Tomorrow’s Dream 2015: 90 of the Year’s Most Anticipated Releases

Posted in Features on January 21st, 2015 by H.P. Taskmaster

This is the longest list of anything I’ve ever done, and it might be the longest I ever do. The truth is, when I started keeping track of things coming out in 2015, back around October/November, I had no idea what I was getting into. More and more names just kept getting added to the list, and between solid release dates, bands entering the studio, writing sessions underway and the usual round of vague “they’re due”-type speculation, it kept growing. Even now, I’m quite sure that by the time I’m finished with this, I’ll add something else, and 90 will become 91, and then someone will point out something glaring I forgot and 91 will become 92, and so on.

I don’t think I could reasonably expect anyone to read 90 complete entries, so I’ve broken it down somewhat. There are 52 weeks in a year, so my thinking is that if you buy one record per week, I’ve got recommendations to carry through till December (with the acknowledgement that we’re already a couple weeks into 2015) and then more beyond that. Even asking you to skim 52 entries is a lot, but hell, we’ve got 12 months until 2016, so there’s plenty of time. We’ll do 52 entries and then list the others, both alphabetically.

Thank you in advance for reading.

1. Acid King, Middle of Nowhere, Center of Everywhere

Acid King Middle of Nowhere, Center of Everywhere

If this was my year-end list instead of my year-start list, Acid King‘s Middle of Nowhere, Center of Everywhere would be my album of the year. Best album of 2015 about 20 days into it? Maybe. The Oakland trio’s first outing in nearly a decade is a joy of languid riffing and heavy spaceout, songs like “Coming down from Outer Space” and “Center of Everywhere” reminding of just what it is we’ve been missing about Acid King all these years. They’ve continued to play live all that time, of course, and Middle of Nowhere, Center of Everywhere, which is due April 14 on Svart, plainly demonstrates that they’ve lost none of the potency for years absent from studio work. More to come. Acid King on Thee Facebooks, Svart Records.

2. All Them Witches, TBA

all them witches tba

The Nashville four-piece blew up following the 2013 digital release of their second album, Lightning at the Door, which saw a physical pressing last year (review here), and with a growing public at their heels and a salivating underground press anxious to hear what they come up with next, All Them Witches hit the studio this month to put together their third full-length. They’re on tour in Feb., and it seems reasonable to expect they’ll be trying out new material on the road, but as free-flowing as Lightning at the Door was, it’s hard not to consider the follow-up one of 2015’s most anticipated records, whenever it arrives and whatever shape(s) it takes. All Them Witches on Thee Facebooks, official website.

3. Anthroprophh, U.F.O.

UFO Vinyl Sleeve.qxp

Guitarist/vocalist Paul Allen, formerly of The Heads, teamed up with Jesse Webb and Gareth Turner of the duo Big Naturals as his rhythm section for 2014’s Outside the Circle (review here), and for his new release under the Anthroprophh moniker for Cardinal FuzzAllen centers around different U.F.O. abduction reports from the UK between 1954 and 1978, each of the eight tracks taking its name from the date and location of a reported incident. Sound fucking awesome? Yeah, I agree. Expect raw psychedelic experimentation, heavy swing and interpretive instrumentalism galore on the two-sided release when it gets declassified on Feb. 2, pressed in an edition of 500 copies. Anthroprophh on Thee Facebooks, Cardinal Fuzz.

4. Arenna, TBA

arenna cover

Spanish heavy psych outfit Arenna will release the follow-up to their 2011 Nasoni Records debut, Beats of Olarizu (review here), and they just this week posted the 10-minute opener “Butes” from their sophomore outing (listen here). The first album earned them a hearty following, and it’s been four years since it came out, but somehow I doubt Arenna will have much trouble picking up where they left off in their wide-open, jam-heavy sound. They mark a decade together in 2015, and they seem to just be getting started, so I’m particularly interested to learn how the European heavy underground takes to their second LP, which is due to be mastered next month and released sometime thereafter. Arenna on Thee Facebooks, on Bandcamp.

5. The Atomic Bitchwax, Gravitron

the atomic bitchwax

New Bitchwax? Sold. The stalwart New Jersey three-piece — now featuring two members of Monster Magnet – will release Gravitron on April 21 via Tee Pee Records, just in time to make a stop a few days later at Desertfest London 2015. They toured Europe last summer as well, and I think the fact that they’ll be over that way when they put Gravitron out speaks volumes to their priorities at this point, but who can blame them? Perpetually underappreciated in the US, they’ll follow-up 2011’s The Local Fuzz (review here) in grand form at Desertfest (they play Berlin as well), finally getting their due even if they have to get on a plane to get it. The Atomic Bitchwax on Thee Facebooks, Tee Pee Records.

6. Black Cobra, TBA

black-cobra

Hints were dropped back in November that raging two-piece Black Cobra were working on material for a new album. Whenever it arrives, this year or next, it will be their sixth and first since 2011’s Invernal (review here), which I don’t think I’m alone in counting as their finest moment to-date. They’ll also be at Desertfest for a return appearance, and wherever they go, devastation follows. They posted this week that their tour van has passed the 300,000-mile mark, which is emblematic of the workout they’ve given it over the last decade-plus, and I’d expect no slowdown, tempo or itinerary-wise, from them in 2015, regular oil changes notwithstanding. Black Cobra on Thee Facebooks, Southern Lord Recordings.

7. Black Rainbows, Hawkdope

black rainbows hawkdope

There are 90-someodd bands included in this feature, all told. Might be over 100. I’m not sure anybody beats Italian trio Black Rainbows in the album-title department, however. Hawkdope, man. Hard to mess with that. Guitarist/vocalist Gabriele Fiori continues to keep his finger on the pulse of European heavy rock with his Heavy Psych Sounds imprint, and while I haven’t heard Hawkdope yet, it seems likely they’ll continue the push toward heavy psychedelia that 2013’s Holy Moon EP (discussed here) and their inclusions in last year’s four-way split (review here) spoke of, but of course, they can always throw down some top notch fuzz riffing as well. Black Rainbows on Thee Facebooks, on Bandcamp.

8. Brothers of the Sonic Cloth, Brothers of the Sonic Cloth

brothers of the sonic cloth brothers of the sonic cloth

Six years after the arrival of their demo (review here), Brothers of the Sonic Cloth will make their self-titled debut through Neurot Recordings on Feb. 17. Immediately notable for being the brainchild of guitarist/vocalist Tad Doyle (ex-TAD), bassist Peggy “Pegadeth” Doyle and drummer Dave FrenchBrothers of the Sonic Cloth pushes plodding heavy into seething aggression with a lumber only made more potent by Billy Anderson‘s production. It’s been a while in the making, true, but the album’s execution leaves no room for argument in its lung-deflating tonal density. Justifies the wait and then some. Brothers of the Sonic Cloth on Thee Facebooks, Neurot Recordings.

9. Chiefs, Tomorrow’s Over

chiefs tomorrow's over

With vinyl to follow in May on Battleground Records, Arizona/SoCal heavy rockers Chiefs will release their debut LP, Tomorrow’s Over, via Roosevelt Row on Feb. 24. Its striking cover art by David Paul Seymour offers immediate intrigue, as did Chiefs‘ inclusion on their 2014 split 7″ with Fuzz Evil (streamed here). The song from that, “Stone Bull,” won’t be featured on the album, but all four cuts from Chiefs‘ 2013 Buffalo Roam demo will, which should give you some indication as to how much the trio got it right the first time around. The title-track of the demo opens, and the album takes its name from one of the demo tracks as well, so it all ties together. Chiefs on Thee Facebooks, Battleground Records, Roosevelt Row Records.

10. Clutch, TBA

clutch

Clutch‘s Earth Rocker (review here) was the undisputed high point of 2013, and the long-running Maryland four-piece have returned to the Machine Shop studio (now located in Texas) to record the follow-up to it. They’ve been playing new material live for a while now, as they’ll do, and while they always manage to change things up from album to album, the fact that they’ve going back to work with Machine again makes in plain that they’re where they want to be at this point sound-wise. As if there was ever any doubt. Their forever-tour will continue, but it’s good to know they’re taking a little break from the road to put together another slab for their always-expanding, always-frothing fanbase. Clutch on Thee Facebooks, Weathermaker Music.

11. Conan, TBA

conan

I’m not sure if it will be out before the end of 2015, but whenever it arrives, the next Conan should be a much different affair than we’ve yet heard from the UK thunderplodders, whose 2014 Napalm Records debut, Blood Eagle (review here), further established their dominance among the heaviest bands in doom. Since that album hit, guitarist/vocalist Jon Davis has traded out two-thirds of the trio, bringing in producer Chris Fielding on bass/vocals and new drummer Rich LewisDavis‘ riffs have always been at the core of what makes Conan the beast they are, so I wouldn’t expect much fixing of what isn’t broken, but don’t be surprised if some different personalities emerge in Fielding and Lewis as well. Conan on Thee Facebooks, Conan’s webstore.

12. Colour Haze, To the Highest Gods We Know

CH_TTHGWK_BOOKLET 4&1

Yeah, I’m sneaking this one in here. Sorry, but frankly, I think Colour Haze deserve more than a toss-it-out-there mid-December album release date, so instead of the CD release, which was last month, I’m choosing to think of the impending Feb./March vinyl issue as the official one for To the Highest Gods We Know (review here), which is both a fascinating and fitting answer to Colour Haze‘s 2012 outing, She Said (review here). Feels strange so early in the year to start calling out end-of-year highlights, but between this and Acid King, I feel like two of my top five are already set in stone, and that’s a pretty good start to any year. Colour Haze are one of the most important heavy rock bands of their generation, and they continue to expand their form and the genre as a whole. Colour Haze’s website, Elektrohasch Schallplatten.

13. Corrections House, TBA

corrections-house-logo

Their totalitarian fetishizing well intact, the it’s-a-supergroup-but-don’t-call-it-a-supergroup Corrections House announced back in November that they’d have a sophomore effort out this year to follow their 2013 debut, Last City Zero. The returning lineup of guitarist Scott Kelly (Neurosis), vocalist Mike Williams (Eyehategod), saxophonist Bruce Lamont (Yakuza) and keyboardist/programmer Sanford Parker (Buried at Sea, etc.) is enough to warrant attention in itself, and while their industrial tinged output isn’t really my thing sound-wise, they’re not an assemblage easily ignored. Hopefully a recently canceled round of tour dates doesn’t derail the new release plams. Corrections House on Thee Facebooks, at Neurot Recordings.

