One could go on at some length about the legacy of the Stoner Hands of Doom Festival, which, like much of the pre-social-media universe, feels like part of some bygone era, when in fact the last edition was held in 2013. The Maryland Doom Fest 2019 pre-fest party — which I’ll only argue with because, really, when you have nine bands playing, that’s a festival one way or the other — was co-billed as SHoD XX in honor of the 20th anniversary of that fest’s first edition in 1999. Two of the bands on the evening’s bill were actually there in Virginia and Maryland on that weekend — Solace and WarHorse — but everyone who took the stage at Cafe 611 in Frederick, MD, was a veteran of it one way or the other. Slow Horse and Tummler remain sadly unaccounted for.

SHoD traveled — that first Arizona lineup is legendary — but spent a few pivotal years in Frederick down the road at what used to be Krug’s Place, and in both mission and manifestation, there isn’t a better festival to inherit the mantle than Maryland Doom Fest, though at the same time, it’s never been so plain just how much MDDF has come onto its own and found its place among the wider festival sphere. The WarHorse reunion is a coup, but for the greater incorporation of Guido’s as a second venue and the expansion to four days, Maryland Doom Fest has expanded its reach across borders and styles in a way that has only added to and enriched its original purpose. Earthride headlining tied it all together as only they possibly could.

It was a 5:30 start and I rolled into the venue about half an hour before that. Already, familiar faces were in ample supply, and they’d only be more so over the course of the evening. I have the feeling it’s going to be that kind of weekend. Right on.

The night went like this:

After the Sun

Along with Earthride and Solace (who were two for two at that point), Ohio’s After the Sun played SHoD in 2000, the same year they formed. They’d return in 2001 as well. Given their style, it’s pretty notable that they’re actually not from Maryland itself, as their traditional take on doom definitely seemed to have been born of an awareness of the likes of The Obsessed, Pentagram, Unorthodox, and so on. After putting out an EP in 2001, they released their first full-length just last year in the form of a seven-song self-titled, and they served it well live, making a highlight out of “Delusion of Sanity” late in the set. They had a new short release, The Demise, out for the festival, and were solid, workingman’s doom rock, the guttural belt-out of vocalist Doug Perry recalling earlier metallic grit while the chug of Lance Collier‘s bass and Rob Perkins‘ guitar and the thud of Bryan Kaiser‘s drums provided suitable backing for such conviction. The fact that they’ve released more music in the last nine months than in the prior 17 years shouldn’t be lost, and one has to wonder what their future plans are with this feeling very much like a return set, on-stage altar and all.

Freedom Hawk

This band just rocks. It hasn’t been that long since the last time I saw them, and they were still one of the sets for which I was most excited. There’s no bullshit to Freedom Hawk. They’ve got the songs. They plug in and kick ass and then they’re done. Five records deep, they know they’re doing it right and they play with that conviction. “Blood Red Sky,” “Lost in Space,” “Solid Gold,” “The Darkness and the Light,” “Radar,” “Executioner” and “Indian Summer” made for a quick set that seemed even faster than it was, but the Virginia Beach four-piece very obviously made the most of their time. I still have “Indian Summer” stuck in my head, if that’s any indication. Freedom Hawk only played the final Stoner Hands of Doom in 2013, which was held in Richmond, Virginia, and saw fest-organizers Rob and Cheryl Levey hand the reins to Brendan Burns (who at the time ran the Eye of the Stoned Goat festival), but any excuse to have them in just about any lineup is cool as far as I’m concerned. They’re just doing a weekender around Maryland Doom Fest, but they absolutely brought it like they’d been on the road for weeks.

Weed is Weed

Double-duty Sherman! And on guitar, no less! With Gary Isom playing drums! With the incense-burning bong-shaped mic stand present and accounted for, Earthride frontman Dave Sherman took the stage with the three-guitar riff machine Weed is Weed to bask in crunchy nodder vibes and, as they always seem to do, have a really good time. I’ve been lucky enough to see them a couple times now — always in Maryland — and I don’t think they’ve ever had the same lineup twice. Sherman playing guitar was a nice touch, and Isom‘s move back to drums (from guitar) was of course nothing to complain about either. They lurched into “The Bong Remains the Same” and the eponymous “Weed is Weed” and sundry other greatest hits, and the room was with them all the way. I don’t know if they’d get the same reception anywhere else, but at Cafe 611, they were home, and it was a family atmosphere all the way through. The lights were green, and by the time they were done, they only seemed greener. If the East Coast had the Pacific region’s same proclivity for using the word “gnarly,” Weed is Weed might be the standard by which that was measured.

