The Second Darkness / To the Black Gate (9:55)
4. Sequoia (6:41)
5. Red Dwarf (1:05)
6. Everything Dies (5:45)
7. Awake (10:38)

Olde Growth will celebrate the album’s impending arrival with a record release party and live performance on April 7 at the Church of Boston (69 Kilmarnock Street, Boston, MA). Also appearing at the special show will be the band’s new labelmates Black Pyramid.

The place was unmarked from outside by everything but the hip-looking kids loitering in front of the restaurant next door. I’d never before been to The Meatlocker in Montclair, but I went to see Olde Growth (down from their home in Boston) and a couple other acts, arriving half an hour late for a 9PM start and finding I was still about two hours too early. They were just gonna wait for some more people to show up. I went to the bar by the train station. See you later.

A round of Smithwicks later, Brooklyn post-whathaveyou kids Yorba Linda started the show off. The Meatlocker, for all its “I’m a fire hazard basement” atmosphere, was actually run pretty efficiently. The dudes from Dutchguts, who I’d seen a couple weeks ago at Lit Lounge for a Precious Metal show with Rukut that I meant to review but never did (it was the week of Xmas), seemed to be involved with running the show, and they had it going festival style: one band plays on one stage while another sets up on another. By the time I got back from the bar, Yorba Linda was maybe halfway through their set, and the tiny room in which they played was so packed I could barely poke my head in. It’s okay, I could hear fine from the hall.

It is a basement. Graffiti on the walls, space heaters, cement. Kids by the dozens and me standing there wondering where all the sludge-heads came from and where the hell they were six years ago. As the more bearded of my two show-going compatriots accurately pointed out: Grade school. Six years ago, they were in grade school.

Even before I heard the Saint Vitus song that so concisely put it into words, I’ve always thought of myself as being born too late. In 1981. And I don’t say that so if you’re older than me you can say, “If you were born too late, what am I?” like it’s some fucking contest. I only mention it because the peculiar timing means I’m too young by a few years to be prime Generation X and I’m too old by a few years to be whatever the hell these kids are now. Music-wise, I skew older, but I’ll admit to being not a little jealous of the scene at The Meatlocker. I never had that. Even when I was younger and really into metal, I couldn’t go to a place in my town and see three or four local bands play. And now I’m right on the border of being the creepy older guy at the basement show. I missed my shot at that. I’m back and forth on the regret level.

I’d bought a disc from Olde Growth before leaving to go to the bar, in case I didn’t make it back, but there was one more band between Yorba Linda and their set. In the bigger of the two active rooms (it looked like the venue could have gotten a third going if they’d wanted), local-types The Sun the Moon the Stars lit up a Relapse-style new-school Southern metal pit the likes of which I’d not seen in a long time. Standing there and watching, I realized that four years ago these were all probably scenester post-hardcore kids. They kept the skinny jeans and started doping Dixie Witch riffs at double-speed, but it was energetic, and it was good, and the crowd loved it. I alternated between nodding, like I do, and shaking my head at the moshing heathens, also like I do.

Once they were set up back in the small room, Olde Growth got a couple songs off from their stunning self-titled disc soon to be reissued on MeteorCity before the bass amp blew out. When you’re a bass and drums duo, you kind of need that, so a break was taken while they got it operational. It took a minute or two, but they did, and you knew it was real doom because no one could mosh to it. A couple kids tried, but it was too slow, too thick. I like that.

It was made apparent when the bass went the second time that it was going to be a theme for the evening. I felt bad for the band, and doubly so since apparently Dutchguts — who were the night’s big draw, apparently — decided to start their own set in the big room right then. I don’t know whether they thought Olde Growth were finished or what, but by the time Olde Growth got to the point where they could play their last song, there were six people watching and I’d brought two of them with me. The other three, to their credit, were Yorba Linda. A skinny weirdo kid with a bad moustache popped in every now and again to do homoerotic spazz-freakouts dangerously close to the band. He’ll probably grow up to be a CEO.

While their equipment was working, Olde Growth were refreshingly good. A formidable rhythm section playing grooving doom is never unwelcome as far as I’m concerned, even if that’s all there is in the band. Drummer Ryan Berry hit hard and refused to end the set after the second time Stephen Loverme‘s bass blew, which was admirable, and Loverme in turn delivered in tonal weight on the three-part closing act, “Cry of the Nazgul.” I didn’t at all feel like a guitar was missing or would have added anything to their sound that Olde Growth wasn’t already delivering, and I hope it’s not the last time I see them play.

I caught about two minutes of Dutchguts‘ abrasively-stoned sludge assault on my way out the door and left off to the shortest ride back to the valley I’ve had from a show in recent memory. It’s unlikely I’ll be a regular at The Meatlocker, but for the purpose I needed it to serve, it was just right. Some shows call for a grimy basement, and I’m glad to know a place like this is out there, fostering a scene of which I’ll never be a part.

It’s not often shows get as close to where I live as Montclair, NJ, so I think that pretty much the only way I could justify not going to see Boston outfit Olde Growth on their upcoming run down the eastern seaboard is if they started talking smack about my mama. Which would just be unnecessary, as she’s a lovely lady.

Ever vigilant and supportive of their bands, MeteorCity sent the following info down the PR wire:

MeteorCity recording artists Olde Growth will be touring the East Coast of the USA during the first two weeks of January 2011. Get out and see ’em!

01/02 The Cookie Jar, New Haven, CT w/ Edhochuli, Worn Out Tiger, World’s Strongest Man
01/03 AS220, Providence, RI w/ Thrillhouse, Mout, Mouth of Flowers
01/05 The Archeron, Brooklyn, NY w/ Bad Dream, Lost Coves
01/07 The Meatlocker, Montclair, NJ w/ Lorba Linda, Stone Titan, Gowl, more
01/08 House Party, Philadelphia, PA w/ Bubonic Bear, more
01/09 Hole in the Sky, Washington D.C. w/ Ilsa, more
01/10 Strange Matter, Richmond, VA w/ Time Warp Trio
01/11 TBA, Charlotte, NC
01/12 The Drunken Unicorn, Atlanta, GA w/ Beeravore, Sadistic Ritual
01/13 Will’s Pub, Orlando, FL w/ Druid Lord, Putrescent Secretancy, Sterile Prophet