14. Corsair, One Eyed Horse

corsair one eyed horse

Virginian dual-guitar classic heavy rock/metallers Corsair are now three years removed from their Shadow Kingdom Records self-titled debut (review here), and their new album, One Eyed Horse, arrives with a striking-almost-disturbing cover and a refined progressive edge. Their melodic sensibility has never been in question, and guitarists Marie Landragin and Paul Sebring, bassist Jordan Brunk (who, like the guitarists, contributes vocals) and drummer Michael Taylor will look to expand their reach even further with the eight new vinyl-ready tracks. One looks forward to the album and hopes for a tour in equal measure. Corsair’s website, Shadow Kingdom Records.

15. Crypt Sermon, Out of the Garden

crypt-sermon-out-of-the-garden

Classic doom bleeds through the cover of Philly five-piece Crypt Sermon‘s debut full-length, Out of the Garden. Set to release Feb. 24 on Dark Descent Records, I’d expect Out of the Garden to be an early highlight for the year in doom despite being Crypt Sermon‘s first outing. Their Demo MMXIII (review here) found them well schooled in the tenets of the downtrodden, and while the record may end up a sleeper, it’s one that no doubt will find its way to the right ears; namely those of the old school doomers tired of psychedelic idolatry, who want something dark, beaten and grueling without concern for genre-melding or novelty. So, doom on. Crypt Sermon on Thee Facebooks, Dark Descent Records.

16. Ecstatic Vision, TBA

ecstatic vision

Also based in Philadelphia, heavy psych troupe Ecstatic Vision signed to Relapse on the strength of a demo and an apparent willingness to hit the road — they’ll do so this spring alongside YOB and Enslaved — and as just about any band who’s ever sent that label a rough recording will likely tell you, that’s no small feat. I was fortunate enough to catch them in Brooklyn last month (opening for YOB, as it happened), and the appeal was easy to see in their space rock jamming, lighting effects and propensity for deceptively quick rhythmic turns. A debut offering is reportedly due this year, and as it will come after they spend a month on the road, I expect it will be something to behold. Ecstatic Vision on Thee Facebooks, Relapse Records.

17. Elder, Lore

elder-lore

What to say about Elder? They’re a bright spot in the hope for the next generation of heavy rock, but they were that already. What really distinguishes their third album, Lore, is the fiercely progressive bent of the tracks, songs like “Compendium” (streamed here) taking the hypnotic rhythms of 2012’s Dead Roots Stirring (review here) and refining what Elder – the trio of guitarist/vocalist Nick DiSalvo, bassist Jack Donovan and drummer Matt Couto – do with a newfound clarity of purpose and precision execution. They make well-thought-out songs sound exciting front to back, and if you’ve ever dug anything they’ve done, you’re going to shit a brick when you hear the title-track of LoreElder on Thee Facebooks, Armageddon Shop, Stickman Records.

18. Enslaved, In Times

enslaved-in-times

I make no bones or apologies about being an Enslaved fan. The Norwegian progressive black metallers strip down their presentation with In Times, the follow-up to 2012’s Riitiir (review here), solidifying some aspects of their approach while nodding at the brutality of yore in a still-somehow-forward-thinking manner. They never fail to deliver, and they’ve long since hit a stride where they can deliver album after album and come up with ways to advance their sound each time out. Recording themselves has only made them bolder over their last couple records, and In Times benefits from this in its brought-to-fruition experiments as well. It would take a lot for these guys to do wrong in my eyes. Enslaved on Thee Facebooks, Nuclear Blast Records.

19. Eye, TBA

eye

They’re the Midwest’s inadvertent answer to the West Coast’s Moog-prog vibing, and Ohio’s Eye want for nothing in comparison to any of their coastal contemporaries. The photo above was taken recently in the studio — I’ll just assume the room is actually that color when they record and that that is not, in fact, an Instagram filter — tracking their third record and follow-up to 2013’s brilliant-yes-brilliant Second Sight (review here), which rightfully garnered attention far and wide. No release date yet for the new one from what I’ve seen, but the album is reportedly done, so hopefully it won’t be too long before it sees release, most likely on vinyl since that seems to be where the band’s heart lies. Eye on Thee Facebooks, on Bandcamp.

20. Freedom Hawk, TBA

freedom hawk

After an appearance last year at Roadburn and confirmation of a return trip to Europe this spring for Freak Valley in Germany, Virginia’s Freedom Hawk would seem to have considerably expanded their reach. Last year saw them lose guitarist Matt Cave and transition from a four-piece to a trio, and they were in the studio in the fall to record their second album for Small Stone behind their 2011 label debut, Holding On (review here), and while I’m not sure if it’s finished or if it will be out in time for the band’s sojourn abroad, one assumes it will be out sooner or later. Their late-2013 Live at the Jewish Mother download makes a decent stopgap if you’ve got a hankering, but they’re due for a new one for sure. Freedom Hawk on Thee Facebooks, Small Stone Records.

21. Glowsun, Glowsun

glowsun glowsun

In a recent discussion about finally picking up Glowsun‘s 2012 outing, Eternal Season, I said I wasn’t going to miss their next record, so I guess you could call this me holding myself to that task. The French heavy psych outfit have a new one, apparently self-titled — though of course I could be wrong; I’m just going by the album art — due out for release this Spring. I haven’t seen an official date from Napalm for when it’s due, but it’s not one I’m going to let slip by one way or another as I did for far too long with Eternal Season. Some mistakes don’t bear repeating, and Glowsun‘s output is of a quality that demands immediacy. At least now I know it. Ha. Glowsun on Thee Facebooks, Napalm Records.

22. Goatsnake, TBA

goatsnake

Rumors abound about a new Goatsnake. They’re in the studio, this is done, that isn’t done, they’re over here, over there. They’re headlining Freak Valley and playing Psycho California, and they headlined Southwest Terror Fest III last fall, but the last official word I saw about a new album — it would be their first since their 2004 Trampled Under Hoof EP — was last Sept., when word came down that it was happening at all and that Southern Lord would put it out. A timetable on when would be convenient, but maybe that’s asking too much and I should be grateful it’s even being discussed. They remain on my bucket list of bands to see before I die. One of these days I’ll get there. Southern Lord Recordings, Southern Lord on Thee Facebooks.

23. Gozu, TBA

gozu

Probably the biggest change for Boston’s Gozu since the 2013 release of their second album for Small StoneThe Fury of a Patient Man (review here), is the solidification of their lineup. As they enter into the process for their third Small Stone outing, they’ll do so with bassist Joe Grotto and drummer Mike HubbardGrotto played on part of Fury, but Hubbard (ex-Warhorse) is a new presence entirely in the band. They’ve also experimented with a third guitarist, so they might not be so solidified, but they’ve got a monster of a core four-piece to work with in GrottoHubbard, guitarist/vocalist Marc Gaffney and guitarist Doug Sherman, and they seem poised to get the most out of the chemistry they’ve busted their collective ass to develop. Gozu on Thee Facebooks, Small Stone Records.

24. High on Fire, TBA

high on fire

I feel like a new High on Fire record isn’t even just an event for heavy rock at this point but for metal as a whole. The Matt Pike-fronted three-piece hit the studio this month (this week?) after a quick tour up the East Coast, returning to Massachusetts to work with Converge‘s Kurt Ballou at his Godcity Studios, where they also busted out 2012’s De Vermis Mysteriis (review here). For anyone who heard that record, it should be plain why they’d want to work with Ballou again — even enough to go to Massachusetts in January — and whenever their next one shows up, no doubt it will do so as one of 2015’s most anticipated offerings. I’m not sure what to expect other than “heavy,” but that’s enough to go on for now. High on Fire on Thee Facebooks, eOne Metal.

25. Hollow Leg, TBA

hollow leg god-eater

My interest was piqued early last year when Floridian sludgers Hollow Leg issued their God-Eater single and spoke of it as the beginning of a change in direction. The change? More melody, a less outright aggressive style, more of an emphasis on thickness rather than rawness. As a starting point, the song “God-Eater” seemed to bode well, and I’m hoping in 2015 that Hollow Leg follow through at least partially on its promise. Not that the viciousness of 2013’s second LP, Abysmal (review here), left me particularly wanting, just that they seemed to be following a fulfilling new-ish path, and I thought the sound was one worth pursuing. They’ve said their third will be out this year, so I’ll take it. Hollow Leg on Thee Facebooks, on Bandcamp.

26. Horsehunter, Caged in Flesh

horsehunter caged in flesh

Australian four-piece Horsehunter made an impression a few weeks back with the 16-minute “Stoned to Death,” the opening track from their Magnetic Eye Records debut LP, Caged in Flesh, and it stands to reason why. Crushing tones, brutal vibes and hints of psychedelic wash abounded on what was a gripping sample of the album, which the band had recorded, scapped because it wasn’t heavy enough and then recorded again. There are four songs on Caged in Flesh, so “Stoned to Death” is literally just the beginning for Horsehunter, whose foreboding atmospherics come across no less punishing than their most weighted of tones. Horsehunter on Thee Facebooks, Magnetic Eye Records.

27. Kind, TBA

kind (Photo by JJ Koczan)

I’ve been lucky enough to see Boston four-piece Kind play twice, the lineup of vocalist Craig Riggs (also Roadsaw), guitarist Darryl Shepard (also Black PyramidBlackwolfgoat, etc.), bassist Tom Corino (also Rozamov) and drummer Matt Couto (also Elder) taking shape visibly from one show to the next. Their debut full-length is in progress now at the Riggs-owned Mad Oak Studios in Allston, and while I don’t think I can say yet what label it’s coming out on (it’s not Small Stone), the latest word I’ve gotten is that a summer release is booked. Definitely interested to hear how the jams I’ve seen live translate to a studio recording, and how Corino‘s tone comes through Mad Oak‘s board. Kind on Thee Facebooks, on Soundcloud.

28. Kings Destroy, Kings Destroy

kings destroy

So, you’d think the pic of Kings Destroy bassist Aaron Bumpus above is from some recent studio shot while they’re tracking their third album, right? Nope. The self-titled’s been in the can for months. It’s out in April on War Crime Recordings. What Kings Destroy are doing now is working on album number four, and I bet before it comes out, they’ll be on number five. Fiercely creative. I’ve had the KD record for I don’t know how long at this point, and it’s the best thing they’ve done yet. I can’t even pretend to feign impartiality after being asked to tour with them twice last year — a fucking blessing both times — but it’s the closest they’ve come to their live sound so far and that progress suits them remarkably well. Kings Destroy on Thee Facebooks, War Crime Recordings.