Deer Creek

At some point early in the set, Deer Creek guitarist/vocalist Paul Vismara noted that it was the band’s first show east of the Mississippi River in something like 17 or 18 years, and he thanked all the bands who have played their native Colorado in the meantime because, as he put it, “that’s a long fucking drive.” I believe it. Vismara — currently working on cover art for the next Solace record — and fellow guitarist Conan Hultgren, who also ran Game Two Records — the first Sourvein, the Halfway to Gone/Alabama Thunderpussy split, releases from Pale Divine, Negative Reaction, etc. — led the four-piece through a round of massively-riffed tonal plunge, a noisy, sludgy aggression cutting through the thickness of Hultgren‘s and Paul Vismara‘s guitars and Stephanie Hopper‘s bass, set to roll from drummer Marc Brooks. Their late-2018 EP, Quisling, wanted nothing for atmospherics, and their live presentation had that same sense of open-space, but neither was the impact neglected, the band hitting hard and locking into raw doom and sludge with an abandon more willful than reckless and a focus on mood that no one else would touch for the remainder of the evening.

Devil to Pay

I know Indianapolis’ Devil to Pay played SHoD in 2012, because I was there. It was the one in New London, Connecticut. They also played in 2004, 2007, 2009 (I was there, too), and indeed 2013, so with five appearances total, that makes them the most-SHoDded of the bands playing the first night of Maryland Doom Fest. Not a minor distinction, but of course they’ve done plenty since as well, making their debut on Ripple with 2013’s Fate is Your Muse (review here) and following it with 2016’s A Bend Through Space and Time (review here). They’re about due for a new record — though now sharing guitarist/vocalist Steve Janiak with Apostle of Solitude (playing this weekend) as well as The Gates of Slumber — and indeed they had new songs called “Heave Ho” and “37 Trillion” in the set alongside favorites like “Ten Lizardmen and One Pocketknife,” which seemed to fit well alongside their melodic, heavy and straightforwardly structured songs. Like Freedom Hawk, they’re rarely dug into frills of any kind, and it had been too long since I saw them, but they reminded of what a well-kept secret they are and gave me something to look forward to in their next record, whenever it might show up.

Wasted Theory

Big news coming next week from Wasted Theory. I’m not going to spoil it, but it’s not a new record — according to drummer Brendan Burns that’s still in the “messing around with riffs” stage, and fair enough since they released Warlords of the New Electric (review here) just last year — but it’s big news. And cool news. You know, I don’t always get down with where Wasted Theory land in terms of theme and whatnot, but as I watched guitarist/vocalist Larry Jackson, Jr. lead the band — Burns, guitarist Andrew Petkovic, bassist Corey Pettingill — through the set, I thought back to the first time I saw them early in 2013, and the difference six years have made in their sound is huge. On every level in terms of songs and performance, they’re a more professional, realized band, and yeah, they should be with three full-lengths out, but it’s still striking just how far they’ve come and how much work they’ve put in to find their place in Southern heavy rock. They’ve locked into their niche and set about developing as players and songwriters, and despite lineup changes they’ve never done anything but move forward. Look out for that news this week and join me in being vicariously happy for the band when the time comes.

Solace

Solace are chaos. So much chaos. From the about-to-fly-off-the-rails dual-leadwork of Justin Daniels and Tommy Southard to the fact that they had Danny Golin (Halfway to Gone) sitting in on drums for the set after only rehearsing with him twice, to frontman Justin Goins spilling all the beer, the New Jersey five-piece are barely able to be contained on a stage — and at Maryland Doom Fest, they weren’t; Goins definitely spent some time in the crowd. They started recording their new album a year ago, reportedly, and I’ve already put up I think more than one news piece about it being done, but indeed, the thing’s still in progress, but whatever they do, wherever they go, Solace bring that sense of punk-metal danger with them, and it’s not just about a threat of violence, though maybe that too, even in the one new song they played, but the material itself has this frenetic energy to it that pushes everything into the red — figuratively and literally in terms of the lighting in this case — and when their set was done, you could almost feel the crowd at Cafe 611 exhale the breath it had been holding while they played. Hey, Solace — finish the goddamn album already. The world needs more of this kind of destructive catharsis. Badly.

