Of all the events that might’ve taken place in doom this decade, I don’t know if The Obsessed putting out a record was the least likely, but it had to be somewhere on the list. And the road that brought the legendary Maryland-doom-agenda-setters to the point of releasing their Relapse Records debut, Sacred (review here), is suitably winding. Never mind the fact that it’s been 23 years since the last time the unit founded and fronted by Scott “Wino” Weinrich (Saint Vitus, Spirit Caravan, The Hidden Hand, Premonition 13, Shrinebuilder, etc.) offered up what most probably figured was their final studio outing, 1994’s The Church Within — it’s been half a decade since this reunion got underway, beginning with a set in the Netherlands at Roadburn 2012 (review here).

In the years since, The Obsessed has receded and come to the fore again. Weinrich was still fronting Saint Vitus at the time in support of that band’s reunion offering, Lillie: F-65 (review here), and though that tenure would end unceremoniously following a well-publicized drug arrest in Norway late in 2014, it was the three-piece Spirit Caravan that he went back to first, reunited with bassist Dave Sherman, also of Earthride and Weed is Weed and eventually bringing on board Brian Costantino in place of original drummer Gary Isom. Spirit Caravan toured and threatened a new record, but before they could get there, they announced early last year that Spirit Caravan was now The Obsessed and they’d be continuing under the moniker Wino first put to use in 1980.

Fair enough. More tumult followed after this three-piece hit the studio with Frank “The Punisher” Marchand to track what they’d come to call Sacred, with Wino and Sherman parting ways and The Obsessed reforming for a short time as a double-guitar four-piece featuring former The Hidden Hand bassist/vocalist Bruce Falkinburg before once more paring back to a trio of Weinrich, Costantino and bassist Reid Raley, also of Arkansas post-sludgers Rwake. The Obsessed had done gigs all along with Raley in the lineup, including Maryland Deathfest, but in bringing him on board full-time, the band seems to have settled the issue as much as these things are ever settled, and though the chaos surrounding Sacred is palpable, the album itself is treated fitting to its title.

That is to say, while the process by which it came about and its aftermath have been anything but, the actual record and the songs that comprise Sacred are fluid, unconfused, progressive, and most of all — heavy. Fast or slow, light or dark, they bear the hallmarks of Weinrich‘s songwriting style, and whether they’re playing toward bluesy convention or bridging the how-is-this-still-so-wide-when-we-know-all-doomers-are-grown-up-punks gap of doom and punk, The Obsessed circa 2017 are living up to and pushing forward one of the genre’s most storied and influential legacies. Whatever the future might hold for the band, Sacred pays for its unlikeliness in the sheer quality of its craft and execution, and when this year is over, there’s no question it will stand as a landmark for even more than the simple fact that it exists — though that’s not to take away from that either, because the fact that it exists remains pretty fucking impressive.

The Obsessed are on tour now in the US with Karma to Burn, Fatso Jetson and Lo-Pan. Dates are posted here.

I had the first slot of a press day to speak with Weinrich about making the album… and a terrible connection. There was a lot lost of our conversation to the digital ether of crackles, pops, fadeouts. We got disconnected twice. Still, I did my best to recover what I could of the interview and it turned out to be plenty.

You’ll find the results below, with my thanks for reading.

The Obsessed Interview with Scott “Wino” Weinrich

Take me through the decision to move from Spirit Caravan to The Obsessed. How did that come about and what went into that for you?

Spirit Caravan was with Dave Sherman and then we had a succession of drummers. Where I met the current drummer for The Obsessed, Brian Costantino, was actually many years ago. He was a friend of the band when The Obsessed was together back in the ‘70s and ‘80s and he and I had not seen each other for quite a while, so we put Spirit Caravan back together we had Ed Gulli playing drums…

So Brian came around and I didn’t realize in the time that we had been apart that he had played the drums. He came around for rehearsal and Brian sat down behind the kit and we had a little jam and that’s kind of what started the whole thing rolling because the wheels are coming off the wagon a little bit with Spirit Caravan and Eddie didn’t want to tour and there’s some other issues and so I just looked prior and so BrIan was pretty much never in Spirit Caravan. Now Sherman’s on the record, but some other things happened and we trying to move ahead without him. So basically when I met Brian I realized after our first couple of camps that Brian grew up on The Obsessed. It was his favorite band and in the years we had been apart from each other, he had become quite a successful drummer and he was tired of what he was doing which was kind of like cover stuff and playing with some local bands.

He had basically just retired from playing and then I came along and gave him a call one evening and was like man do you want to reform The Obsessed and he said, “Yeah let’s do this.” You know, it’s the kind of chemistry that really reinspired me. It’s exactly what I needed. I realize that the songs, the old type of songs for me seemed to be timeless and I just started right away and we really kicked it off. It really was about a chemistry thing between me and Brian and there was this confusion after that with the [lineup, and] I decided to try a little experiment so I called [Bruce Falkinburg] to the basement and he goes “yes,” and then my fiancée came and we decided to put [the band together as a four-piece].

Well, everything was pretty groovy at first, but a touring commitment and came up and there was some wavering and I had been assured that everything was going to be cool but it became obvious to me that it really is all about commitment and I understand but not everybody is just willing to leave their job and just play musical instruments. So I’ve got  nothing for admiration of everybody but reality [was that] Bruce had to be replaced and Reid Raley was actually our first choice but he’s eight hours away from where we rehearse and for some reason I just forgot what a rogue one he was. Anyway we brought him in and we’ve had a couple weeks and man the chemistry is just extremely focused now. We’re back in a three-piece with Reid, and man, it’s really on. I feel completely energized.

You had played with Reid before in The Obsessed though as well. He was at Maryland Deathfest with you, right?

Yeah, Reid is a very personable guy and while I was touring with Vitus, Reid saw I was having some issues with Guy, who played on The Church Within and was a member of The Obsessed for some years. Guy had some immigration issues but didn’t really tell us and so he booked the Maryland Deathfest kind of knowing that he wasn’t going to be able make it. So it was kind of weird, but Reid told me “whatever you need if you need me to play bass for you to help you out, I will,” so I said at that point in time, “Yeah, why don’t you do that?” So me and Reid have some good history.

Is it a little strange? Sacred is the first Obsessed album in 20-odd years and it’s such a different band.

The only thing different is the bass player. We were a three-piece when we recorded Sacred. The nucleus of The Obsessed is me and Brian and I think the addition of Reid is nothing but good. And I’m very proud of the record. We’re already playing seven songs off the record, and we play the material live and I’m super-proud of that record. I think it’s great. I not just saying it because it’s my record but I think it’s the best sounding record I’ve ever done. I’m completely inspired. We’re ready to take these songs out on the road. I mean it’s been a long time, but you know, but it seems the time has never been right in the past and it seems like everything is lining up pretty good now.

Why do you think that is?

I think it’s because A) the music is top notch and B) In my opinion I think that I also must say that in my opinion, Frank Kozik and his label Man’s Ruin was pretty crucial in kind of opening up the door to hard rock and stoner rock or whatever, and he also opened up the power of the internet. I mean, come on, back when The Obsessed was starting to take off we did a video for “Streetside” and if you got on Bevis and Butt-Head, that was a venue. If it didn’t pass the Bevis and Butt-Head test you were done (laughs). I remember “Streetside” hit Bevis and Butt-Head and one of them said, “Ah they look old,” and that was it. But now you’ve got YouTube. The label. We’re on a very strong label. The label did really, really well and I feel honored to be on Relapse, and there’s a mutual respect thing and I think it’s just good now. I can’t say I fully understand why. I just know this is the time.

Talk to me about the Obsessed now as opposed to 20 years ago? How is it different for you? Has it felt like a crazy last couple of years after the whole situation with Vitus, playing with Conny Ochs, doing the solo stuff. Does going back to The Obsessed feel like going home for you?

It felt like going home for me and you have to understand that between me and Brian, Brian grew up with The Obsessed. It was his favorite band. It was Obsessed for all these years, so that has been like his main focus and when we reconnected I was truly flabbergasted that he’s an astounding drummer and it we haven’t seen each other in how many years?

It’s actually really mind blowing in a really, really good way. So we’ve got this amazing chemistry, lived together, we’re like a hardcore team and it finally feels right. The Church Within was cool, but with Greg and Guy, it’s touring, but when I started the reunion stuff, the one-offs, it just didn’t feel right. I’ve kind of felt in way as if I was been going through the motions. I’m really feeling good about stuff, like the chemistry between me and Brian and Reid. I’m pretty excited. I made a pretty important lifestyle changes to embrace this wave.

Can you talk about that?

Obviously, anybody who knows my past knows I had a very long period of sobriety in this reunion and after the separation and I lost the ability to see my kids and then we got separated for three or four years, i was pretty torn up and I fell back in my old ways but I’ve got to tell you, I was depressed and I did what I had to do. Had to get up out of bed in the morning and do what I had to do.