29. Lamprey, TBA

lamprey logo

The two-bass Portland trio Lamprey‘s recent stop-motion video for “Iron Awake” served due notice of their impending album, as yet untitled, and while it’s the shortest track on there by a considerable margin, it nonetheless represents the big-crash, big-impact severity of the outing as a whole. Not sure through what label it will surface if one at all or on what media it will be pressed — the word burning above, which I hope is the album cover, may or may not be — but the full-length seems poised to establish them as a force after 2012’s The Burden of Beasts EP (review here) brought their sometimes-plodding, sometimes-sprinting heavy rock into focus. Also, one of the songs is called “Lament of the Deathworm,” and that just rules. Lamprey on Thee Facebooks, on Bandcamp.

30. Lord Dying, Poisoned Altars

lord dying poisoned altars

The hard-touring Portlanders teamed up with Dark Castle drummer Rob Shaffer for their sophomore outing for Relapse RecordsPoisoned Altars (review here), and though he’s since out of the band, his presence bolsters the songs in Lord Dying‘s blend of High on Fire-style thrash and Crowbar-loyal sludge. A pervasive sense of simplicity helps the material achieve maximum force, but the hard-won nature of Lord Dying‘s cohesion isn’t to be understated or underappreciated — they did about 18 months of touring in support of their first effort, Summon the Faithless. At least they know their time wasn’t misspent. Seems likely they’ll continue to pound the pavement throughout 2015, so keep an eye open. Lord Dying on Thee Facebooks, Relapse Records.

31. Magic Circle, TBA

magic circle (Photo by JJ Koczan)

Rest assured, I’ve seen zero confirmation that a new Magic Circle album is under way. There’s been no word from the by-now-notoriously secretive Massachusetts-based band or their label, Armageddon Shop, on the subject of a follow-up to their 2013 self-titled debut (review here). This is rampant speculation. Their first 7″ was recently re-pressed, though, so there’s activity in their camp one way or another. They also made their way out to Seattle in October to open for Satan, which only emphasizes the fact that you never really know when they’re going to show up until they do. Ditto that their next album, I suppose. Hopefully this year it happens. Armageddom Shop website, on Thee Facebooks.

32. The Midnight Ghost Train, Cold was the Ground

Opmaak 1

Riotous Southern heavy rockers The Midnight Ghost Train have outdone themselves with their Napalm Records debut, Cold was the Ground, taking the rager blues of 2012’s Buffalo (review here) to new heights of manic push. After several years of steady touring, the Kansas-based trio of guitarist/vocalist Steve Moss, drummer Brandon Burghart and bassist Mike Boyne are an explosive live act, and as the recent video premiere for “Gladstone” showcased, their third album reaps the rewards of their labors. It’s due to release March 10 in North America, but I really don’t need to note the date, because you’ll hear it coming a mile away like the freight train that it is. The Midnight Ghost Train on Thee Facebooks, Napalm Records.

33. Minsk, TBA

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A new Minsk full-length is an utterly fascinating thought. Sorry if that sounds cold or overly clinical, but it’s true. Consider that it’s been six years since the Chicago post-metallers last released an album. That record, 2009’s With Echoes in the Movement of Stone (review here), hit at what was arguably the pinnacle of post-metal’s stylistic movement, the waters having since receded in no small part because Minsk wasn’t around to push forward creatively. Now, with slots booked at Roadburn and Desertfest, they’ll make a return to the studio as well, and I have absolutely zero idea of what to expect from them. A partially-revamped, Sanford Parker-less lineup only adds further intrigue. Minsk on Thee Facebooks, on Bandcamp.

34. Mondo Drag, Mondo Drag

mondo-drag-mondo-drag

This is one of I think two or three releases on this list that’s already out. The self-titled Mondo Drag (review here) nonetheless warrants inclusion for its heavy psych boogie concoctions and natural-toned spirit, not full-on retro but still well-indebted to the heavy ’70s in its use of organ and guitar and the swing of its rhythm section. That rhythm section? Zack Anderson and Cory Berry, who, fresh out of Radio Moscow, stepped in to record with fellow Iowans Mondo Drag in 2012 before founding Blues Pills. A shortlived moment in Mondo Drag‘s history, perhaps, but they got a killer record out of it, and while the recordings are already three years old, they’re well worth the time to appreciate. Mondo Drag on Thee Facebooks, Bilocation Records.

35. Monolord, Vaenir

monolord vaenir

Swedish trio Monolord won over hearts and minds bigtime with their 2014 RidingEasy Records debut, Empress Rising, earning a spot on the 2014 Readers Poll right between Eyehategod and Mastodon. That’s rather significant company to keep — and all the more so for a band’s first record — and with Vaenir, we’ll get to hear how the intervening year has seen them progress. They’ve already proven a favorite among the converted, and they’ll tour in Feb./March with Salem’s Pot ahead of an appearance at Roadburn prior to Vaenir‘s April 28 arrival date, so it looks like they’ll keep their momentum moving forward through the release and most likely beyond. Monolord on Thee Facebooks, RidingEasy Records.

36. Neurosis, TBA

neurosis

Okay. I don’t know that Neurosis‘ next album will be out in 2015. It’s just not a thing I know. What I know is that the ultra-seminal five-piece are getting together to write in Feb., and that they’re a no-bullshit band when it comes to writing and recording, so the timing works that, if they make new songs happen this winter, their record would probably be ready for release sometime in the summer or early fall. That’s what I’m going on. It might be that they write half the album now and half in 2016, but from what I hear they’re planning on doing some more significant touring this year, so it would stand to reason they’d want to do it with a follow-up to 2012’s Honor Found in Decay (review here) under their collective belt. We’ll see what we get. Neurosis on Thee Facebooks, Neurot Recordings.

37. Pentagram, TBA

pentagram

I saw Pentagram play 20 shows last year. Believe me when I say the pairing of frontman Bobby Liebling and guitarist Victor Griffin has never seemed stronger musically, and with bassist Greg Turley and drummer Sean SaleyPentagram head into the making of their next album firing on all proverbial cylinders. Metal Blade, who also issued their 2011 comeback album, Last Rites (review here), seems the likely outlet for the yet-untitled offering, which the band will herald with a headlining performance at Psycho California alongside Sleep and Cult of Luna on May 15-17, and which will no doubt dig deep into Pentagram‘s long history of doom for a trove of classic-style riffs. Pentagram on Thee Facebooks, Metal Blade Records.

38. Ruby the Hatchet, Valley of the Snake

ruby the hatchet valley of the snake

A not-so-subtle Uncle Acid and the Deadbeats influence permeates Ruby the Hatchet‘s Tee Pee Records debut, Valley of the Snake, which is something the Philly-based band seems to acknowledge willfully on “Vast Acid,” frontwoman Jillian Taylor crooning “I’ll cut you down” toward the end of the song in a call-out of one of the UK outfit’s most resonant hooks. Otherwise, the organ-laced five-piece get down on more psychedelic vibes, though the heavy ’70s swing in the drums could be taken as another common factor, if you really wanted to stretch it. Either way, a laid back, less murderous atmosphere persists, and that suits me just fine. Out Feb. 24. Bonus points for the gorgeous Adam Burke cover art. Ruby the Hatchet on Thee Facebooks, Tee Pee Records.

39. Saturnalia Temple, To the Other

saturnalia-temple-to-the-other

The entire meaning of being a “cult” band has changed since Sweden’s Saturnalia Temple released their UR demo in 2007, but after their 2011 debut, Aion of Drakon, hit with such a low-end wash of psychedelic obscurity, I’m intrigued to hear what they’ve come up with on To the Other, the cover’s foreboding darkness, consuming swirl and bizarre patterning seeming a fit for their sonic methodology. To the Other is out April 7 on The Ajna Offensive, and features Tim Call of The Howling Wind and Aldebaran on drums alongside Saturnalia Temple guitarist/vocalist Tommie Ericksson and bassist PeterSaturnalia Temple on Thee Facebooks, The Ajna Offensive.

40. Six Organs of Admittance, Hexadic

six organs of admittance hexadic

I’ll make no claims toward understanding the theoretical basis driving the latest outing from the Ben Chasny-helmed project Six Organs of Admittance, which in its 17-year history has gone from bedroom folk and avant electronics to the far-ranging heavy psych jamming of 2012’s Ascent (review here). Chasny, joined by members of Assemble Head in Sunburst Sound and Deerhoof on the album — which is due out Feb. 17 on Drag City – seems to have developed a compositional method based around a system involving playing cards and varying tonal intensities. No idea what the hell any of it means, but it sounds like a freakout to me, so I’m in. Six Organs of Admittance website, Drag City Records.

41. Snail, Feral

snail

Come on, Snail. Even if Feral‘s not coming out until later in the year, you can send it to me. I won’t tell anybody if you don’t want me to. I can keep it to myself. Hell, I won’t even review it until I get word that it’s cool to do so, I just want to hear the damn thing. Alright, Snail, have it your way. I’ll just sit here and remember how awesome Terminus (review here) was when that came out in 2012, and Blood (review here) before that in 2009 back when I did snarky headlines for reviews. That’s cool. I’ve waited this long for your Small Stone debut to make its way into my ears, I guess I’ll just keep waiting until it shows up. Which it would be awfully nice if it did as soon as possible. Today works. Now works. Snail on Thee Facebooks, Small Stone Records.

42. Sourvein, Aquatic Fanatic

sourvein-aquatic-occult

At the risk of being sincere, I’ll say it warms my cold, doomed heart to know that Sourvein‘s next album is going to be released by Metal Blade Records. After trudging the Southern sludge underground for, what, 20 years?, the Cape Fear-based outfit led by T-Roy Medlin (whose lineage goes back to Buzzov*en, lest we forget their role in establishing the sound) are finally poised to get their due, and I think it’s fucking awesome. Mike Dean‘s producing the thing, and you know Sourvein are going to tour the hell out of it because that’s what they do whether they’ve got a new record or not. I’m calling it the feelgood story of the year, which is perfect since the music will most likely be utterly scathing. Sourvein on Thee Facebooks, Metal Blade Records.