WarHorse

Yeah, so I know Massachusetts’ WarHorse only have two shows booked — this and Psycho Las Vegas in August — but I’m going to tell you straight up that this reunion is going to have to be a real thing whether they like it or not. The offers are going to keep coming. As in: “start writing songs and get your passports ready.” Already on the lips of fest-goers since the start of the day, the trio of bassist/vocalist Jerry Orne, drummer Mike Hubbard and Terry Savastano laid waste to the room. If Solace were the bull in the china shop, WarHorse were the steamroller knocking over the building afterward. It was magnificent. I never saw them during their original run, but their lone LP, As Heaven Turns to Ash (discussed here), is the stuff of legend — especially in the Northeast — and within the first five minutes of “Horizons Burn Red,” it was obvious they need to keep going. The set was that, plus “I am Dying,” “Scrape,” “Lysergic Communion” and “Black Acid Prophecy,” and when they were done, people were shouting for more. Rightly so. You know how you’ve been listening to that record for all these years and thinking like, “Wow, this must’ve been amazing to see live?” Well, it still is. Tour, new songs, album, festivals, all of it. They sounded like a band ready to get their due.

Earthride

I’m not sure how else you could hope to close out the night but with Earthride, who, again, tied together the spirit of Stoner Hands of Doom with Maryland Doom Fest perfectly. There was some problem early on with the bass rig, but it got worked out and after being introduced by drummer Eric Little‘s daughter — he looked pretty flabbergasted — they were off and rolling soon enough into the quintessential Chesapeake nod of “Something Wicked,” the title-track of their most recent album (review here), which came out in 2010. The intervening years have found vocalist Dave Sherman involved in Weed is Weed and the Spirit Caravan reunion that morphed into the current incarnation of The Obsessed, as well as other projects in the works and lineup changes in Earthride itself mostly in the bassist role — Greg Ball has handled guitar for the last several years — and true, they had the Witch Gun 7″ out in 2017, but even so, it’s time for a fourth Earthride album. I was dragging ass by the time they went on, but Earthride are kingpins of Maryland’s heavy underground and there’s nothing quite like seeing them on their home turf. As ever, I came out of doing so with no regrets whatsoever. They are a definitive band for what Maryland Doom Fest is all about.

—

It was, uh, late, when I got back to the AirBNB where I’m staying a few blocks away from the venue. I crashed on the futon in this room at about 2AM and was up before 7 thinking I needed to start making coffee and writing. Correct on both accounts. Today is another packed day — they all are — but it starts a little later, so I’ll see if I can’t crash for a bit this afternoon ahead of making my way over to Cafe 611 again. Also need to buy a toothbrush, so yeah, I think I’ll go do that. After I sort pictures.

More pics after the jump. Thanks for reading.

Read more »

The actual schedules aren’t out yet for the four days of Maryland Doom Fest 2019, but even the day-splits for the massive lineup are good to know since this will be the first one with two venues and, thus, the first one with schedule conflicts (assuming the rooms run at the same time). That will invariably lead to some difficult choices, but so it goes in the land of doom — aka Frederick, MD. One way or another, the lineup is maddeningly good from its headliners in Pentagram, Conan, Earthride and Mothership right on down through the likes of Seasick Gladiator and Greenbeard, playing earlier in the day. But it’s good to get some basic idea of who will be where, when, because given the swath of bands, it’s going to be one to schedule where your feet are at any moment in order to miss as little as humanly possible.

By the way, how fucking awesome is the idea of Maryland Doom Fest paying homage to the 20th anniversary of the long-running/now-defunct Stoner Hands of Doom festival? That lineup could hardly be more perfect if they got Eternal Elysium over for it as SHoD once did. Especially the top three there. Unstoppable.

Here’s the info. There’s a lot of it:

Early Bird Discount Ends 12/31! THE MARYLAND DOOM FEST 2019 – 5th Anniversary – June 20th-23rd with PENTAGRAM, CONAN, EARTHRIDE, MOTHERSHIP, WARHORSE, 40+ More!