Right around that time was when Vitus was heavy touring, the brand new Vitus record, I did the Adrift record, I did the Shrinebuilder record, I did the Premonition 13 record. So basically I did what I had to do to be able to get on with my life and my career. So after a while, I must say, with Saint Vitus, to get into that stuff and to get into that mode and do that stuff, I had to be pretty loaded. I mean, it was like a requirement for me. The music is so primitive and so primal, especially playing live I had to really get into that state of mind to do it and that state of mind to me and in those days meant about 20 beers and half a fifth of liquor and as much shit as I could cram up my nose, but you know, that was the singing in Saint Vitus so things were a bit different.

Nobody can live that way forever. It caught up to me in Norway and I did get deported and that was kind of a bummer for me. I didn’t end up taking any charges, but it’s still kind of a bummer now I have to pay out the ass for visas and I have this ban from the Schengen countries, which is sort of like the EU, for five years, so I’ve already had three of that. So basically you pay the price. So I had to grab the reigns and I did. Now you know I’m back on the bandwagon, back in my head, living a sober lifestyle.

How has it been working in The Obsessed in that mode?

It’s fantastic, I just feel like all my focus and energy is in the right place, everything is where I feel it need to be. I’ve always been interested in alternative spirituality, if you will. I’ve never been into any organized religion or the denominational trip, but I consider myself to be pretty bright. I always want to learn and I always need to learn but I think that I try to awaken to the situation of the reality.

My personal spirituality has always been one of my main focuses and I’m just continuing my research, as I put it, and I’m just focusing on playing it right and I’m not one to blow my own horn but I do think I’m playing at the top of my game right now and I think that we have an absolute killer chemistry between the three of us and I thought, “man, this all I’m doing.” I’m playing the acoustic guitar here and there, wherever the listening party is, and at some point, I will do something else with Conny because I love Conny and we [need another record and tour] but right now The Obsessed is all I want to do. It’s where my focus is right now.

Can you tell me about going from touring a reunion band with The Obsessed as opposed to taking it on as a creative project again? You did that big tour last year with Karma to Burn, but how has it been moving from a reunion, to a working band, to a creative project?

I think it’s been refreshing and rewarding, actually because we get to go on tour. We were with Dave and there were some issues there. I mean listen, Dave’s loyalty and his heart never in question, he’s a great guy, so basically I don’t want to insult him and put him down in any way. He’s a great guy. I feel now that the record is coming out and it’s an incredibly strong record, it’s getting amazing reviews so far and I’m very happy.

We’ve already got three new songs we’re working on and we’re going to go back in the studio with our same guy from Sacred, Frank Marchand. We have three songs now. Hopefully by the end of the tour we have another two, and we’ll be halfway to another record. Whether we can have it finished, I doubt it, but we can at least get a couple in the can. So I feel completely energized, reinspired, and we’re getting it on, man. This is what we do, 24/seven. This is what I enjoy doing. When I’m in the studio, that is my perfect embodiment, that is when I am the most happy, and so yes, I’m just looking ahead.

Can you talk a little more about your time in the studio for this record? Working with Frank?

Frank is an amazing guy. He had to set up a little unconventionally, his room where he recorded wasn’t a control room. It was an open area. He likes to listen loud. He likes to mix loud but I’m telling you it was an orgy of vintage equipment. He’s got at least 10 [stacks] of different size and variety, mixed models.

What about the diversity on the album? It covers a lot of ground.

…For example, “Stranger Things,” when Reid was listening to the record, he goes, “ok, that song really put the ‘what the fuck?’ nail in the coffin.” That song threw him for a loop. It’s not that he disliked that song, but he just thought it was really, really different. That song was an acoustic song. I woke up one morning like, “fuck, what am I trying to even put it in a box like that? Why am I trying to make the specifics,” because The Obsessed has always been about diversity. We cut our teeth in the early days playing with punk rock bands. We can play super-fast, and we also like really slow stuff. A good example is the fact that of course I’m a diehard Black Sabbath fan but I’m also – I love Joy Division. I love The Stooges, The Dictators.

One of my favorite records is Hear Nothing, See Nothing, Say Nothing by Discharge. So our tastes and our influences were always very diverse but we grew up in an era where it was all about energy. It was all about passion with the punk rock thing and also with the hard rock we listened to. I think that’s what’s really – always – you are a product of your influences, obviously just the same depending on your youth and childhood and really how wounded you are (laughs) in the rest of your life. It’s the same kind of theory.

I think the diversity is what makes it interesting because if I listen to a record where every song sounds the same even though it might be a good record, but every song sounds the same! I’m happy to bring a little diversity to it. I’m happy to people to kind of be like, “woah! This is weird or interesting.” I just think it makes it more interesting and it’s actually very natural, the way it came out.

It’s a pretty personal record. Especially the song for my kids, that’s a very personal song. But man, hey, my life is an open book and my theory or my philosophy if you will is, man, it’s all about passion, but it’s all about the power of the song. The song might need a guitar solo. It’s really about the power of the song.

The same way when you listen to the radio or you’re in a bar and an old song comes back again, one of your favorite songs from whenever it was, it has a way of invoking those good memories. Bringing back a feeling or maybe even remember the day when you listened to that song when you had memorable events like that. It’s really about the power of the song and it’s about the passion.

I really believe that I was given a gift in this earthly trip and I believe that it’s sort of my duty or job to carry the torch man, and to enrich other people’s lives and mine as well. It’s more rewarding having someone say, “hey, your music touched me in a way that was special,” or maybe even, “your music saved my life.” I’ve heard that before. To me that’s way more rewarding than a bag of gold on the table.

What’s next? The tour in May and then back in the studio. Then what?

The tour in April/May and then we will be in the studio recording some new material. Then we are going to be going to the UK including Scotland and Ireland. Then we’re going to be going to South America and Australia. By that time, man, it should be time to go back to Europe. We plan on touring pretty hard for the next couple of years. And also, in between then we’ll be writing another record.

When do you think you’ll squeeze in Conny Ochs?

Me and Conny have been talking and when there’s a break in the action, a break in The Obsessed action, for whatever reason that might be, then Conny said he’d like to come out and play the US and more than likely we’ll do a short tour out here.

One last thing, off topic. There was talk a while ago about a project with Nick Oliveri. What happened with that?

Actually it was me, Nick and Joey [Castillo], but Joey was really busy at the time. He was on retainer with Scott Weiland at the time and even though we tried to put it together he was just too busy. Joey‘s had a little run up, he’s I mean some bad luck, but we might revisit that. But right now I’m focusing on The Obsessed. They’re both amazing people and amazing players and it was something that like, it came up, we wanted to do it but Joey was pretty busy. In the future.

The Obsessed, “Sacred” official video

The Obsessed on Thee Facebooks

Sacred at Relapse Records

The Obsessed on Bandcamp

Relapse Records website

Relapse Records on Bandcamp

Relapse Records on Thee Facebooks

Relapse Records on Twitter

It’s been 23 years since the last time The Obsessed released a studio full-length, and the confluence of events leading to the arrival via Relapse Records of Sacred is duly headspinning. Even if we start five years ago with the Scott “Wino” Weinrich-fronted trio’s first reunion show at Roadburn 2012 (review here), the next few years would see lineup changes, bands coming and going, and more. After Weinrich‘s parting ways with Saint Vitus, the revitalization of the three-piece Spirit Caravan with the original rhythm section of bassist Dave Sherman (see also: Earthride) and Gary Isom didn’t last, as Isom was traded out, first for Henry Vasquez, then for Ed Gulli (a veteran of The Obsessed) and finally for Brian Costantino. This version of Spirit Caravan toured and was set to begin work on a new record — they performed “Be the Night,” which features on Sacred and was a preview track, as a regular part of live sets — before Weinrich announced a banner change.

What was Spirit Caravan was now The Obsessed, and with the lineup of Weinrich, Sherman and Costantino, they entered the studio with Frank “The Punisher” Marchand to record the awaited follow-up to 1994’s The Church Within. Following the recording of the 57-minute/14-track behemoth from this most quintessential of Maryland doom outfits, whose impact on that style is second to none perhaps save Pentagram (and that’s a maybe) and of course Black Sabbath, more lineup changes brought in Bruce Falkinburg (a former Weinrich bandmate in The Hidden Hand) on bass and Sara Serphim on guitar for a short-lived four-piece incarnation, and the actual release of Sacred finds The Obsessed retooled once more, with Weinrich on guitar/vocals, Costantino on drums and Reid Raley (Rwake), with whom the band had played live shows more or less all along, stepping in as the full-time bassist.