43. Spidergawd, II

spidergawd ii

Just stop reading and go fucking listen to Spidergawd. Here, I did a track premiere a little bit ago for the song “Tourniquet.” It rules. Go listen to that. For the life of me I have no idea why this band’s name isn’t on the lips of every boogie-loving heavy rocker in the universe. Stickman has the new album, Spidergawd II, sold out in the special edition preorders, but there’s a regular version still available and apparently en route from the plant, and for the love of all things riffed, it’s glorious. So get on it. I implore you. And no, I don’t have any idea what’s going on with the album cover, so don’t ask. No time for questions anyway. Get listening. Spidergawd on Thee Facebooks, Stickman Records.

44. Stoned Jesus, The Harvest

stoned jesus the harvest

Ukrainian heavy rockers Stoned Jesus posted the opening track from their third album, The Harvest, a while back on their Bandcamp page, and my goodness it does swing. They’ll make their way to the US for the first time in support of The Harvest, appearing at the Psycho California fest and hopefully elsewhere, and they do so having built up a steady following with their first two long-players, 2010’s First Communion (noted here) and 2012’s Seven Thunders Roar (review here), their most stonerly of names spread far and wide ahead of the latest offering’s early March arrival following 2013’s jams collection, The Seeds, Vol. 1Stoned Jesus on Thee Facebooks, on Bandcamp.

45. Torche, Restarter

torche restarter

I haven’t heard it yet, but Torche‘s awaited Relapse Records debut, Restarter, is due out Feb. 24 and the band are kicking into gear once again to mark its coming. They’ve already announced US and European tours to carry them through June, and I don’t imagine there are many markets they’ll leave un-hit  by the time they’re through. Their last album, 2012’s Harmonicraft (review here), was a solid showing of what’s come to be expected of them in terms of hooks, upbeat heaviness and melodies, but especially with the ambitious title, the new label and the energized-seeming schedule, I’m hoping that Restarter gives the band the same kind of boot to the ass they’ve been to delivering the heavy underground for the last decade. Torche on Thee Facebooks, Relapse Records.

46. Ufomammut, Ecate

ufomammut (Photo by Andrea Tomas Prato)

Very, very much looking forward to hearing Ecate, the newest outing from Ufomammut and their “second” album for Neurot Recordings behind the 2012 two-parter Oro (reviews here and here). Why is kind of a silly question — new Ufomammut is its own excuse for anticipation — but truth be told, they’ve always managed to get bigger-sounding and more expansive with each LP, and after having to break their last album in half and release the two pieces months apart from each other, I’m dying to know where they go with Ecate, what shifts in their sound the last couple years — including last year, which was their 15th anniversary — have brought and where in the cosmos they might be headed now. Ufomammut on Thee Facebooks, Neurot Recordings.

47. Valkyrie, TBA

valkyrie

During what I guess we’ll call Valkyrie‘s original run, the Virginia two-guitar four-piece released a pair of albums, 2006’s Valkyrie and 2008’s Man of Two Visions – both of which were reissued through MeteorCity in 2010 — before guitarist Peter Adams, who founded the band with his brother, guitarist/vocalist Jake Adams, got signed to Relapse with his other group, Baroness. Now back with Earthling‘s Alan Fary on bass and drummer Warren Hawkins, they’ve got their new LP recorded with Sanford Parker and reportedly in the can for an early 2015 release, also through Relapse. They’ll no doubt be greeted as heroes when they play the Maryland Doom Fest in June, and understandably so. Valkyrie on Thee Facebooks, Relapse Records.

48. VA, Electric Ladyland Redux & The Best of James Marshall Hendrix

various artists the best of james marshall hendrix

Magnetic Eye Records launched a Kickstarter campaign last fall with the ambitious aim of paying homage to Jimi Hendrix by having current heavy rock artists (ElderEarthlessWo FatGozu and more; full list here) re-record Electric Ladyland in its entirety. The project, on track to be released this year to coincide with what would’ve been Hendrix‘s 73rd birthday in November, expanded to include a tribute best-of collection as well, and has grown in repute ahead of its actually being issued to stand as a gathering of some of the finest the underground has to offer playing some of the best rock and roll ever crafted. From the idea to the impending reality of it, there’s really no arguing with this one. Magnetic Eye Records on Thee Facebooks, Magnetic Eye webstore.

49. Wino & Conny Ochs, Freedom Conspiracy

wino and conny ochs

When Scott “Wino” Weinrich entered rehab late last fall, he mentioned in a public statement several projects in the works. Spirit Caravan‘s reunion is ongoing. Saint Vitus are due for a next album, but he also noted the second release for his collaboration with German singer-songwriter Conny OchsFreedom Conspiracy, as being in early 2015. Particularly after the ultra-intimate, solo feel of Wino‘s 2010 acoustic debut, Adrift (review here), the first collaboration with Ochs, 2012’s Heavy Kingdom (review here), was an unexpected expansion of the form that paid sonic dividends in both the songwriting and performance of both players. A second installment should benefit from the chemistry they built on the road for the debut. Conny Ochs on Thee Facebooks, Exile on Mainstream.

50. Wizard Eye, TBA
wizard eye

Heard it. Slays. Actually, I’m not sure if the version of Wizard Eye‘s sophomore full-length I got was final, but the songs were killer either way, and the Philly stoner-toner three-piece will have the album out on vinyl later this year through a newcomer label that I don’t think I’m supposed to mention yet so I won’t. Either way, they’re included here because the more heads they reach the better, their blend of rolling grooves, sludged out vocals and the occasional bout of theremin is just right for the riff-loving purist in all of us. Their recent live outing, Riff Occult Live (review here) says it better than I could, so make a note to yourself to dig into that at your next convenience. It’s name-your-price on Bandcamp. Wizard Eye on Thee Facebooks, on Bandcamp.

51. Wretch, TBA

wretch

Listed as the “bastard spawn” of The Gates of SlumberWretch finds that band’s guitarist/vocalist Karl Simon teamed with bassist Bryce Clark and drummer Chris Gordon, the prior outfit having been laid to rest in 2013 after what seemed like an excellent return to form in 2011’s The Wretch (review here) and subsequent Scion-sponsored EP. I haven’t heard the new band yet, but some demos have made their way out thus far, and you’d have to figure it won’t be too long before SimonClark and Gordon make their proper debut as Wretch and start a new chapter in one of modern traditional doom’s most pivotal legacies. Wretch on Thee Facebooks, Tone Deaf Touring.

52. Zun, TBA

zun

Early in 2013, a song called “Come through the Water” (review here) appeared as the first audio from a new project helmed by guitarist Gary Arce of Yawning Man called Zun. It was to be used as Zun‘s portion of a split with Fatso Jetson and while I’m not sure that ever materialized, it drew immediate attention for the collaboration between Arce and vocalist Sera Timms of Ides of Gemini and Black Mare, also formerly of Black Math Horseman. A significant duo for sure. With Bill Stinson (also Yawning Man) on drums, they’re set to debut later this year on Small Stone with their first album, and if Timms and Arce aren’t enough to draw your attention so late in the feature — the hazards of alphabetics — the one and only John Garcia is set for a guest appearance on the record. Dig that, desert rockers. Yawning Man on Thee Facebooks, Small Stone Records.

 

Going Into Overload…

So, okay. At this point, you could literally buy a different record each week of this year and hear something that, unless there’s some disaster between the idea of the album and the actual thing itself, is most likely worth your time. That’s not too bad. But we’re not at 88 yet, so with those 52 already set, I’ve got 36 more that you might want to keep on your radar.

Some of these are solidly lined up, some are slated to be recorded, etc., so the same rule of “things don’t always work out the way they’re supposed to” applies. With that caveat:

 

53. Abrahma, TBA — Their second album for Small Stone is due sometime this year.

 

54. Bedroom Rehab Corporation, Fortunate Some — From what I hear, the Connecticut twosome have their second record in the can.

 

55. Black Black Black, TBA — Brooklyn outfit featuring former members of Disengage should have a sophomore album out in 2015.

 

56. Black Pyramid, New 7″ — The trio will release a new single to coincide with their Euro tour that includes a stop at Desertfest.

 

57. Bright Curse, New 10″ EP — It was mentioned the new lineup would record an EP before taking on their next album.

 

58. Camel of Doom, TBA — Was announced in December there’d be a new Camel of Doom along with a vinyl of their last album.

 

59. Cherry Choke, Raising the Waters — Should be out this month on Elektrohasch.

 

60. La Chinga, TBA — Vancouver group’s Small Stone debut is reportedly being mixed.

 

61. Curse the Son, TBA — I’m hoping this one gets out by the end of the year. It will be the CT trio’s first with their new bassist.

 

62. EgyptEndless Flight – North Dakota’s favored sons will return with a new full-length this summer. Album trailer posted with a clip of the new song “Tres Madres.”

 

63. Enos, TBA — Not sure where they’re at with it, but worth keeping an eye out.

 

64. Foghound, TBA — The Maryland rockers have finished tracking their new album with Mike Dean of Corrosion of Conformity at the helm.

 

65. Funeral Horse, TBA — They’ve been full of surprises on their first two releases and they work quick, so I wouldn’t be surprised if something new showed up.

 

66. Fuzz Evil, TBA — Interested to see where they go on an LP after their split with Chiefs.

 

67. The Glasspack, Moon Patrol — A snippet clip has been posted that bodes well. Supposed to be done recording in the spring. They’re currently sorting out label whatnots.

 

68. Graves at Sea, TBA — Yeah, it’s been more than a decade since their demo, but a split and an EP into their reunion, they just signed to Relapse, so now might be the time a debut album shows up.

 

69. House of Broken Promises, TBA — Should be a change from the first album after swapping out bassist/vocalists. They killed live last I saw.

 

70. Ice Dragon, TBA — No solid word of a new release from the Boston garage doom forerunners, but they’re always up to something.

 

71. Killer Boogie, Detroit — The debut from this Black Rainbows offshoot is out this month on Heavy Psych Sounds.

 

72. Krautzone, TBA — German synth-heavy prog-jammers have hit a groove and hopefully they continue to ride it as well as they have thus far.

 

73. Leeches of Lore, TBA — Wishful thinking on my part? Maybe. Got my fingers crossed, though.

 

74. Legion of Andromeda, Iron Scorn — They’re about as extreme as extreme doom gets. Album out next month.

 

75. Lord Fowl, TBA — I think they’re writing. Might be 2016 before it gets here, but I’ll take it whenever it comes. They’re worth a mention either way.