The Maryland Doom Fest celebrates its 5th anniversary this upcoming June and has confirmed FIFTY of today’s heaviest bands to grace the stages of two venues in 2019. For the first time in its history, MD Doom Fest brings international artists, the mighty CONAN from the United Kingdom and INTERITUM from Tasmania, with 48 hallowed USA acts coming from coast to coast!

In a dual-ceremonial event, the MD Doom Fest Pre-Party on Thursday, June 20th is a 20th Anniversary celebration of the Stoner Hands of Doom Festival (ShoD), with a spectacular lineup. All bands have performed at fantastic SHoD fests of years past! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental. We invite everyone to become part of the family at The Maryland Doom Fest 2019 events for #4daysofdoom!!

THE MARYLAND DOOM FEST 2019
June 20th – 23rd, 2019 + Frederick, MD

PENTAGRAM + CONAN + EARTHRIDE + MOTHERSHIP

Year Of The Cobra + Lo Pan + Freedom Hawk + Warhorse + Pale Divine + Apostle Of Solitude + Kings Destroy + Solace + Foghound + Beelzefuzz + ZED + Wasted Theory + The Age Of Truth + Atala + Toke + Backwoods Payback + Weed Is Weed + Forming The Void + Sixes + After The Sun + Shadow Witch + Faith In Jane + Clouds Taste Satanic + Pale Grey Lore + Knoxxville + Devil To Pay + Eternal Black + Thonian Horde + Kingsnake + Greenbeard + Interitum + Benthic Realm + Horehound + Funeral Horse + Thousand Vision Mist + Deer Creek + Crooked Hills + Stone Dust Riders + Thunderchief + Wolf Blood + The Druids + Atomic 26 + Dead Sisters + Seasick Gladiator + Electric Age + Temptations Wings

+++ Early Bird Discount Weekend Passes available until December 31st +++

https://www.marylanddoomfest.com/tickets/

MD Doom Fest Pre-Party
SHoD 20th Anniversary Celebration
Thursday, June 20th

+ Cafe 611 +
Earthride
Warhorse
Solace
Wasted Theory
Devil to Pay
Deer Creek
Weed is Weed
Freedom Hawk
After the Sun

DAY ONE
Friday, June 21st

+CAFE 611+
Mothership
Pale Divine
Lo Pan
Year of the Cobra
The Age of Truth
Backwoods Payback
Kingsnake
Interitum
The Druids

+GUIDO’S SPEAKEASY+
Clouds Taste Satanic
Benthic Realm
Dead Sisters
Funeral Horse

DAY TWO
Saturday, June 22nd

+CAFE 611+
Pentagram
Apostle of Solitude
Foghound
Beelzefuzz
Atala
Sixes
Forming the Void
Knoxxville
Atomic 26
Eternal Black
Greenbeard

+GUIDO’S SPEAKEASY+
Electric Age
Pale Grey Lore
Thunderchief
Seasick Gladiator
Crooked Hills

DAY THREE
Sunday, June 23rd

+CAFE 611+
Conan
ZED
Kings Destroy
Toke
Thousand Vision Mist
Horehound
Thonian Horde
Shadow Witch
Faith in Jane

+GUIDO’S SPEAKEASY+
Temptations Wings
Wolf Blood
Stone Dust Riders

Early Bird Discount Weekend Passes are available until December 31st, 2018!
(Early Bird Discount is only for Weekend Passes- $74.)

On January 1, 2019, all regular price ticket options will be available.
Weekend Passes $89. Single Night: Fri. $35 / Sat. $40 / Sun. $35
Weekend Pass holders can attend Pre-Fest/SHoD for $15 at the door, all others: $30.

https://www.facebook.com/events/371836710006412/
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

Apostle of Solitude, “Keeping the Lighthouse” official video

Holy fucking shit. It’s a good thing Maryland Doom Fest 2019 isn’t until next June, because it’s going to take me that long to process how badass this lineup is. It’s like JB decided this was the year everybody plays. A fourth day has been added. A second venue has been added — it’s Cafe 611 and Guido’s Speakeasy now — and wow. Just, fucking, wow. The headliners: Pentagram, Conan, Earthride and Mothership. And the list of bands that follows is absolutely staggering. Of course some things are bound to change between now and then, and there are announcements yet to be made about the pre-show, but really. They’ve absolutely, positively gone to a completely new level of festival here.