Somehow it’s fitting that in the midst of all the flux, of the near-constant swirl of change that has surrounded Weinrich for the bulk of his career — one album to the next, one band to the next — The Obsessed should reemerge with Sacred as a defining document of what’s made them such a landmark act in the first place. Sacred is far and away the most diverse record The Obsessed have ever done, from the rush of “Punk Crusher” and “Be the Night” to Weinrich and Sherman trading vocal lines — and sounding like they’re having a blast doing it, no less — in “It’s Only Money” to the languid nine-minute bluesy solo flow of “On So Long” and the organ-laced finish in “Crossroader Blues,” it’s an album nonetheless united by inimitable tone and by its underlying qualities of performance and craftsmanship, and while opener “Sodden Jackal” willfully hearkens back to the impact The Obsessed had in shaping what we think of as “traditional doom,” there’s just as much about Sacred that is unflinchingly forward-thinking and that refuses to compromise that vision.

With the strength of hooks in “Haywire,” “Stranger Things,” “Razor Wire” and “Be the Night,” the band provides a steady stream of landmarks throughout to keep listeners oriented as they present turns like “It’s Only Money,” the instrumental “Cold Blood” and toy with faster and slower tempo shifts across “Punk Crusher,” the title-track, “Haywire” and “Perseverance” early and “Razor Wire,” the heartfelt “My Daughter My Son” and “Be the Night” late — and that’s before the already-noted “On So Long” and “Crossroader Blues” at the end of the album — and as far as The Obsessed push sound-wise, they never lose the central identity created by the outright heft in the guitar and bass, yes, but in the emotion and execution of the material as well.

The confusion in “Haywire” feels genuine, as does the downer stomp of “Perseverance” (organ doesn’t hurt that atmosphere either), and the upbeat classic heavy rock of “It’s Only Money” offers a moment of (gasp!) actual fun when Weinrich and Sherman come together to yell, “stick ’em up!,” and while “Stranger Things” is something of a structural masterpiece to represent the work as a whole at its best, all-thrust pieces like “Be the Night” and “Razor Wire” offer a blistering appeal of their own. On paper, Sacred might feel like a work of multiple personalities, but on a front to back listen, they absolutely carry it. They make it flow.

Part of that comes down to Wino himself, and I’ll make no bones about being a fan of his work or of Sherman‘s. The guitarist makes the primary impression as frontman — The Obsessed, which as a band dates back to 1979, and across its first three records, 1985/1990’s self-titled, 1991’s Lunar Womb and 1994’s The Church Within, established itself as the original “Wino band” — but the collaboration between Wino and Sherman here is essential in giving Sacred its personality and its depth. To undersell that aspect of it would be disingenuous.

That’s a relationship that was born in the mid-’90s as Shine, which became Spirit Caravan, and like other key creative partners with whom Weinrich has worked over the years, for example guitarist Dave Chandler of Saint Vitus or the aforementioned Bruce Falkinburg in The Hidden Hand, the Wino/Sherman pairing may be one in which personalities contrast, but the work produced is that much broader and more realized, perhaps in part because of that. On that level, Sacred is almost bittersweet, because while even down to its sheer length it speaks to a highly productive writing experience — in the age of reborn LP length, one does not release an hour’s worth of material if one doesn’t have something to say — it also marks the end of the partnership that was such a major factor in its making.

At least for now. One would be a fool to try to predict what the future might hold for Weinrich or The Obsessed — and kudos to whoever in 1994 said, “I bet they do another record in 2017” — but if this is the band with which he’s going to continue writing and touring for the time being, then “this” is already a band that has changed in a crucial way that will affect any future output. Now, even talking about a “next record” from a band who just put together their first in nearly a quarter-century seems utterly ridiculous, but the point is that Sacred, true to its title, captures a moment that isn’t likely to come again anytime soon. It successfully revives and expands the palette of one of American doom’s most influential acts, and it comes across as a genuine representation of the personalities, or at least the personae, of those who made it. The next few years will continue to tell The Obsessed‘s story and these songs’ ultimate place therein, but there’s little doubt that for many, Sacred will rank among the top albums of 2017, and I have no argument against its consideration as such.

The Obsessed, “Punk Crusher”

The Obsessed on Thee Facebooks

Sacred at Relapse Records

The Obsessed on Bandcamp

Relapse Records website

Relapse Records on Bandcamp

Relapse Records on Thee Facebooks

Relapse Records on Twitter

The Obsessed have announced a massive round of tour dates for April and May to support their first album in more than 20 years, Sacred, which is out April 7 on Relapse Records. Direct support on the run will come from Karma to Burn (with whom The Obsessed also toured last year), and Fatso Jetson and Lo-Pan will trade off for the West Coast and East Coast portions, respectively. In addition, a record release party will be held in Philly on April 8 at Kung Fu Necktie, at which The Obsessed legendary founding guitarist/vocalist Scott “Wino” Weinrich will perform acoustic.

By way of a spoiler, I interviewed Wino yesterday about the new album — which rules — and he’s stoked to take it on the road. More to come on that as soon as I get the conversation transcribed.

Meantime, without further ado here are the dates from the PR wire:

THE OBSESSED Announce Headlining US Tour Dates

Maryland doom legends THE OBSESSED have announced a full US tour in support of the forthcoming album Sacred. The tour commences on April 12th in Pittsburgh, PA and runs through May 20th in Baltimore, MD. Karma To Burn will provide direct support on all dates while Fatso Jetson (April 17 – May 1) and Lo-Pan (May 3 – May 20) will provide additional support on select dates. THE OBSESSED will also join Weedeater and label-mates Primitive Man on five West Coast shows during the run (April 27 – May 1). All confirmed tour dates below.

Additionally, THE OBSESSED will hold a record release show for Sacred on April 8th at Kung Fu Necktie in Philadelphia, PA. The band will also perform at this year’s Berserker Fest IV in Detroit, Michigan the weekend of April 14-15. Stay tuned for further tour announcements in the future!

April 7, 2017 will see the worldwide release of Sacred via Relapse Records on CD/LP/DLX. 2xLP/Digital. Physical pre-order and bundles are available via Relapse.com HERE and digital downloads can be pre-ordered by Bandcamp AT THIS LOCATION. The Deluxe 2xLP bundle includes an enamel logo pin, signed art print and two bonus tracks!

With renewed energy and purpose, THE OBSESSED sounds heavier and more relevant than ever before. On Sacred, the band doubles down on enormous, heaving riffs and pummeling low-end across 12 tracks of eternal doom. Rounded out by Wino’s lyrical honesty and iconic throaty vocals, Sacred is an album that further pushes THE OBSESSED into the annals of heavy metal history, well worth the two-plus decade wait. The band will perform once again as three piece featuring Wino, Reid Raley and Brian Costantino.

THE OBSESSED Tour Dates:
Apr 08 Philadelphia, PA Kung Fu Necktie *Record Release Party/Acoustic Wino Set*
— All Dates Apr 12 – May 20 With Karma To Burn —
Apr 12 Pittsburgh, PA Cattive
Apr 14 Cleveland, OH Grog Shop
Apr 15 Pontiac, MI Berserker IV (The Crofoot) &
Apr 17 Indianapolis, IN 5th Quarter +
Apr 18 Kansas City, MO Riot Room +
Apr 19 Chicago, IL Bottom Lounge +
Apr 20 St. Louis, MO Fubar +
Apr 21 Rock Island, IL Rock Island Brewing Co. +
Apr 23 Denver, CO Hi-Dive +
Apr 24 Salt Lake City, UT Metro Music Hall +
Apr 25 Boise, ID Neurolux +
Apr 26 Bellingham, WA Shakedown +
Apr 27 Seattle, WA Highline ** +
Apr 28 Portland, OR Star Theater ** +
Apr 29 Sacramento, CA Starlite ** +
Apr 30 San Francisco, CA DNA Lounge ** +
May 01 Los Angeles, CA Regent Theater ** +
May 02 Mesa, AZ Club Red
May 03 Albuquerque, NM Launchpad #
May 04 Dallas, TX Three Links #
May 05 Austin, TX Grizzly Hall #
May 07 San Antonio, TX Korova #
May 08 New Orleans, LA Siberia #
May 09 Savannah, GA The Jinx #
May 10 Johnson City, TN Hideaway #
May 11 Atlanta, GA EARL #
May 12 Miami, FL Gramps #
May 13 Spartanburg, SC Ground Zero #
May 14 Raleigh, NC Pour House #
May 16 Philadelphia, PA Kung Fu Necktie #
May 17 Boston, MA ONCE Ballroom #
May 18 Brooklyn, NY Saint Vitus #
May 19 New Hanover, CT The Ballroom at Outer Space #
May 20 Baltimore, MD Otto Bar #

& No Karma To Burn
** W/ Weedeater + Primitive Man
+ W/ Fatso Jetson
# W/ Lo-Pan

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The Obsessed, “Punk Crusher”

Been waiting for news on this one. The first album from The Obsessed in 23 years, Sacred, will be out April 7 on Relapse Records. They have a new song streaming now that you can hear below. It’s called “Razor Wire,” and though the lineup of the band that crafted it is already defunct, founding guitarist/vocalist Scott “Wino” Weinrich having assembled a four-piece incarnation of the group that may or may not still be active — you’ll note a lineup mentioned below with Reid Raley of Rwake as well as that four-piece version; I’m not going to pretend to know which is current, if not both — one can hear the renewed vitality of The Obsessed in the track. It sounds fantastic, to be blunt about it, and I can only look forward to hearing more when the time comes. April 7. Calendar is marked.