 

76. The Machine, TBA — Been a minute since we last heard from the Dutch heavy psych jammers. They were on this list last year as well.

 

77. Mirror Queen, Scaffolds of the Sky — Should be out in April on Tee Pee, and that suits me just fine. Choice grooves for springtime.

 

78. Mountain God, Forest of the Lost — A single-song EP from the Brooklyn post-sludgers is out in Feb. with a release show booked.

 

79. Om, TBA — I’ve yet to see solid evidence that a new Om is in the pipeline, but no one knew that Sleep single was coming last year either.

 

80. Planes of Satori, Planes of Satori — Dug their single, hope the full-length follows suit.

 

81. Pombagira, Flesh Throne Press – Their sixth album and Svart debut is due on March 23 as per this week’s announcement.

 

82. Righteous Bloom, TBA — My understanding was the Beelzefuzz offshoot are writing. Would be good if they can pick up where the prior act left off.

 

83. Royal Thunder, Crooked Doors – The Atlanta outfit’s second album for Relapse is due out April 7.

 

84. Sandrider/Kinski, Split — Don’t know much about Kinski, but new Sandrider is enough to sell me on it. Out Feb. 17 on Good to Die.

 

85. SardoniS, TBA — Expect big lumbering riffs from this Belgian duo, always. A new album is en route, last I heard.

 

86. Sun Voyager, TBA — Didn’t get to hear their last tape, but a five-song EP is due out sometime soon.

 

87. Sweat Lodge, Talismana — Not much word since they signed to Ripple, but they said this year, so until I hear otherwise…

 

88. Throttlerod, TBA — A teaser clip of new riffage came out over this past weekend. New Throttlerod is never something to complain about.

 

89. Venomous Maximus, Firewalker — When they signed to Shadow Kingdom in November, they gave it the ol’ “sometime in 2015.”

 

90. Weedeater, TBA — After a whole series of reissues, their Season of Mist debut is due.

 

91. Wight, Love is Not Only What You Know — Alphabetically last but not at all last in my heart, Germany’s Wight have their third record in progress. More in the comments.

 

92. Wo Fat, Live Juju at Freak Valley – Wo Fat‘s live set from the 2014 Freak Valley fest in Germany is due to release on vinyl March 17 in an edition of 500 copies.

 

Others to Keep an Eye On…

Guitarist Ian Gerber of Indianapolis’ The Heavy Co. has a couple side-projects going, but new stuff from his main band doesn’t seem unlikely either. New York’s Geezer might also have something new before December in addition to Ripple‘s CD version of their Gage release, and labelmates King Buffalo are continuing their relationship with STB Records via a new spit next month, so hopefully a debut LP follows that. Let it Breathe should make their debut on the label too in 2015.

Recently streamed trio Wake up Lucid release their EP on March 31. Last I heard The Body had a new one coming too in collaboration with Thou. Sixty Watt Shaman have plans to record tracks for a split due out later this year, and they’ll reissue their first album, 1998’s Ultra Electric, as well. Look out for Godhunter‘s split/collaboration with Amigo the Devil, and the second offering from Black Moon Circle is on the way. Balam‘s full-length should also be out sometime this year, and I anxiously await news of a solid release date for the third Clamfight record.

Murmurings abound also for new ones from GraveyardGreenleafThe Sword, Vhöl and others.

Plus, Sleep still exist and that simple fact probably makes them worth more of a mention than this quick aside. Their 2014 single The Clarity was an offering of pure Iommic idolatry. A sign of things to come? Who the hell knows.

If you don’t have enough to go by yet, labels like Sulatron, Tee PeeEl Paraiso, Ripple, Small Stone, STB, Napalm and so on are always worth a keen watch what’s next. There’s always something.

 

Which I guess is the point of this whole thing. I’m sure, even as huge as this list is, someone is going to drop a comment immediately that will make me slap my forehead and wonder how I ever forgot whatever it is. It’s always something. It looks like it’s going to be a tremendous year, so if you’ll pardon me, I’ll cut out quick and get started making my way through it.

No doubt I’ll add to this post over the next couple days, so if the numbers change, don’t be surprised. In any case, if you made it this far, thanks again for reading. May your 2015 be filled with excellent music and even better times.

 

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Venomous Maximus Sign to Shadow Kingdom Records

Posted in Whathaveyou on November 20th, 2014 by H.P. Taskmaster

venomous maximus

Following a release of their 2012 long-player, Beg upon the Light (review here), through Napalm, Houston cult heavy rock four-piece Venomous Maximus have inked a deal to issue their follow-up, Firewalker, on Pittsburgh’s Shadow Kingdom Records. Presumably the new album will be out sometime in 2015, and considering the passion Shadow Kingdom puts into its acts — their love of Corsair is fervent enough that it can be seen from orbit — the fact that they’d even bring the band on board means they’re ready to get in deep. Fair enough. Venomous Maximus are vicious live, and hopefully with Shadow Kingdom behind them, they’ll be able to continue to get out and tour as much as possible.

The PR brought word from the label:

shadow kingdom logo

We have been waiting so long to tell you this great news and now is finally the time to reveal what’s been happening in the SKR camp…

Shadow Kingdom Records is extremely proud and honored to announce the signing of Houston, Texas’ VENOMOUS MAXIMUS.

The name of the band reminds us of the classic Gladiator film where Russell Crowe (aka “Maximus”) was nothing short of a complete madman who would die for his family and country without fear or worry of what might happen to him in the process. VENOMOUS MAXIMUS is very much like that in their attitude and approach to playing music with conviction and without any genre barriers. In VENOMOUS MAXIMUS, we have a band that is interested in writing GREAT, memorable songs that vary in length, tempo, and emotion.

Those whom are familiar with VENOMOUS MAXIMUS’ 2012 Napalm Records release, “Beg Upon the Light”, know what kind of a treat you’re in for. The band’s upcoming new album “Firewalker” is a great continuation of their talents. It’s really rare to find bands that have no barriers and just focus on quality songs. This really takes us back to the beginning of Heavy Metal when BLACK SABBATH would put out records. Some of the jams would be fast and heavy, while others would be slow and powerful. BLACK SABBATH could play any genre because they invented all of the heavy metal genres you hear today and when you hear VENOMOUS MAXIMUS’ music, it reminds us of those same ideals. It’s just GREAT music and you love hearing it.

Gregg Higgins heads this band with his very powerful and commanding vocals and chants that immediately raise fists in the air. There’s an obscure Psych / Rock band (also) in Texas from the 70’s/80’s called “Roky Erickson”. if you’re not familiar, click on these two YouTube links and soak yourself into “Night of the Vampire” and “Stand for the Fire Demon”), and play it LOUD. Gregg’s strong vocals remind us of Roky’s vocals in a way that is so captivating, it literally forces you into their world, and you get lost in the music. With the rest of the band being tighter than two coats of paint, this band can do it all and do it all extremely well! VENOMOUS MAXIMUS can easily become as big as — and share fans with — bands like GRAND MAGUS, HIGH ON FIRE and MASTODON, while not sounding like any of those bands and paving their own “path of doom”.

https://www.facebook.com/VenomousMaximus
http://venomousmaximus.bandcamp.com/

Venomous Maximus, “Path of Doom” official video

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Venomous Maximus Playing Gwar-B-Q Pre-Show and More

Posted in Whathaveyou on July 18th, 2014 by H.P. Taskmaster

Been a while since we last heard from occult-minded Houston heavy rockers Venomous Maximus, whose stage presence still lingers in my consciousness from when I was fortunate enough to see them last summer. Presumably they’ve been at work crafting the follow-up to 2012’s Beg upon the Light (review here), reportedly dubbed Firewalker, and like any potion worth brewing, these things take time. Not that you were necessarily going to, but you know what I mean.

They did a similar run last year, but for the Texan four-piece, this upcoming round of dates in August is marked out by an appearance at the pre-show for the Gwar-B-Q in Richmond, Virginia, which will be headlined by some band called The Black Dahlia Murder and which also features moody RVA sludgers Gritter. Not a bad spot to wind up.

The PR wire has it like this:

VENOMOUS MAXIMUS Announces U.S. Tour Dates

Houston Dark Metal Band Putting Finishing Touches on New LP Firewalker

Texas heavy metal band VENOMOUS MAXIMUS has announced a string of east coast U.S. tour dates set to kick off on August 7 in New Orleans, LA. As part of the major market jaunt, the award-winning band will perform as part of the 2014 GWAR-B-Q on August 15 in Richmond, VA, also set to feature Ice-T’s Body Count, Hatebreed and more. The upcoming live dates are as follows.

VENOMOUS MAXIMUS U.S. tour dates:

August 7 New Orleans, LA Siberia
August 8 Birmingham, AL Upside Down Plaza (w/ Stoned Cobra)
August 9 Atlanta, GA The Basement
August 10 Johnson City, TN The Hideaway
August 12 Baltimore, MD TBA
August 13 Brooklyn, NY Saint Vitus
August 14 Philadelphia, PA Kung Fu Necktie (Late Show)
August 15 Richmond, VA Broadberry (Gwar B4BQ w/ Black Dahlia Murder)

VENOMOUS MAXIMUS features Gregg Higgins (Vocals, Guitar), Christian Larson (Guitar), Trevi Biles (Bass) and Bongo (Drums).

https://www.facebook.com/VenomousMaximus/
http://www.napalmrecords.com/

Venomous Maximus, “Path of Doom” official video

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Venomous Maximus Debut “Dream Again (Hellenbach)” Picture Video

Posted in Bootleg Theater on October 31st, 2013 by H.P. Taskmaster

Having had occasion to see Texan cult metallers Venomous Maximus this summer at Days of the Doomed III — you might say that’s my ogre-paw wrist and hand at bottom left in the screen-grab above — I can tell you from experience that they’re a band who put genuine effort into their presentation. They celebrated the Napalm Records release of their debut full-length, Beg upon the Light (review here), by going on tour in June around the aforementioned fest, and they brought along photographer Ray Traboulay to make sure it was all properly documented. The results of that partnership between band and camera have been compiled together into a new picture video for the song “Dream Again (Hellenbach),” which I have the pleasure of premiering below.