It’s gonna be crowded.

And it’s gonna be a blast. If you need me, I’ll be booking my room at the Motel 6 in Frederick.

The announcement was simple and came just in the form of the poster — art is by Kyle Stratton, whose band Atala also make a return to the bill — and from near and far, far and wide, acts are coming in to make what looks like it’ll be an absolutely unforgettable weekend (-plus) of heavy.

Here’s the lineup:

MARYLAND DOOM FEST 2019 – JUNE 20-23

DOOMSTERS, GRUNGERS, SLUDGERS, STONERS, & PAGANS —

We are extremely pleased to present to you……The Maryland Doom Fest 2019 lineup!!!

50 of the heaviest, most talented bands to grace the stage.

We bring you INTERITUM from Tasmania, CONAN from England, PENTAGRAM from our soil, and an additional 47 top performing USA acts traveling from all across the continent!!

As if that’s not enough, the MDDF Pre-Fest Party will be celebrating the 20th Anniversary of the SHoD (Stoner Hands of Doom) Festival with a spectacular lineup of bands who have performed at the great SHoD fests in years past!! The Pre-Fest / SHoD 20th Anniversary Celebration will be monumental in countless ways!!!!

Please support the Doom scene and share this epic event with your comrades and we will see you at #4daysofdoom !!!!

EARLY BIRD Discounted ticket sales start Dec. 17th, 2018 – for two weeks only.

This astronomical lineup and the 2019 festivities are dedicated to my very good friend and prior MDDF partner from 2015 – 2018, Mark Cruikshank!!

DooM !!! ~JB

Lineup:
Earthride
Warhorse
Solace
Wasted Theory
Devil to Pay
Deer Creek
Weed is Weed
Freedom Hawk
After the Sun
Mothership
Pale Divine
Lo Pan
Year of the Cobra
The Age of Truth
Backwoods Payback
Kingsnake
Interitum
The Druids
Clouds Taste Satanic
Benthic Realm
Dead Sisters
Funeral Horse
Pentagram
Apostle of Solitude
Foghound
Beelzefuzz
Atala
Sixes
Forming the Void
Knoxxville
Atomic 26
Eternal Black
Greenbeard
Electric Age
Pale Grey Lore
Thunderchief
Seasick Gladiator
Crooked Hills
Conan
ZED
Kings Destroy
Toke
Thousand Vision Mist
Horehound
Thonian Horde
Shadow Witch
Faith in Jane
Temptations Wings
Wolf Blood
Stone Dust Riders

https://www.facebook.com/events/371836710006412/
https://www.facebook.com/MdDoomFest/
https://www.themarylanddoomfest.com/

Earthride, Live at Maryland Doom Fest 2018

This week marks the arrival of the first new Earthride release in more than half a decade. The new single, Witch Gun, arrives via Salt of the Earth Records as the follow-up to their third full-length, 2010’s Something Wicked (review here), which brought an expanded melodic palette from what the Frederick, Maryland, doom scene kingpins brought to their earlier work on 2005’s Vampire Circus, 2002’s Taming of the Demons and their initial 2000 self-titled EP, songs like “Destruction Song,” “Watch the Children Play” and the opening title-track itself showing considerable growth on the part of the band, who remain in no small part defined by the unmistakable character and presence of their frontman, Dave Sherman.

Earthride returns in 2017 following a stint on Sherman‘s part first in the reformed trio Spirit Caravan and then in The Obsessed that ended following the recording of that band’s 2017 comeback LP, Sacred (review here), but in addition to fronting Weed is Weed, working on the new project Siren of Sorrows, and a history in and impact on Chesapeake doom that rivals the likes of Pentagram‘s own Bobby Liebling, Sherman is no less defined by his work in Earthride than Earthride is defined by him. The thick grooves he rides so fluidly on vocals on cuts like “Earthride” from the self-titled or “Fighting the Devils Inside of You.” The track “Witch Gun” is no less a part of this pantheon of Earthride landmarks, and perhaps all the more so for the future productivity it might be kicking off.