Just in from the PR wire:

THE OBSESSED Announces New Album Sacred; Band Premieres “Razor Wire”

Sacred coming April 7th via Relapse Records

Maryland doom legends THE OBSESSED will unleash Sacred, the band’s first studio album in over twenty years, this April via Relapse Records.

Guitarist Scott “Wino” Weinrich comments on the new album: “I can honestly say, I think this is the best sounding recording of my career, and I am excited to release it on Relapse. This song ‘Razor Wire,’ I have been carrying around the title concept and main riff in my pocket for a couple years. The full song was born after applying real life experiences, with a little wishful thinking! Fuck control.”

April 7th, 2017 will see the worldwide release of Sacred via Relapse Records on CD, LP, deluxe double LP, and digital formats. Physical preorders and bundles are available via Relapse.com HERE and digital downloads can be preordered by Bandcamp at THIS LOCATION. The deluxe 2xLP bundle includes an enamel logo pin, signed art print, and two bonus tracks.

With renewed energy and purpose, THE OBSESSED sounds heavier and more relevant than ever before. On Sacred, the band doubles down on enormous, heaving riffs and pummeling low-end across twelve tracks of eternal doom. Rounded out by Wino’s lyrical honesty and iconic throaty vocals, Sacred is an album that further pushes THE OBSESSED into the annals of heavy metal history, well worth the two-plus decade wait. The band will perform once again as a three-piece featuring Wino, Reid Raley, and Brian Costantino.

Sacred Track Listing:
1. Sodden Jackal
2. Punk Crusher
3. Sacred
4. Haywire
5. Perseverance Of Futility
6. It’s Only Money
7. Cold Blood
8. Stranger Things
9. Razor Wire
10. My Daughter My Son
11. Be The Night
12. Interlude
13. On So Long (Bonus)
14. Crossroader Blues (Bonus)

Additionally, THE OBSESSED will perform at this year’s Berserker Fest IV in Detroit, Michigan the weekend of April 14th-15th. Stay tuned for further tour announcements in the future.

THE OBSESSED:
4/14-15/2017 Berserker Fest IV – Detroit, MI w/ GWAR, Eyehategod, OFF!, Weedeater, Brain Tentacles, more

Wino announced the full-time return of THE OBSESSED in March 2016 and the band’s official signing to Relapse Records to record the follow up to The Church Within. The new lineup originally consisted of Spirit Caravan bassist Dave Sherman and Wino’s longtime friend and former road crew member. drummer Brian Costantino. On October 31st, 2016, Wino announced the lineup for THE OBSESSED, included bassist Bruce Falkinburg and guitarist Seraphim, making that the first time the band had been a four piece in over thirty-five years. Now in 2017, THE OBSESSED will unleash Sacred, the band’s first studio album in over two decades.

http://www.facebook.com/TheObsessedOfficial
http://relapse.com/the-obsessed-sacred/
https://theobsessed.bandcamp.com/
http://www.relapse.com
http://www.relapserecords.bandcamp.com
http://www.facebook.com/RelapseRecords
http://www.twitter.com/RelapseRecords

The Obsessed, “Razor Wire”

Looks like it’s going to be another busy 12 months ahead. It’s been a busy better-part-of-a-month already, so that stands to reason, but you should know that of the several years now that I’ve done these ‘Tomorrow’s Dream’ posts, this is the biggest one yet, with over 150 upcoming releases that — one hopes — will be out between today and the end of 2017.

Actually, at last count, the list tops 180. Do I really expect you to listen to all of them? Nope. Will I? Well, it would be nice. But what I’ve done is gone through and highlighted 35 picks and then built lists off that in order of likelihood of arrival. You’ll note the categories are ‘Gonna Happen and/or Likely Candidates,’ ‘Definitely Could Happen’ and ‘Would be Awfully Nice.’

Beyond that last one, anything else just seems like speculation — one might as well go “new Sabbath this year!” with zero info backing it up. The idea here is that no matter where a given band is placed, there has been some talk of a new release. In some cases, it’s been years, but I think they’re still worth keeping in mind.

Another caveat: You can expect additions to this list over the next week — probably album titles, band names people (fingers crossed) suggest in the comments, and so on — so it will grow. It always does. The idea is to build as complete a document as possible, not to get it all nailed down immediately, so please, if you have something to contribute and you’re able to do so in a non-prickish, “You didn’t include Band X and therefore don’t deserve to breathe the same air as me,” kind of way, please contribute.

Other than that, I think it’s pretty straightforward what’s going on here and I’ll explain the category parameters as we go, so by all means, let’s jump in.

— Tomorrow’s Dream 2017 —

Presented Alphabetically

1. Abrahma, TBA

Late last year, Paris heavy progressives Abrahma announced a new lineup and third full-length in progress. No reason to think it won’t come to fruition, and a follow-up to 2015’s Reflections in the Bowels of a Bird (review here) is an easy pick to look forward to. Even with the shift in personnel, it seems likely the band will continue their creative development, driven as they are by founding guitarist Seb Bismuth.

2. All Them Witches, Sleeping Through the War

If 2017 ended today, Sleeping Through the War would be my Album of the Year. Of course, there’s a lot of year to go, but for now, Nashville’s All Them Witches have set the standard with their second album for New West Records behind 2015’s Dying Surfer Meets His Maker (review here) and fourth overall outing. They’ve got videos up so far for “3-5-7” (posted here) and “Bruce Lee” (posted here). Both are most definitely worth your time. Out Feb. 24. Full review should be later this week.

3. Alunah, Solennial

Seems like UK forest riffers Alunah are on this list every year. Wishful thinking on my part. Nonetheless, their fourth LP and Svart Records debut, Solennial, is out March 17, and if the tease they gave already with the clip for “Fire of Thornborough Henge” (posted here) is anything to go from, its Chris Fielding-produced expanses might just be Alunah‘s most immersive yet.

4. Arbouretum, TBA

I asked the Baltimore folk fuzzers a while back on Thee Facebooks if they had a new record coming in 2017 and they said yes, so that’s what I’m going on here. The last Arbouretum album was 2013’s Coming out of the Fog (review here), and even with frontman Dave Heumann‘s 2015 solo outing, Here in the Deep (review here), factored in, you’d have to say they’re due. Keep an eye on Thrill Jockey for word and I’ll do the same.

5. Atavismo, Inerte

This is another one that already has a spot reserved for it on my Best-of-2017 year-end list. Spanish heavy psych rockers Atavismo up the progressive bliss level with their second full-length, Inerte, without losing the depth of style that made 2014’s Desintegración (review here) so utterly glorious. It probably won’t have the biggest marketing budget of 2017, but if you let Atavismo fly under your radar, you are 100 percent missing out on something special.

6. Bison Machine, TBA

In addition to the video for new track “Cloak and Bones” that premiered here, when Michigan raucousness-purveyors Bison Machine put out the dates for their fall 2016 tour, they included further hints of new material in progress. As much as I dug their earlier-2016 split with SLO and Wild Savages (review here) and 2015’s Hoarfrost (review here), that’s more than enough for me to include them on this list. Killer next-gen heavy rock.

7. Brothers of the Sonic Cloth, TBA

News of a follow-up to Brothers of the Sonic Cloth‘s 2015 Neurot Recordings self-titled debut (review here) came through in October, and it remains some of the best news I’ve heard about 2017 doings. Took them a while to get the first record out, so we’ll see what happens, but it kind of feels like looking forward to a comet about to smash into the planet and cause a mass extinction, and by that I mean awesome. Can’t get here soon enough.

8. Cloud Catcher, Trails of Kosmic Dust

Okay, so maybe I jumped the gun and did a super-early review of Denver trio Cloud Catcher‘s second long-player and Totem Cat Records debut, Trails of Kosmic Dust, but hell, no regrets. Some albums require an early-warning system. Their 2015 debut, Enlightened Beyond Existence (discussed here), was a gem as well, but this is a band in the process of upping their game on every level, and the songwriting and momentum they hone isn’t to be missed.

9. Colour Haze, TBA

I’ve gotten some details on the upcoming full-length from Colour Haze. They do not include a title, artwork, audio, song titles or general direction. Less details, I guess, than word that the CD version of this answer to 2015’s To the Highest Gods We Know (review here) is set to come out next month, as ever, on Elektrohasch. That puts it out in time for Colour Haze‘s upcoming tour with My Sleeping Karma (announced here). Fingers crossed it happens. Colour Haze are perpetual top-albums candidates in my book.