“Dream Again (Hellenbach)” is one among a slew of catchy high points of the gleefully debauched Beg upon the Light. Guitarist/vocalist Gregg Higgins is at his most commanding, and along with guitarist Christian Larson, bassist Trevi Biles and drummer Bongo Brungardt, Higgins wields a careful balance of classic metal and heavy rock influences, the band winding up indebted to Judas Priest and other NWOBHM axe heroes en route to territory usually reserved for Coven worshipers and preachers of vaguely Sabbathian seance. That blend, in combination with an electric performance ethic, was what helped their reputation spread quickly and garner not just label attention, but a fervent critical and audience response to the album.

Texas hasn’t been short on riffs since ZZ Top were in diapers, but Venomous Maximus bring a spin to their approach that comes off less genre-adherent and more multifaceted than most and than it might at first seem. If you haven’t yet had the chance to get introduced to their classic metallurgy and lunatic swirl, “Hellenbach” makes a hell of a first impression, and Traboulay‘s live shots are an excellent companion to the otherworldly sensibility in the music.

In the PR wire info under the clip, Higgins and Traboulay give some background on the project and the theories that went into it. Please enjoy:

Venomous Maximus, “Dream Again (Hellenbach)” picture video

VENOMOUS MAXIMUS Debut Photo-Video – Announce Contest

 Beg Upon the Light Out Now on Napalm Records

The Texan Dark Heavy Metal outfit VENOMOUS MAXIMUS has already risen to the status of a heavy hitter in the depths of the underground. This was showcased with the release of their debut album Beg Upon The Light earlier this year via Napalm Records.  The album is available for purchase on iTunes and Amazon.

Today the band has released what they are describing as a “photo-video”.  The “photo-video” is set to the song “Dream Again (Hellenbach)”.  With this “photo-video” VENOMOUS MAXIMUS have started a contest to see who can share and spread the video the most online.  The winner will be determined by whomever gets the most shares of their Facebook post or Tweet. The winner of the contest will receive a VENOMOUS MAXIMUS, T-shirt, CD, LP, trucker hat, patch and buttons.”

What exactly is a “photo-video”?  Photographer and artist Ray Traboulay who is responsible for the project explains:

VENOMOUS MAXIMUS is an “experience” or “state of mind” as opposed to a band.  Photographing them proved to be an extremely fluid process as our collective energies aligned with ease.

Capturing their Spiritual energy and inserting it aesthetically into the photograph was achieved through multiple exposure and shutter drag photographic techniques as well as sensing their Kinetic energy seep into my pores. My initial thoughts and emotions after viewing them for the first time were hard to categorize.

After recently photographing Carnival in Trinidad and having an appreciation and respect for the pagan past, I was naturally drawn to them where their lyrical subject matter touch on these occult topics in their own manner.

I hope these photos do justice to the band’s live performance and convey to viewers to the best of my ability what they encompass as individuals and collectively once they hit the stage as a four piece. Once on stage they become a different beast incorporating spiritual elements of The Holy Mountain, Asian Mysticism, Deepak Chopra, and King Diamond are fused together to form their unique brand of Occult Rock.  Infectious, big hooks and relevant subject matter in their lyrical make up…. they’ve got it all as far as modern rock and metal goes, not to mention down to earth and charismatic folk as well.

This is the central axis of Houston’s finest and is a band you want to look out for if you have not already and a band that should be best observed on a full moon.”

Frontman Greg Higgins commented on the photo video as well:

“Hopefully one day we will be able to see and understand things the way Ray captured us in these photographs. Ray has a way of making his photographs where it makes you wish you were there. Even if you’re in the photo it looks better than you remember and makes you want to go back to it.”

Venomous Maximus on Thee Facebooks

Napalm Records

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Here are 115 More Pics from Days of the Doomed III

Posted in Visual Evidence on June 25th, 2013 by H.P. Taskmaster

It was a really, really busy weekend. I’m glad to say I did actually get to stand still for a bit and watch each of the 19 acts performing at Days of the Doomed III at The Blue Pig in Cudahy, Wisconsin, but I was just as likely to be parking myself somewhere to pop open the laptop or back and forth in front of the stage taking pics.

At one point, one of the dudes working at the venue said to me while I had the computer open, “You’re supposed to be enjoying yourself, not working.”

And it occurred to me that this is how I enjoy myself.

A 20-minute break between each band didn’t leave much wriggle room to go searching for the perfect shot of each band and still give the actual set the clacky-clacky it deserved. As such, I wound up with a lot of photos, and since I wouldn’t have time to include them in the actual live-blog posts (day one and day two), it only seems fair to give them their own post.

Below — with setlists when I could get them — you’ll find pictures of Iron Man, Penance, Venomous Maximus, Kings Destroy, Lucertola, Moon Curse and Gravedirt from day one, and The Gates of Slumber, In~Graved, Dream Death, Pale Divine, Earthen Grave, Leather Nun America, King Giant, Spillage, Chowder, Beelzefuzz, Gorgantherron and Whaler from day two.

Pics start after the jump. Hope you enjoy:

Read more »

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Front to Back: Days of the Doomed III, Day One

Posted in Features on June 21st, 2013 by H.P. Taskmaster

06.21.13 — The Blue Pig — Cudahy, WI

4:24PM: Welcome to Cudahy, Wisconsin. Were I one of the homeowners living on the residential street off the corner where The Blue Pig is located, I’d probably already be pissed. I’m not, though. I’m here for the show. Hence, doom on.

The venue — kind souls — gave me the wifi password, so over the course of tonight and tomorrow I’ll be updating live with words and pics from the Days of the Doomed III fest. Tonight, the lineup features Gravedirt, Moon Curse, Kings Destroy (go hometown heroes), Lucertola, Venomous Maximus, Iron Man and Penance. The show kicks off in about half an hour and there’s the usual pre-fest milling about, plus a DJ spinning the usual suspects — Pantera, AC/DC, etc. — drinks at the bar and already a cool vibe in the air. I’m looking forward to seeing how the night plays out.

I’m sitting in the back by the merch area, but judging by the people rolling in, it looks like I’m going to have to find a different spot to set up shop, so that might be an adventure, but I’ll do my best to make it work. Long night and day tomorrow ahead, but I’ve got a doomburger — yes, it’s a special at the Best Western — in my gut and spirits are high. Let’s do this thing.

Gravedirt

5:39PM: Nothing to dive headfirst into a night of riffs like some low-end-centric, extreme sludge. Native Milwaukee trio Gravedirt do it muddy. The snare was cutting through high in the mix, but beyond that, they slung ooze like they meant it, bassist Chris Cottreau adding low, death metallic growls over top (or at very least, buried within) that reminded me almost immediately of earliest, pre-psychedelic Zoroaster. Within that, their stuff was straightforward and they seemed to be getting their bearings in on stage, but they had a lot going for them and by the time they were finished, I had forgotten it would still be light out when I turned around and looked out the window, so I guess that’s saying something. A heavy start to what seems like it’s going to be a heavy evening.

Moon Curse


6:37PM: Another local trio, Moon Curse had a sound that almost couldn’t help but be their own. Guitarist/vocalist Matt played through a custom rig on a custom guitar, drummer Keith brought his own kit and let loose his swing-heavy grooves in front of the riser, and bassist Rochelle anchored the lumbering riffs with thoroughly weighted runs. They hovered mostly around traditional doom riffing, but every now and again, they locked into a marching plod that showed some awareness of Red Fang or even High on Fire‘s second-gear moments. Matt kept his vocals mostly clean, and I suspect that much of what they played came off their recently-released self-titled vinyl, which they’re selling here in a number of editions. I may or may not get the chance to pick one up, but they impressed all the same and out of the two bands who’ve played so far, I’ve found two whose work I’ll look forward to following from here on out.

Lucertola


7:55PM: Some high order horror vibes permeating Lucertola‘s set, driven forward at a doomly crawl by the dual guitars of Tad Leger (also Blood Farmers) and Zack Breiman, the latter of whom tossed off fuck-you-up leads at a whim and broke his strap during the first or second song. Otherwise, the young six-stringer made hard shred look easy while Leger held down rhythm lines alongside bassist Chris Konys. I had meant to see them a while back in Philly, so they were something of a must to catch at Days of the Doomed III, and while they were still pretty clearly sorting out their material, they ended strong and had some potent chugging lines along the way, not lacking in classic atmosphere or doomly vibing, tossing in some variety (just enough) and keeping people hooked with a cover of Witchfinder General‘s “Burning a Sinner” that was greeted with universal welcome.

Kings Destroy


9:08PM: Not sure if I’ve ever seen Kings Destroy so much live up to their name. It’s terrifying how good these guys have gotten, from the flow they build during a set to their tones, to how they all slam together at the end of “Turul” and the time changes it brings. Fucking terror, I tell you. I wasn’t sure if they were going to break out “Turul.” Early on, it seemed like they were sticking to some of the earlier, first album stuff, rather than the A Time of Hunting material, which is more diverse-sounding — they were sticking to the doom as befitting the occasion, in other words. But not only did they play it, they closed with it, using it to follow up “Blood of Recompense” in a one-two punch of gloriously heavy oddness. I’m hardly an impartial source, but god damn, I fucking dig this band. “Planet XXY” and “Medusa” were pleasant surprises, but really, the whole time, they were tighter than one generally thinks of doom as tight and showed that you can play heavy, downer music and still not lose all life from the performance.

Venomous Maximus

10:14PM: It’s hard to argue with a professional presentation. And now having seen them live, any question I might’ve had about how Napalm Records came to pick up Houston four-piece Venomous Maximus has been answered. It’s easy: They saw them live. From “Path of Doom” to “Give up the Witch” to the grandiose ending of the finale “Hell’s Heroes,” Venomous Maximus were a pro job all the way. Stage costumes, their own lighting — they even brought their own photographer! The songs were no less dead on for the band being so aesthetically focused, though, and having experience with their Beg upon the Light full-length and the prior The Mission EP, the songs came right back, delivered with power and finesse and a raucousness all their own. I’d have signed them too. It would be foolish not to. If these dudes can get out and tour, their ascent could be quick. They brought the audience with them for a run through powerful riffs and over-the-top metal that was self-aware but not at all ironic. Again, it’s hard to argue.