With the prospect of making a new album for release in 2018 ahead of them, Earthride will hit the road in October alongside unhinged sludge purveyors Buzzov*en. It’s more than a solid match. Both acts are legends in their field and have grit to spare and a reputation for chaos. As Earthride take to stages for the first time with the lineup of Sherman, founding drummer Eric Little (who also was in the lineup for Church of Misery‘s latest LP), guitarist Greg Ball and bassist Edmund Allen Brown, they’ll no doubt be exposing a new generation of listeners to their hugely lumbering grooves and riffs that for the last 17-plus years have more than lived up to their stated ethic of “Pure Maryland Doom for the Brotherhood of Music.” All the better to give their audience a glimpse of what next year might hold in a new release, further touring, and a more fully reborn Earthride.

Sherman was kind enough to discuss all this and more. Please enjoy the following Six Dumb Questions:

Six Dumb Questions with Dave Sherman of Earthride

—

Tell me about stepping back into Earthride after being with Spirit Caravan and The Obsessed. How much does Earthride feel like coming home for you? You’ve been doing Weed is Weed all along, but how different is it for you fronting Earthride?

It feels very refreshing especially after I was treated unfairly in The Obsessed. I’ve known Eric Little since we were in high school together. We were in one of our first bands as well — Judgement Hammer — 1986-ish, which was Eric Little drums, Dave Sherman bass, Kelly Carmichael guitar and Billy Rines voice. We played two Pentagram songs the song “Black Sabbath” and three or four originals that later mutated into Internal Void riffs. I love Weed is Weed, which we came out with an EP available digitally [through our] Facebook. Check that out, but fronting the mighty Earthride, getting back at the helm feels real good again.

How did the new lineup for Earthride come together? Who’s in the band now and how have the shows and rehearsals been? Of course you’re working with Kyle Van Steinburg and Eric Little again, but how much has Earthride changed over time for you? How do you feel about how the band has grown?

I was drinking local pub Guido’s in Frederick, Maryland, and I ran into an old friend Edmund Allen Brown. We started talking music and he’s one of the best bass players I’ve ever met and a real go-getter, so I thought what a perfect bass player for Earthride. Greg Ball was in a band Hovel and was willing to try out as the second guitar player and Kyle is gonna be on the 45 new single Witch Gun, out on Salt of the Earth USA and Totem Cat out of France and distribution for Europe, but the new band sounds killer and it feels good to hear the songs again.

You played Maryland Doom Fest in June. How was that experience? Maryland Doom has grown so much since Earthride got going, and of course your history goes back much further than that. How do you feel about where the scene is now and where do you think it’s heading? Does “pure Maryland doom” still mean the same thing for you?

Maryland Doom Fest was so good. Everybody was so into it and so happy to see Earthride again, smiling, cheering, headbanging. It was a pleasant surprise I think because the band’s old and has had a bit of longevity in the scene and we just never got out there as much as we should have. Now that we have the new band and lineup we are fired up about getting out a new album and tour. We are going out with Buzzov*en in October for 10 shows, East Coast, Midwest. Just from the MD Doom Fest standpoint, I think the scene is growing around the world and has grown beyond belief from what it was back in the day, and I want to Thank JB Matson and Mark Cruikshank for having this amazing festival. Cheers.

It’s been seven years since Something Wicked came out and 15 since Taming of the Demons. What can fans expect from the next Earthride album? Where are you in the process of putting it together? Do you know yet who’s doing the recording/producing or has that started? Will the songs from the new single also be on the record?

I have a ton of ideas and so does the rest of the band. We recorded the Witch Gun single at Omega Studio in Rockville, Maryland, so that is probably where we will record the new record at. Out next year. Hopefully working on the material now.

You’re doing the Descendants of Crom fest in Pittsburgh in September, but will Earthride tour for the new album? Any chance you could be headed to the West Coast or Europe in 2018, or is it a wait-and-see kind of deal for when the album comes out?

Yeah, we’re excited about everything we’re about to do and about what we’re trying to conquer which is people’s ears and trying to destroy their subconscious with heavy music. We’re doing the tour with Buzzov*en like I said on the East Coast and Midwest, which is gonna be a blast since they’re old friends of mine, but in 2018 we plan to do some more touring, try to get this new record out there. I would like to get back to Europe with the band and possibly do Roadburn or tour some festivals.