10. Corrosion of Conformity, TBA

Signed to Nuclear Blast after being rejoined by guitarist/vocalist Pepper Keenan, North Carolina’s C.O.C. have been in the studio since last year. The lineup of Keenan, bassist/vocalist Mike Dean and guitarist Woody Weatherman and Reed Mullin on drums is the stuff of legend and last worked together on 2000’s America’s Volume Dealer, so no question this reunion makes for one of 2017’s most anticipated heavy rock records. They nailed the nostalgia factor on tour. Can they now add to their legacy?

11. Elder, TBA

I was incredibly fortunate about a month ago to visit progressive heavy rockers Elder at Sonelab in Easthampton, MA, during the recording process for their upcoming fourth album. I heard a couple of the tracks, and of course it was all raw form, but the movement forward from 2015’s Lore (review here) was palpable. That LP (on Stickman) brought them to a wider audience, and I expect no less from this one as well, since the farther out Elder go sound-wise, the deeper the level of connection with their listeners they seem to engage.

12. Electric Wizard, TBA

Could happen, could not happen. That’s how it goes. Announced for last Halloween. That date came and went. Word of trouble building their own studio surfaced somewhere along the line. That was the last I heard. Frankly, I wouldn’t be surprised if it showed up tomorrow, if it showed up in 2018, or if the band broke up and never put it out. They’re Electric Wizard. Anything’s possible.

13. John Garcia, The Coyote Who Spoke in Tongues

Out Jan. 28 on Napalm, The Coyote Who Spoke in Tongues (review here) is the first-ever acoustic album from former Kyuss frontman John Garcia, also of Unida, the reunited Slo Burn, Hermano, Vista Chino, Zun, etc. — basically the voice of desert rock. He does a couple Kyuss classics for good measure, but shines as well on the new/original tracks, and while it’s a piece for fans more than newcomers — that is, it helps if you know the original version of “Green Machine” — his presence remains as powerful as ever despite this new context.

14. Goya, Harvester of Bongloads

Riffs, dude. Goya seem to have them to spare. The Arizona-based wizard doomers have set a pretty prolific clip for themselves at this point, with at least two short releases out in 2016, one a 7″ of Nirvana covers (review here), and the The Enemy EP (review here). Set for a March 3 release through their own Opoponax Records imprint, Harvester of Bongloads continues the march into the abyss that 2015’s Obelisk (review here) and 2013’s 777 set in motion, finding the band coming more into their own as well. Creative growth — and bongloads! The best of both worlds.

15. Ides of Gemini, TBA

Ides of Gemini are set to record their yet-untitled third album with Sanford Parker early this year, and it will also mark their debut on Rise Above Records upon its release. They’ve also got a new lineup around vocalist Sera Timms and guitarist J. Bennett, so as they look to move forward from 2014’s Old World New Wave (review here), one can’t help but wonder what to expect, but to be honest, not knowing is part of the appeal, especially from a band who so readily specialize in the ethereal.

16. Kind, TBA

Three-fourths of Kind feature elsewhere on this list. Bassist Tom Corino plays in Rozamov. Drummer Matt Couto is in Elder. Vocalist Craig Riggs is in Roadsaw. And for what it’s worth, guitarist Darryl Shepherd has a new band coming together called Test Meat. How likely does that make Kind to release a second LP in 2017? I don’t know, but their 2015 Ripple Music debut, Rocket Science (review here), deserves a follow-up, and I know they’ve demoed some new songs. If it happens, great. If it’s 2018, at least these dudes will be plenty busy besides.

17. Lo-Pan, In Tensions

Yes, Lo-Pan‘s In Tensions (review here) has already been released — CD/LP with an artbook on Aqualamb. It’s out. Limited numbers. You can get it now. Why include it on a list of most anticipated releases? Because that’s how strongly I feel about your need to hear it. The fruit of a shortlived lineup with guitarist Adrian Zambrano, it distinguishes itself from everything they’ve done before in style while still keeping to the core righteousness that one hopes the Ohio outfit will continue to carry forward. It’s more than a stopgap between albums. Listen to it.

18. The Midnight Ghost Train, TBA

It seems to have been a rough ride for hard-boogie specialists The Midnight Ghost Train since their 2015 Napalm debut and third album overall, Cold was the Ground (review here). They’ve never taken it easy on the road or in terms of physicality on stage, and between injuries and who knows what else, their intensity at this point veers toward the directly confrontational. Nonetheless, they’ve been writing for album number four, may or may not have started the recording process, and I expect that confrontationalism to suit them well in their new material.

19. Monster Magnet, TBA

I have it on decent authority that NJ heavy psych innovators Monster Magnet were in the studio this past autumn. I’ve seen no concrete word of a new album in progress from Dave Wyndorf and company, and I wouldn’t necessarily expect to until it was time to start hyping the release, but after their two redux releases, 2015’s Cobras and Fire (review here) and 2014’s Milking the Stars (review here), their range feels broader than ever and I can’t wait to hear what they come up with next.

20. Mothership, High Strangeness

A pivotal moment for Mothership arrives with High Strangeness, and the heavy-touring, heavy-riffing Texas power trio seem to know it. Their third record on Ripple Music pushes into new avenues of expression and keeps the energy of 2014’s Mothership II (review here) and 2012’s Mothership (review here), but thus far into their career, it’s been about their potential and what they might accomplish going forward. 2017 might be the year for Mothership to declare a definitive place in the sphere of American heavy rock.

21. The Obsessed, Sacred

On Halloween 2016, founding The Obsessed guitarist/vocalist and doom icon Scott “Wino” Weinrich announced a new lineup for the band, with his former The Hidden Hand bandmate Bruce Falkinburg on bass/vocals, Sara Seraphim on guitar and Brian Costantino continuing on drums. A genuine surprise. Their first album since 1994, Sacred (due on Relapse) was tracked as the trio of Weinrich, Costantino and bassist/vocalist Dave Sherman, but clearly they’ve moved into a new era already. Wouldn’t even guess what the future holds, but hopefully Sacred still comes out.

22. Orange Goblin, TBA

When it was announced that London’s Orange Goblin were picked up by Spinefarm as part of that label’s acquisition of Candlelight Records last Spring, the subheadline from the PR wire was “Working on Ninth Studio Album.” I haven’t heard much since then, but even as 2014’s Back from the Abyss (review here) pushed them deeper into metallic territory than ever before, their songs retained the character that’s made the band the institution they are. Always look forward to new Orange Goblin.

23. Pallbearer, Heartless

Doomers, this is your whole year right here. I haven’t heard Pallbearer‘s third album, Heartless (out March 24 on Profound Lore), but I have to think even those who haven’t yet been won over by the Arkansas four-piece’s emotive, deep-running style have to be curious about what they’ve come up with this time around. I know I am. These guys have been making a mark on the genre since their 2012 debut, Sorrow and Extinction (review here), and there’s little doubt Heartless will continue that thread upon its arrival.

24. Radio Moscow, TBA

Fact: Radio Moscow stand among the best classic heavy rock live acts in the US. They’re the kind of band you can watch upwards of 15 gigs in a row — I’ve done it — and find them putting on a better show night after night, in defiance of science, logic and sobriety. Word of their signing to Century Media came just this past week and brought with it confirmation of a follow-up to 2014’s stellar Magical Dirt (review here), and for me to say hell yes, I’m absolutely on board, seems like the no-brainer to end all no-brainers. Can’t wait.

25. Roadsaw, TBA

Nearly six full years later, it’s only fair to call Boston scene godfathers Roadsaw due for a follow-up to their 2011 self-titled (review here). Granted, members have been busy in Kind, White Dynomite, and other projects, but still. Their upcoming outing finds them on Ripple Music after years under the banner of Small Stone Records, and though I haven’t seen a solid release date yet, my understanding is they hit Mad Oak Studio in Allston, MA, this past fall to track it, so seems likely for sooner or later. Sooner, preferably.

26. Rozamov, This Mortal Road

Speaking of albums by Boston bands a while in the making, This Mortal Road (out March 3 on Battleground Records and Dullest Records) is the debut full-length from Boston atmospheric extremists Rozamov. Haven’t heard it yet, but I got a taste of some of the material when I visited the band at New Alliance Audio in Aug. 2015, and the bleak expanses of what I heard seem primed to turn heads. I’m a fan of these guys, but in addition, they’ve found a niche for themselves sound-wise and I’m curious to hear how they bring it to fruition.

27. Samsara Blues Experiment, TBA

It’s been a pleasure over the last couple months to watch a resurgence of Berlin heavy psych trio Samsara Blues Experiment take shape, first with the announcement of a fourth album in October, then with subsequent confirmations for Desertfest, Riff Ritual in Barcelona, and a South American tour. Reportedly due in Spring, which fits with the timing on shows, etc., the record will follow 2013’s righteous Waiting for the Flood (review here) and as much as I’m looking forward to hearing it, I’m kind of just glad to have these guys back.