Penance


11:36PM: Filling in for vocalist Lee Smail, who couldn’t make it to Days of the Doomed III, Brian “Butch” Balich (who’s wrapping a new album with Argus) took the frontman role for Penance‘s set. They opened instrumentally, bassist Richard Freund, drummer Mike Smail and guitarist Terry Weston, and were joined shortly thereafter by Butch, whose presence was announced by launching into “Words Not Deeds.” Hell of an introduction. Butch wouldn’t be the only guest, either. Several songs in — “Monster I’ve Become” and “Reaching” among them — guitarist/vocalist Brian Lawrence came out for a few from 1992’s The Road Less Traveled. “A Wayfarer’s Tale” was perhaps the highlight of the whole set, but I won’t discount either when Butch came back out and they closed out as a five-piece with “Misgivings” off the same album. I knew when I saw the band with Smail at Roadburn that this would be their crowd, and it was. Penance received a hometown-esque welcome at The Blue Pig, and proceeded to earn it with crunching tones as doomed as the emotionality both Balich and Lawrence brought to the vocals. I considered myself lucky to have seen them once, so to do it twice in a matter of months with three different singers, all the more so.

Iron Man


1:12AM: Somehow it always seems to be Iron Man rounding out all the doomliest evenings. Only fitting, I guess. Tonight the Maryland — vocalist Dee Calhoun, in a Ravens jersey, said they were from Baltimore tonight, D.C. other nights — stalwarts gave Wisconsin a taste of classic riffing the likes of which it probably hasn’t had since, well, since Days of the Doomed II last year. Tonight they were showing off new material from the forthcoming South of the Earth full-length. Cuts featured included “The Worst and Longest Day,” the extended “A Whore in Confession” and the title-track, which the band put next to the title-track from I Have Returned, maybe for a bit of symmetry, maybe not. Calhoun and guitarist “Iron” Al Morris III command a lot of attention, but the rhythm section of bassist Louis Strachan and drummer Jason Waldmann sounded especially on tonight (Strachan added some wah on “A Whore in Confession” that was a nice touch), and the band seemed most gelled of all on the new material, which was encouraging for the results on that album whenever it surfaces. As ever, Iron Man closed out with “Black Night” from the classic 1993 album of the same name, but the crowd wouldn’t let them go when they were done, so they followed it with “Run from the Light” from I Have Returned and capped day one of Days of the Doomed III with a fitting summary of what I take away as the whole idea behind the fest: Good people, good riffs, good times. You won’t hear (or read) a complaint out of me. Tomorrow we go again.

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Venomous Maximus Announce Tour Dates

Posted in Whathaveyou on May 17th, 2013 by H.P. Taskmaster

In my ongoing and inevitably-doomed-to-failure quest to be somewhat less than 100 percent behind on absolutely everything, this news about Venomous Maximus touring that I now present to you came down the PR wire yesterday. The Texas metallers, signed as of March to Napalm Records, have announced a round of dates to herald a July 2 reissue of their 2012 full-length, Beg upon the Light (review here), and included is a stop at Days of the Doomed III on June 21 in Wisconsin, where they’ll join the likes of Dream Death and In~Graved in riffly demolition at The Blue Pig outside Milwaukee. Good fun.

So sayeth the PR wire:

VENOMOUS MAXIMUS Announce North American Tour Dates

Debut Album Beg Upon the Light Out July 2nd on Napalm Records

The Texan Dark Occult Metal outfit VENOMOUS MAXIMUS has already risen to the status of a heavy hitter in the depths of the underground. Now, the band is ready to finally unleash their album debut Beg Upon The Light. The album will be released in North America on July 2nd via Napalm Records. Today the band has unveiled the tracklisting, which includes three bonus tracks.

In support of the new release, VENOMOUS MAXIMUS will be hitting the road this May and June. The tour sees the band playing select shows with Royal Thunder, The Dillinger Escape Plan, and Valient Thorr amongst others. A complete list of dates can be found below.

Singer Gregg Higgins has a message for fans coming out to the shows: “Hide your daughters and bring a crucifix!”

Beg Upon the Light is full of heavy riffs and driving drums, which create the perfect foundation for the musical and lyrical direction of the songs, which bring the enthralled listener into the realm of the Occult! The Texans turn the mix of Stoner and Doom Metal into a deadly blend that goes right into your blood. Pounding and powerful songs filled with energy set the stage for the glorious vocals of frontman Gregg Higgins, the grand marshal who leads through these occult hymns Beg Upon the Light combines occultism, heavy riffs and the perfect Stoner attitude to create a pitch-black and irresistible album.

Tracklisting:
1.Funeral Queen
2 Path of Doom
3. Give Up The Witch
4. Father Time
5. Dream Again
6. Moon Child
7. Battle for the Cross
8. Venomous Maximus
9. Mother Milk
10. Hell’s Heroes
11. The Mission (Bonus Track)
12. The Rider (Bonus Track)
13. The Gift (Bonus Track)

Venomous Maximus Live:
5/18 – College Station – Stanford Center – Loudfest!
5/24 – Austin, TX – Mohawk – w/ Dillinger Escape Plan, Royal Thunder, Ancient VVisdom
5/25 – San Antonio, TX – Fitzgeralds w/ deadhorse
6/18 – Little Rock, AR – Downtown Music
6/19 – Nashville, TN – The End w/ Windhand
6/20 – Indianapolis, IN – Indy Jukebox w/ Devil To Pay
6/21 – Milwaukee, WI – Blue Pig Bar – Days of Doomed Fest
6/22 – Chicago, IL – Reggies w/ Valient Thorr
6/24 – Cincinnati, OH – The Comet
6/25 – Johnson City, TN – The Mecca
6/26 – Atlanta, GA – Purgatory
6/27 – Birmingham, AL – The Bottle Tree w/ Stoned Cobra
6/28 – New Orleans, LA – Siberia w/ Holy Grail

For More Info Visit:
https://www.facebook.com/VenomousMaximus
http://www.napalmrecords.com

Venomous Maximus, “Path of Doom” from Beg upon the Light

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First-Ever Bayou Doom Fest Set for Next Weekend

Posted in Whathaveyou on May 1st, 2013 by H.P. Taskmaster

We’re just 10 days out from the fist-ever Bayou Doom Fest, set to take place May 11 in Houston, Texas, with a killer lineup of native and regional acts who run a gamut of heaviness from the thrashing Warbeast all the way to the heavy rock of Orthodox Fuzz with no shortage of doom in between. I know Las Cruces have been working on new material — they’ll also play Doom in June 3 in a couple weeks — so maybe they’ll have something on tap for the setlist, and with Wo Fat just back from Europe and Mothership just off the road with Gypsyhawk, you know these guys are going to deliver an awesome night.

Details came down the PR wire:

Warbeast and Venomous Maximus to Headline Inaugural Bayou Doom Fest

Presented by the Houston Doom Brigade, the inaugural Bayou Doom Fest, to be held at Fitzgerald’s in Houston, TX on May 11, 2013, will be headlined by DFW thrash-masters Warbeast and Houston’s occult metal kings, Venomous Maximus.  The show marks the first time that Warbeast and Venomous Maximus have shared the stage since a run of shows in January supporting the legendary Down.  The show will also be Warbeast’s first since returning from a successful tour supporting GWAR and Venomous Maximus’ first hometown appearance since signing to Napalm Records.  Making the festival even more special is the fact that it will be a free event for those 21 and up ($10 under 21).

Joining Warbeast and Venomous Maximus on the bill are psychedelic fuzz rockers Wo Fat (fresh off appearances at Roadburn and Desertfest), Maligno (Mexico), Sanctus Bellum (Houston), Mothership (DFW), Las Cruces (San Antonio), Project Armageddon (Houston), Orthodox Fuzz (DFW), and Serpent Sun (Houston).

Houston Doom Brigade Presents:  Bayou Doom Fest I
Saturday, May 11, 2013
Fitzgerald’s
2706 White Oak, Houston, TX
Doors, 5:00 – Show 5:15
Free for 21+ (under 21: $10)

Warbeast (Housecore Records)
Venomous Maximus (Napalm Records)
Wo Fat (Small Stone Records)
Mothership (Ripple Music)
Las Cruces (Brainticket Records)
Maligno
Sanctus Bellum
Project Armageddon
Orthodox Fuzz
Serpent Sun

Las Cruces, “Cocaine Wizard Woman”

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Venomous Maximus Sign to Napalm Records

Posted in Whathaveyou on March 21st, 2013 by H.P. Taskmaster

The band let the news out earlier, but the PR wire makes it official: Texas metallers Venomous Maximus have joined forces with Napalm Records, who will reissue the band’s previously self-released Beg upon the Light (review here) come this summer ahead of a new studio album for 2014. Congratulations to the band, who will also put in an appearance at Days of the Doomed III this June, perhaps right around the time Beg upon the Light gets its second look.

That release date is still to come, so stay tuned for more on that and on Venomous Maximus‘ next effort. Until then, the news is good:

VENOMOUS MAXIMUS signs with NAPALM RECORDS, prepare summer release

Today, NAPALM RECORDS announces the signing of Texan doom occultists VENOMOUS MAXIMUS. The label will be releasing the band’s debut album, Beg Upon the Light, worldwide this summer, with their first new album for NAPALM slated for 2014. Says vocalist/guitarist Greg Higgins, “We are pleased to announce that we’ve signed with NAPALM RECORDS. They are going to release Beg Upon the Light this summer and another new full-length we are working on in 2014. All of this comes to a surprise, because this project was meant to be something that no one would ever hear about. So as time went on and we started to be successful, we always agreed to do everything ourselves, to keep it our way. The only way we were ever going to work with anyone was if we knew they were dedicated to worship the past as we were. Now that we are here with NAPALM, we will continue to create this hidden message. But with their help, they will be revealing this to the masses, and we are okay with that now. Because of the records we first created only for ourselves will be released with everything we dreamed from the beginning, destiny has come for us to work with NAPALM RECORDS. Our hearts are in Texas but our souls come from Europe. Now having a family in Europe that takes care of the land where we arose, our spirits fly, where we are able to focus on the beautiful.”

Adds Sebastian Muench, A&R for NAPALM RECORDS, “Sometimes, very seldom, you get the chance to discover a band that brings back the same feelings you first had when you listened as a teenager for the first time to Metallica’s Ride the Lightning or Black Sabbath’s Paranoid – you just know you’ve found something very magical and you are hooked for life. VENOMOUS MAXIMUS is such a band, and and we are thrilled, excited, and tremendously honored to call them part of the NAPALM family.”