28. Seedy Jeezus, TBA

Work finished earlier this month on Melbourne trio Seedy Jeezus‘ second full-length. As with their 2015 self-titled debut, the band brought Tony Reed of Mos Generator to Australia to produce, and after their blissed-out 2016 collaboration with Earthless guitarist Isaiah Mitchell, Tranquonauts (review here), it’s hard not to wonder what experimentalist tendencies might show in the trio’s style this time out, and likewise difficult not to anticipate what guitarist Lex “Mr. Frumpy” Wattereus comes up with for the cover art.

29. Shroud Eater, Strike the Sun

Not to spoil the surprise, but Feb. 1 I’ll host a track premiere from Florida’s Shroud Eater that finds them working in a different context from everything we’ve heard from them to this point in their rightly-celebrated tenure. They also recently had a split out with Dead Hand, and their second long-player, Strike the Sun, will be their debut through STB Records. It’s been since 2011’s ThunderNoise (review here) that we last got a Shroud Eater album, so you bet your ass I’m dying to know what the last six years have wrought.

30. Sleep, TBA

If Sleep were any other band, they’d probably be in the “Would be Awfully Nice” category. But they’re Sleep, so even the thought of a new record is enough to put them here. The lords of all things coated in THC are reissuing their 2014 single, The Clarity (review here), on Southern Lord next month, but rumors have been swirling about a proper album, which of course would be their first since the now-legendary Dopesmoker. If it happens, it’ll automatically be a heavy underground landmark for 2017, but it’s one I’m going to have in my ears before I really believe it.

31. Stoned Jesus, TBA

Even as they tour playing their second album, 2012’s Seven Thunders Roar (review here), to mark its fifth anniversary and continued impact, Ukrainian trio Stoned Jesus are forging ahead with a fourth record behind 2015’s The Harvest (review here). The capital-‘q’ Question is whether or not looking back at Seven Thunders Roar and engaging that big-riffing side of their sound will have an impact on the new material, and if so, how it will meld with the push of The Harvest. Won’t speculate, but look forward to finding out.

32. Stubb, TBA

Since reveling in the soul of 2015’s Cry of the Ocean (review here) on Ripple, London trio Stubb have swapped out bassists, and they were in Skyhammer Studio this month recording a single that may be an extended psychedelic jam. I’ll take that happily, but I’m even more intrigued at the prospect of a third LP and what guitarist/vocalist Jack Dickinson, bassist/vocalist Tom Hobson and drummer Tom Fyfe might have in store as the band moves forward on multiple levels. Might be 2017, might not.

33. Sun Blood Stories, It Runs Around the Room with Us

It Runs around the Room with Us seems to find peace in its resonant experimentalist drones, loops, open, subdued spaces, but there’s always some underlying sense of foreboding to its drift, as if Boise’s Sun Blood Stories could anticipate the moment before it happened. Toward the end of the follow-up to 2015’s Twilight Midnight Morning (review here), they execute the 90-second assault “Burn” and turn serenity to ash. Look for it in April and look for it again on my best of 2017 list in December.

34. Ufomammut, TBA

Any new offering from the Italian cosmic doom magnates is worth looking forward to, and while Ufomammut have left the 15-year mark behind, they’ve never stopped progressing in style and form. To wit, 2015’s Ecate (review here) was a stunner after 2012’s two-part LP, Oro (review here and review here), tightening the approach but assuring the vibe was no less expansive than ever. They started recording last summer, finished mixing in November, so I’m hoping for word of a release date soon.

35. Vokonis, The Sunken Djinn

Born out of Creedsmen Arise, whose 2015 demo, Temple (review here), offered formative thrills, Swedish trio Vokonis debuted with last year’s Olde One Ascending (review here) and proved there’s still life in post-Sleep riffing when it’s wielded properly. They signed to Ripple in November and confirmed the title of their sophomore effort as The Sunken Djinn, as well as a reissue for the first album, which will probably arrive first. I don’t know how that will affect the timing on this one, but keep an eye out anyway.

—

Gonna Happen and/or Likely Candidates

Obviously some of these are more likely than others. Some have solidified, announced release dates — Dopelord‘s out this month, Demon Head‘s out in April, etc. — and others come from social media posts of bands in studios and hints at upcoming releases and so on. A big tell is whether or not a band has an album title with their listing, but even some of those without have their new albums done, like Atala and Royal Thunder, so it’s not necessarily absolute.

Either way, while I’m spending your money, you might want to look into:

36. Against the Grain
37. Amenra
38. Atala
39. Attalla, Glacial Rule
40. Ayahuasca Dark Trip, II
41. Beastmaker
42. Beaten Back to Pure
43. Blackout
44. Bretus
45. Buried Feather, Mind of the Swarm
46. The Clamps
47. Cold Stares
48. Coltsblood, Ascending into the Shimmering Darkness
49. Come to Grief, The Worst of Times EP
50. Cortez
51. Cruthu, The Angle of Eternity
52. The Dead-End Alley Band, Storms
53. Dead Witches, Dead Witches
54. Dealer
55. Death Alley, Live at Roadburn
56. Demon Head, Thunder on the Fields
57. The Devil and the Almighty Blues, II
58. Devil Electric
59. Doctor Cyclops, Local Dogs
60. Dool, Here Now There Then
61. Dopelord, Children of the Haze
62. Doublestone, Devil’s Own/Djævlens Egn
63. Dread Sovereign, For Doom the Bell Tolls
64. Drive by Wire
65. Elbrus, Elbrus
66. Electric Age
67. Electric Moon, Stardust Rituals
68. Endless Floods, II
69. Five Horse Johnson
70. Forming the Void, Relic
71. Funeral Horse
72. Greenbeard
73. Green Desert Water
74. Greenleaf
75. Grifter / Suns of Thunder, Split
76. Hair of the Dog, This World Turns
77. Heavy Temple, Chassit
78. Here Lies Man, Here Lies Man
79. Hollow Leg, Murder EP
80. Holy Mount, The Drought
81. Hooded Menace
82. Horisont, About Time
83. Hymn, Perish
84. Lecherous Gaze
85. Magnet, Feel Your Fire
86. Mastodon
87. Merlin, The Wizard
88. Merchant
89. Mindkult, Lucifer’s Dream
90. Mirror Queen
91. Moonbow, War Bear
92. Mos Generator
93. The Moth
94. MotherSloth
95. Mouth, Vortex
96. My Sleeping Karma, Mela Ananda – Live
97. Orango
98. Papir
99. PH, Eternal Hayden
100. Psychedelic Witchcraft, Magick Rites and Spells
101. Royal Thunder
102. Saturn, Beyond Spectra
103. Season of Arrows, Give it to the Mountain
104. Siena Root
105. Six Organs of Admittance, Burning the Threshold
106. Six Sigma, Tuxedo Brown
107. Sólstafir
108. The Sonic Dawn, Into the Long Night
109. Spelljammer
110. Spidergawd, IV
111. Steak
112. Stinking Lizaveta, Journey to the Underworld
113. Sula Bassana, Organ Accumulator
114. Summoner
115. Sun Voyager, Sun Voyager
116. Sweat Lodge, Tokens for Hell EP
117. Thera Roya, Stone and Skin
118. Toke
119. Troubled Horse, Revelation on Repeat
120. VA, Brown Acid The Third Trip
121. Weedpecker
122. Youngblood Supercult, The Great American Death Rattle

—

Definitely Could Happen

Maybe a recording process is upcoming (Gozu, Cities of Mars, YOB), or a band is looking for a label (The Flying Eyes), or they’ve said new stuff is in the works but the circumstances of an actual release aren’t known (Arc of Ascent, Dead Meadow, High on Fire), or I’ve just seen rumors of their hitting the studio (Freedom Hawk, La Chinga, Ruby the Hatchet). We’ve entered the realm of the entirely possible but not 100 percent.

So, you know, life.

Dig it:

123. The Age of Truth
124. Ape Machine
125. Arc of Ascent
126. At Devil Dirt
127. Bantoriak
128. Bask
129. BCAD
130. BoneHawk
131. La Chinga
132. Chubby Thunderous Bad Kush Masters
133. Cities of Mars
134. Crypt Sermon
135. Dead Meadow
136. Death Alley (Studio LP)
137. Dee Calhoun
138. Destroyer of Light
139. Devil
140. Devil Worshipper
141. Duel
142. Dustrider
143. Egypt
144. Electric Moon
145. Elephant Tree
146. Farflung
147. The Flying Eyes
148. Freedom Hawk
149. Gozu
150. The Great Electric Quest
151. Green Meteor, Consumed by a Dying Sun
152. High on Fire
153. Horrendous
154. Insect Ark
155. In the Company of Serpents
156. Iron Monkey
157. Jeremy Irons and the Ratgang Malibus
158. The Judge
159. Killer Boogie
160. King Dead
161. The Kings of Frog Island
162. Lords of Beacon House, Recreational Sorcery
163. Mangoo
164. Mondo Drag
165. Monolord
166. Mountain God
167. The Munsens
168. Naxatras
169. Never Got Caught
170. Ommadon
171. Orchid
172. Ordos
173. Pilgrim
174. Poseidon
175. Purple Hill Witch
176. Ruby the Hatchet
177. Sasquatch
178. Satan’s Satyrs
179. Serpents of Secrecy
180. Shabda
181. Shooting Guns
182. Sleepy Sun
183. Slow Season
184. Snowy Dunes, Atlantis
185. Spectral Haze
186. The Sweet Heat
187. Switchblade Jesus
188. Superchief
189. Tÿburn
190. YOB
191. Zone Six

—

Would be Awfully Nice

This last category is basically as close as I’m willing to come to rampant speculation. Endless Boogie have hinted at new material, and Queens of the Stone Age have talked about hitting the studio for the last two years. There were rumors about Om, and though Kings Destroy just put out an EP, they have new songs as well, though I doubt we’ll hear them before the end of 2017. I’ll admit that Across Tundras, Fever Dog, Lord Fowl, Lowrider and Hour of 13 are just wishful thinking on my part. A boy can hope:

192. Across Tundras
193. Eggnogg
194. Elephant Tree
195. Endless Boogie
196. Fever Dog
197. Fu Manchu
198. Halfway to Gone
199. Hour of 13
200. Kadavar
201. Kings Destroy
202. Lord Fowl
203. Lowrider
204. Masters of Reality
205. Om
206. Orodruin
207. Queens of the Stone Age

—

If you’ve made it this far, thanks for reading. Whatever this year brings, I hope it’s been great so far for you and I hope it continues to be so as we proceed inexorably to 2018 and all the also-futuristic-sounding numbers thereafter. At least we know we’ll have plenty of good music to keep us company on that voyage.

As always, comments section is open if there’s anything I’ve left out. I’m happy to add, adjust, etc., as need be, so really, have at it, and thanks in advance.

All the best.

It was a hell of a ride, and by that I mean I sat in traffic from about 8:30 in the morning until I walked into Cafe 611 in Frederick, Maryland, just in time for the start of the first band at 5:15PM. I soon found that my plan to not wear the supportive boot for my continuing ankle pain was, let’s say, ambitious. Basically I couldn’t stand up for more than like five minutes at a time. Fortunately the boot was in the car. Then my camera broke.

This is the part where normally I’d say “some you win, some you lose,” but the quality of the first night of Maryland Doom Fest 2016 — the second edition of the festival put on by JB Matson and Mark Cruikshank; still kicking myself for missing it last year — was such that I couldn’t really feel too down about any of the above, except perhaps the camera, which served me well for half a decade and hopefully I’ll be able to have fixed in the near term, no doubt at significant cost. Not for this weekend, though. Bummer.

Well. Now that I think I’ve gotten all or at least most of the bitching out of the way, we can get down to business. Like I said, I watched from the first band on, as much as I was able, and got pictures on my phone after the camera went down. I did the best I could.

Alright, here goes:

Black Urn

Clearly a trial by fire for the room. Some fests might try to ease the audience into the event; Maryland Doom Fest 2016 not so much. Philadelphia’s Black Urn would wind up being the most extreme band of the night, digging their way into vicious sludge metal topped by growls and screams exclusively, proffered through two guitars finding balance in the mix with bass that seemed utterly dominant at first but soon enough evened out. That kind of stuff runs the risk of coming across as samey when you don’t know the songs — they have a 2015 demo and a 2016 EP, The Pangs of Our Covenant, out, but this was my first exposure to them — but Black Urn knew when to change the pace up, and their faster parts had a heavy rock edge to them that set well alongside the grueling brutalities they fostered otherwise. Plus vocalist John Jones wore an Iron Monkey t-shirt, and that’s just about always going to earn some extra points in my book.

Atala

The Californian heavy atmospheric doom rockers were a treat for anyone who showed up early, playing through a considerable investment portfolio of amplification, fresh-looking Oranges and Sunn for the guitar of Kyle Stratton and the bass of John Chavarria, while drummer Jeff Tedtaotao punctuated the massive rolling grooves elicited from them. They’d been on tour for about a week supporting the recently-released, Billy Anderson-produced Shaman’s Path of the Serpent (stream here; review here), and “Gravity” was a highlight of the set, which rightly focused on the new album and its ambient largesse, in which one can hear shades of anything from YOB to Neurosis to Deftones in Stratton‘s vocals to Tool in some of their quiet, winding parts. It’s a varied blend, and they can make it move as well when they want, but they were impressively fluid front to back, and seemed most at home with the three of them locked into any number of lumbering progressions, of which they offered plenty.

Admiral Browning

I’ve been watching Admiral Browning play shows for more than a decade. I say this not to brag about having seen the band a bunch of times, but to emphasize the point that when they take a given stage, I still don’t know what to expect. Oh, you can be sure that guitarist Matt LeGrow, bassist Ron “Fezz” McGinnis and drummer Tim Otis will offer dizzying technicality and frenetic groove, but just where they might take that is perpetually up in the air. Their 2015 tape EP, Corvette Summer (review here), found them experimenting further with incorporating vocals into their long-instrumentally-focused sound, and it worked. At Maryland Doom Fest 2016, it wasn’t a question. Both LeGrow and McGinnis had mics and used them liberally. I’ll admit it was a somewhat jarring sight — as I said, they were strictly instrumental for a long time — but they’ve developed relentlessly over their years together, and that process obviously continues unabated. Nothing new to say I’m looking forward to what they do next, but it’s true all the same. Way underappreciated band.

Demon Eye

Probably should’ve seen these cats by now. Led by guitarist/vocalist Erik Sugg, North Carolina’s Demon Eye have been tearing it up on the Eastern Seaboard for the last couple years, also journeying west this past April to tour alongside Disenchanter in support of their second record, 2015’s Tempora Infernalia (review here), and after hearing such encouraging things about their stage presence, yeah, it felt overdue. Sugg was indeed very much in the lead position, bantering with the crowd between songs, headbanging and stomping in classic rock style, backed by drummer Bill Egan on vocals and lead guitarist Larry Burlison while Paul Walz‘s Rickenbacker tied it all together in the low end. They opened with “End of Days” and closed with “Sons of Man,” both from the new record, but “From Beyond” from 2014’s Leave the Light (review here) was a highlight as well, their songs upbeat. In my notes, it just says “ace songwriting,” so we’ll leave it at that, and while I’ll admit some of their cult themes leave me a little cold, both their craft and the energy of their performance are absolutely undeniable.

Pale Divine

With guitarist/vocalist Greg Diener and drummer Darin McCloskey both now in Beelzefuzz and bassist/backing vocalist Ron “Fezz” McGinnis sharing his time with Admiral Browning and several other projects, Pale Divine has kind of become a part-time institution, but in all the years I’ve seen them — I think the first time was in Philly with The Hidden Hand, circa ’04 — they’ve never failed to deliver on their particular kind of woeful traditional doom. Though they’re not actually from the state, they were a perfect centerpiece for Maryland Doom Fest 2016’s first night, and the assembled crowd, younger and older, showed their appreciation duly. As I was dealing with my just-busted camera, I’ll admit my attention was somewhat divided, but Pale Divine don’t screw around on stage, and they closed their set playing something they’ve never played before. Diener gave the title but of course I missed it, in the back fumbling with the camera battery and lens as I was, sadly to no avail. The doom felt perhaps even more appropriate in such a context.

Ruby the Hatchet

Philly-region five-piece Ruby the Hatchet are on something of a mini-tour this week, up the Northeast in the formidable company of Black Mountain. Not at all their first run in support of last year’s way-right-on Valley of the Snake (review here), but they’ve also reissued their first record, Ouroboros, on vinyl through Tee Pee Records, and I’d imagine when the chance to do shows with a group like Black Mountain crops up, or to, say, play Maryland Doom Fest 2016 on the night The Obsessed are headlining, it’s a thing you do your best to make happen. Starting off their set with the memorable “Heavy Blanket” from Valley of the Snake, they jammed profusely and featured what I think might be the weekend’s only on-stage organ, so bonus points there. Vocalist Jillian Taylor was in firm command on stage, her vocals run through a close delay for a live-doubletracking effect that only made their cultistry seem more resonant. Taylor, together with bassist Lake Muir, guitarist John Scarperia, drummer Owen Stewart and organist Sean Hur, have pretty clearly mastered the post-Uncle Acid blend of hooks and bounce, and set about reshaping them to suit their own melodic purposes. One expects that will be a process that plays out over the next several years/albums, but they were impressively tight and for my first time seeing them, I was glad I finally did.