Venomous Maximus, “Path of Doom” Official Video

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Days of the Doomed III: New Fest Trailer Emerges; Lineup Finalized

Posted in Bootleg Theater on March 4th, 2013 by H.P. Taskmaster

The lineup is set for the two-day Days of the Doomed III fest out at The Blue Pig in Cudahy, Wisconsin, and it’s looking to be fairly monstrous again in 2013. June is a ways off, so obviously anything can change at any time, but hell, pretty much pick any five of the bands on this list, put them on a bill together, and it’s a show worth making a trip to see. Dream Death and Orodruin within the span of 24 hours of each other? Penance leading into Iron Man? Well, I guess you’re just gonna have to sign me up for that one.

A new trailer, put together by Kathy Reeves, has surfaced for the fest that gives a glimpse at the lineup and sets the tunes to, what else?, old public domain car crash footage. Awesome. Enjoy and here’s looking forward:

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Venomous Maximus, Beg upon the Light: Darkness of the New Mission

Posted in Reviews on November 15th, 2012 by H.P. Taskmaster

The sound that Houston-based four-piece Venomous Maximus capture on their Beg upon the Light full-length debut is a Frankenstein’s monster of influence. Here and there, one gets flashes of NWOBHM gallop in the guitars of Gregg Higgins and Christian Larson, that, combined with Higgins’ trad metal vocal style brings to mind a modernized version of Pagan Altar or some such cult curio. Theirs is heavy metal thunder, no doubt about it, and while some of the “occult” elements on Beg upon the Light (out, by no coincidence, on Occulture Records) feel like a put-on, there’s a genuine sense of atmosphere underlying the dudely thrust and all the talk of witches and “What name is this carved in my body?” The record is dark, as one might expect from its name, the band’s name (though it actually comes from G.I. Joe), the artwork, the song titles, etc., but also accessible musically in a way that reminds a bit of the horror rock that the Misfits once made seem so dangerous even though it was essentially pop songwriting sped up. Venomous Maximus’ prior EP, the self-released The Mission (review here), was by no means rudimentary, but one gets a clear sense of development in listening to Beg upon the Light, whether it’s the guitars, vocals, the bass work of Trevi Biles or the drumming of Bongo Brungardt, whose grounding effect seems at points to be the roots from which the album’s memorable hooks spring. Higgins proves a strong vocalist as the intro “Funeral Queen” gives way to “Path of Doom,” his approach straddling the line between semi-spoken and dramatic heavy goth metal wailing. They take elements from the genre, but more than they’re doom or singularly anything else, Venomous Maximus are a metal band, and these songs bear that out. With crisp production and flourishes of organ on “Funeral Queen” – it’s the first thing you hear on the album – and the soon to follow interlude “Father Time,” which also boasts spoken word vocals and acoustic guitar – violin on closing duo “Mother’s Milk” and “Hell’s Heroes” and a rich variety of vocal arrangements – a few guest spots persist there as well – the album never veers close to redundancy of method, and yet there’s a pervasive sense of cohesion throughout, heard as early as “Give up the Witch” follows from “Path of Doom” that underscores the professionalism at work throughout these tracks.

“Give up the Witch” is a highlight, and also likely among the oldest material here included, since Venomous Maximus made their debut with a 7” single of the same name. Still, if it has wear and tear for the band having trudged it through the last couple years since they got together, it doesn’t show. One of the strongest hooks plus one of the strongest riffs equals one of the strongest songs – it’s a pretty easy formula. Higgins lets out a couple screams as he backs himself on vocals, and the guitars behind showcase a touch of the extreme as well. More than enough to qualify as dangerous. Yet an overlying groove remains, and in that, “Give up the Witch” does even more of the work in setting a course for what follows than did the opener. Larson and Higgins bust out classic riff after classic riff, so that you’re through “Father Time” – curious to place your interlude two tracks after your intro, but it works in the overall context – and into “Dream Again (Hellenbach)” and the ensuing “Moonchild” (not a King Crimson cover, though part of me hoped for a dramatic reinterpretation) in the center of Beg upon the Light before you even realize the considerable amount of momentum the band has amassed. With 10 tracks and a runtime just under 46 minutes, the album is right in line with what one commonly thinks of as “full-length,” but it moves remarkably quick from one cut to the next, keeping a strong flow while not sacrificing a sense of the songs as individual pieces. “Dream Again (Hellenbach)” culminates with well-mixed interplay between the two guitars and formidable thud from Brungardt, and when Higgins says, “Everybody,” urging an imagined crowd to join him on the final chorus, it’s emblematic of the accessibility at the root of what Venomous Maximus are doing. There’s an audience for this kind of metal, they know it, and that’s who they’re reaching out toward. The push continues on “Moonchild,” which features guest spoken vocals, more strong screaming, and the begging question, “Why did the gods have to make us this way?” backed by mounting chants in the bridge, offering one of the most dramatic moments of the album.

Read more »

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Venomous Maximus’ Beg upon the Light Due Oct. 30

Posted in Whathaveyou on September 11th, 2012 by H.P. Taskmaster

The PR wire sends along word of a new full-length from Texas-based Venomous Maximus, whose 2011 EP, The Mission (review here), provided horrific thrills. Even on that release, they skirted the line between heavy rock and metal, so it should be fun to see how the groove and the shred play out over the course of a whole record.

Informativation follows:

VENOMOUS MAXIMUS to Release New Album “Beg Upon the Light” on October 30, 2012

Texas occult metal band VENOMOUS MAXIMUS will release its new album Beg Upon the Light on October 30 via Occulture Records. The award winning group recorded at Origin Sound in Houston with a head space described as “somewhere between a Alejandro Jodorowsky film and a New Orleans voodoo den.” Beg Upon the Light‘s striking cover art was designed by artist Dann Miller and builds on the band’s ever-evolving thematic that involves, among other things, magic, alchemy, extra-sensory perception and astrology; wide-eyed themes that lay “on the outermost fringe of accepted forms of knowledge and discourse.” This is some heavy shit, people.

VENOMOUS MAXIMUS is one of the most successful metal bands to emerge from Houston in years, beloved of headbangers and headbanging blogs from across the U.S. and points beyond (maybe even astronauts). Since its formation in 2010, the group has become the go-to metal band in the country’s third-largest city, winning back-to-back titles at the Houston Press Music Awards as the Space City’s “Best Metal Band” and has shared the stage with the like-minded Mastodon, Pentagram, Saint Vitus, The Sword, Graveyard and more. Now, with the release of Beg Upon the Light, VENOMOUS MAXIMUS is ready to show the world that its reputation precedes it for a reason.

VENOMOUS MAXIMUS’ sound combines intense, unabashed metal riffing that locks into heavy rock grooves featuring interjected dual leads and surprisingly darkened atmospheres. Add to it the distinctive voice of towering front man Gregg Higgins and his unorthodox, unsettling tone, unholy sinister laugh and unchained lyrics described as “primal psychomagic”, detailing “paths of doom”, dying witches, moon worship, haunted graveyards and travel through space and time, and the speed of the band’s bat out of hell success becomes surprisingly clear.

When asked to describe the band’s sound in eight words or less, Higgins replied “Dark, Chrome, Leather, Snuff, Smoke, Sweat, Death, Apparitions.” When asked to comment on the new album, the singer arcanely answered: “It’s something you can’t describe with words. You’re either born hearing it or not. When it finally has a mind of its own, the best you can hope for is that it will keep talking to you.”

Beg Upon the Light track listing:
1.) Funeral Queen
2.) Path Of Doom
3.) Give Up The Witch
4.) Father Time
5.) Dream Again (Hellenbach)
6.) Moonchild
7.) Battle for the Cross
8.) Venomous Maximus
9.) Mothers Milk
10.) Hell’s Heroes

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Venomous Maximus, The Mission: Accomplished

Posted in Reviews on February 7th, 2012 by H.P. Taskmaster

Texas has a long history within the heavy underground, whether it’s ZZ Top casting a heavy Southern influence for the likes of Honky to take as gospel or Solitude Aeturnus reaching into the depths of doomed emotionality and emerging with one of the genre’s most formative approaches. Houston-based Venomous Maximus are a kind of one-band melting pot. On their 2011 12” EP, The Mission (Cutthroat Records), the double-guitar four-piece bring together old and new, brash and foreboding, to result in a stew that’s remarkably their own. From the cover art, one might expect something in league with the likes of Doomriders, and I suppose there’s a bit of that thrash to a song like side A’s “The Rider,” but the gallop in the riffs of Christian Larson and Gregg Higgins feels more culled from Iron Maiden via High on Fire, and Higgins’ vocals – often doubled – are more trad doom and harder to place specifically. It’s a nuanced blend across The Mission’s four component tracks – “The Mission,” “The Rider,” “The Gift” and “Wicked Ways” – and it might take a few listens for the full breadth to reveal itself, but the way the songs touch on and reference other bands’ works without ever being fully derivative of them justifies both time and effort.

Presented on a gorgeous purple platter, The Mission also comes with a CD version called MMIX-MMXI that includes Venomous Maximus’ two-song debut 7”, Give up the Witch/The Living Dead. Even so, the whole thing accounts for a little over 26 minutes and 17 of it belongs to The Mission proper, so it’s a quick listen and the band adhere to pretty straightforward metallic structures, making the songs accessible as well as fast. Stylistically new school in a kind of post-Mastodonic punk, the title-track launches with forward push on the upper end of mid-paced, like doom sped up and energized without losing sight of its bluesy base. The rhythm section of Trevi Biles (bass) and Bongo (drums; duh) do well behind Larson and Higgins’ guitars, setting a bed of groove for interjected leads and adding to the sometimes surprisingly darkened atmosphere. The artwork might be part of it, but something in Venomous Maximus feels darker than the music would be on its own otherwise. Higgins’ vocals play to it as well. He laughs in horrific and metallic triumph in “The Rider” and tops the solos with a drama that’s stylized without undercutting the seriousness of the music. His contributions in terms of singing – which still feel rudimentary in comparison to the potential they show for growth given subsequent studio experience – are the band’s closest tie to doom or traditional metal. While “The Gift” starts off with a bombast that reminds distinctly of Through the Eyes of Heathens-era Dozer, the verses don a different character entirely once the wind begins to blow in the first lines of the song. It’s Higgins’ best performance vocally, and probably the best cut on The Mission altogether, but still just a fraction of what Venomous Maximus seem to offer in terms of their creative range.

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