Castle

Speaking of bands I should’ve seen before — as I realize I have a couple times at this point — fucking Castle. The hard-touring San Francisco outfit sounded so much like a group used to being on the road. Some bands just develop that thing. They show up in a room, assess the place, the people, the sound, say, “Okay, we can kick ass here,” and then do. That’s exactly what Castle did. They’re the kind of band who could make you believe in heavy metal. A lot of what they played was new — they’re touring to herald the arrival of their new album, Welcome to the Graveyard, which is out July 12 on Ván Records — and their righteously individualized blend of thrash, traditional metal, doom, heavy rock and roll, etc., speaks to some mystical bygone era when metal was about not compromising, putting a fist in the air against expectation and going on tour forever. Castle were so deep into what they were doing that I think they could’ve been anywhere and it would’ve been the same, that trance taking hold early on as they locked in and holding sway for the duration of their set, which seemed short when it was over. They’ve made themselves pretty available for in-person experience over the years, and now I understand why. I don’t think it’s really possible to get them until you see them live. I’m late to the party on that one, I know, but they didn’t seem to care if it was somebody’s first time, fifth time, or however-manyeth time seeing them. Everyone got their ass handed to them equally.

Internal Void

Not to toot my own horn, but I said not too long ago that if you get the chance to see Internal Void, you should do it, and their hour-long set at Cafe 611 only affirmed the truth of that. The four-piece of vocalist J.D. Williams, guitarist Kelly Carmichael, bassist Adam Heinzmann and drummer Brian Goad packed out the room shoulder to shoulder and were clearly as glad to see the hometown crowd as the hometown crowd was to see them, even before Carmichael started shredding out solos, before Williams widened his eyes and loosed his gravely sneer, and before they brought out original drummer Eric Little to play a couple cuts from 1993’s Standing on the Sun, marking the first time that album’s full lineup had shared the stage in 23 years. With their own banner behind them, Internal Void epitomized Maryland doom. Their workingman’s grooves, classic edge and sans-bullshit delivery spoke to everything that has allowed the scene in and around Frederick to flourish for the last three decades to where it is now and where it’s headed in the future. Last time I saw Internal Void was at the Afterburner for Roadburn 2012, and several others remarked that it had been several years since they last played, so that might well have been their most recent show. Either way, they brought it hard for the Maryland Doom Fest 2016 crowd and were a joy to watch. If you get the chance to see them, do it. Don’t hesitate.

The Obsessed

I’m not sure anyone would’ve been a better fit to headline Maryland Doom Fest than The Obsessed. I mean that wholeheartedly. Their legacy as a band — only more so now that guitarist/vocalist Scott “Wino” Weinrich has brought in his Spirit Caravan bandmate Dave Sherman (recent interview here) on bass/backing vocals, alongside new drummer Brian Costantino — is so tied to that of Maryland doom that you just don’t have the one without the other. Their set might be considered a victory lap for the month-long tour they just did with Karma to Burn (who also play this weekend) as much as a precursor to their hitting the studio with Frank “The Punisher” Marchand in a couple weeks to record their first album since 1994. In addition to The Obsessed staples “Neatz Brigade,” “Streamlined,” “Protect and Serve” and “Blind Lightning,” they worked in a couple Spirit Caravan cuts, among them “Retroman” and the ultra-rolling “Sea Legs.” It was late, and the room began to thin out some as they made their way toward the close of the evening with “Freedom,” but in giving a look at some newer material with the speedy “Be the Night” and the more expansive “Sacred” (which has been kicking around Spirit Caravan sets for a few years now and has older roots), The Obsessed looked ahead in addition to celebrating their legacy, and that seemed no less appropriate. Even after Internal Void, they held the room wrapt, and there was zero doubt to whom the night ultimately belonged.

—

Next show starts in a little over an hour, so I gotta get moving. No extra pics on account of the broken camera, but thanks for reading anyway.

In the interview that follows, The Obsessed bassist Dave Sherman talks about his bandmate, guitarist/vocalist Scott ‘Wino’ Weinrich, as one of the principal figures in doom. And no doubt he is. But what Sherman leaves out of that equation for the most part are his own contributions to the style. In his attitude and in decades of music in Wretched, Spirit Caravan, Earthride, Weed is Weed, King Valley and a slew of others, Sherman has come to embody the relentless pursuit at the heart of Maryland doom. Approachable, good natured and a lifer in his commitment to the heavy, he is no less a figurehead for that scene than Wino, Bobby Liebling of Pentagram, or anyone else. Maryland doom simply wouldn’t be what it is today without him.

Next week, The Obsessed — Sherman, Wino and drummer Brian Constantino — headline the second annual Maryland Doom Fest alongside Bang and Mos Generator. They just wrapped a full US tour with Karma to Burn and The Atomic Bitchwax (who cut their portion short due to injury and were replaced by Sierra), and announced along the way that they’ve signed to Relapse Records for the release of the first full-length by The Obsessed in more than two decades, tentatively-titled Sacred. It’s been a long, crooked road getting Wino and Sherman together as The Obsessed, even counting just from The Obsessed starting their reunion at Roadburn 2012 (review here), then dropping that to get back together and tour as Spirit Caravan before swapping one moniker for the other earlier this year, but to hear Sherman tell it, the journey seems to have been no less satisfying than it was complicated.

When we spoke a couple weeks ago, The Obsessed were getting ready to head into the final portion of the aforementioned tour, and were camped out in San Francisco waiting to go soundcheck at Slim’s. It was a relatively brief conversation, but in it Sherman talks about working with Frank “The Punisher” Marchand and Rob Queen on the new recordings — Queen also helmed the recently-unveiled “Be the Night” demo (posted here) — the signing to Relapse, the band’s place in doom history and more.

Full Q&A after the jump. Hope you enjoy:

Read more »

Word of The Obsessed signing to Relapse Records for a new album tentatively titled Sacred — what, essentially, was going to be a Spirit Caravan record until the trio swapped monikers in February — but today it’s been made official by the PR wire that whatever it ends up being called will be the first new LP from The Obsessed since 1994’s The Church Within. Also the first The Obsessed with Dave Sherman (Spirit Caravan, Earthride, Weed is Weed, etc.) on bass and Brian Constantino on drums alongside founding guitarist/vocalist Scott “Wino” Weinrich, so it’s an exciting prospect really from any angle you want to view it.

All the more so since the new demo “Be the Night” has just been posted ahead of the band entering the studio to record the upcoming outing, which presumably they’ll do after they wrap their current tour with Karma to Burn.

Just off the PR wire:

The Obsessed Sign To Relapse; Release Demo Track + Prepare New Album

Relapse Records is extremely proud to announce the signing of legendary hard rock / doom metal band THE OBSESSED! Formed in 1976 by Scott “Wino” Weinrich (Saint Vitus, Spirit Caravan, Shrinebuilder, Probot etc.), the band recently reformed and are on the road now! The band will enter the studio this summer to record the follow up to 1994’s seminal classic, The Church Within.

Scott “Wino” Weinrich commented on the signing and reformation of the band:

“The time is now for rebirth of THE OBSESSED. Fueled with the anger, wisdom and energy of all things past, this monumental achievement is the culmination of many years of dogged determination and the belief in the music. This music that we and many others find healing and inspirational. At last it sees the light, uncompromising and laden with passion and intensity that we’ll immortalize on our new album. We’re happy to officially announce our signing with Relapse Records. They also believe in the music and are very understanding of our integrity, vision and aspirations. On tour right now in the USA, we are celebrating this experience with glorious sound. Join us on this golden road. Thanks to all who believe!”

THE OBSESSED are currently on tour in the US with Karma to Burn and Sierra. A complete listing of dates is available below. Stay tuned for more info on THE OBSESSED.

THE OBSESSED Tour Dates:

May
26 – Kansas City, MO – Riot Room
28 – Denver, CO – 3 Kings
30 – Seattle, WA – El Corazon
31 – Portland, OR – Dante’s

June
2 – San Francisco, CA – Slim’s
3 – Los Angeles, CA – Complex
4 – San Diego, CA – Brick By Brick
5 – Phoenix, AZ – Club Red
7 – Austin, TX – Dirty Dog
8 – Ft. Worth, TX – Tomcats West
9 – Houston, TX – Walter’s
10 – New Orleans, LA – Siberia
11 – Atlanta, GA – Drunken Unicorn

THE OBSESSED is:
Scott “Wino” Weinrich – Guitar & Vocals
Dave Sherman – Bass & Vocals
Brian Costantino – Drums & Vocals

https://www.facebook.com/TheObsessedOfficial
http://twitter.com/theobsessed13
http://relapse.com

The Obsessed, “Be the Night” demo