Any other plans or closing words you want to mention?

I appreciate the interview and I would like everybody to be looking for us: Earthride, Weed is Weed and a very new project called Siren of Sorrows which has Starr Piazza on voice from the band Serpent Witch. Thanks and peace.

Earthride, Live at Maryland Doom Fest 2017

Earthride on Thee Facebooks

Salt of the Earth Records website

Salt of the Earth Records on Thee Facebooks

So I guess we’re pretty much ready to roll on Maryland Doom Fest 2017, right? We’ve had the lineup announced, we’ve got the schedule now. Might be another couple weeks getting t-shirts together — and hoodies; should’ve gotten a hoodie this year, which admittedly is something that occurs to one way less at the end of June than in mid-November — but then I’d say we’re about good to go. No need to wait until next summer on it. Let’s do this thing.

Maybe that’s just me being excited at the prospect of that Friday night lineup, which seems particularly strong front to back — not to take away from any of the other days, but you know I dig me some Lo-Pan — but either way, if Maryland Doom Fest‘s now-three-year tenure has been marked by anything it’s a lack of bullshit. A fervent get-down-to-business-and-kick-as-doing-it mentality. It’s perhaps the most “Maryland doom” aspect to the whole event. Maryland Doom Fest 2017 is clearly no different. Here we are more than half a year from the event kicking off and I know what time I need to be there on Thursday to watch Spillage start the pre-party. This is information I’m glad to have.

If your calendar isn’t marked yet, you might want to get on that:

The Maryland Doom Fest 2017

June 23, 2017 – June 25, 2017

Cafe 611
611 N Market St, Frederick, Maryland 21701

ROSTER SLOT TIMES

**PRE FEST PARTY THURS JUNE 22
• Valkyrie 1150 – 1250
• Beastmaker 1055 – 1140
• Pilgrim 1000 – 1045
• Borracho 915 – 950
• Weed Is Weed 830 – 905
• Sweet Heat 745 – 820
• Spillage 700 -735

FRIDAY JUNE 23
• Captain Beyond 1240 – 150
• Lo-Pan 1140 – 1230
• Apostle of Solitude 1050 – 1130
• Earthride 1000 – 1040
• Beelzefuzz 910 – 950
• Wretch 820 – 900
• Demon Eye 735 –810
• Brimstone Coven 650 – 725
• Black Manta 605 – 640
• Sierra 515 – 555

SATURDAY JUNE 24
• The Skull 1245 – 150
• Bang! 1140 – 1235
• Wo Fat 1050 – 1130
• The Well 1000 – 1040
• The Watchers 910 – 950
• Hollow Leg 825 – 900
• Iron Man 740 – 815
• Dark Music Theory 655 – 730
• War Injun 610 – 645
• Thonian Horde 525 – 600
• Witches of God 440 – 515
• Black Tar Prophet 355 – 430
• Conclave 305 – 345

SUNDAY JUNE 25
• Headliner 1140 – 1245
• The Atomic Bitchwax 1045 -1130
• Serpents of Secrecy 955 – 1035
• Lightning Born 905 – 945
• Lifetime Shitlist 815 – 855
• Akris 730 – 805
• Burn Thee Insects 645 – 720
• Faith In Jane 600 – 635
• Cavern 515 – 550
• Old Blood 430 – 505
• Horehound 345 – 420

TICKET SALES START JAN 1st !!

https://www.facebook.com/The-maryland-DOOM-Fest-815331421863100/
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Earthride, Live at Jason McCash Benefit, 2014

The hotel breakfast — not so much. I woke up pretty early after Day One of Vultures of Volume II, drawn by the allure of free scrambled eggs or at very least some carbs to start the day, but some lumpy-looking sausage and a weird egg/potato/cheese combo deal scared me off. A cup of coffee and a rigid search of the interwebs later, I found a cafe up the road a little ways.

A quick lunch would turn out to be my only meal of the day, because once it got going, Vultures of Volume II Day Two simply did not stop. First band, on at 1PM. Last band, off a little before 2AM. It was 13 acts and very nearly 13 hours of front-to-back performances, and by the time the day was a quarter over, the Delmar Inn in Hagerstown had developed full-on as a festival ecosystem. Just about everyone knew everyone else, and the vibe was thick throughout. Some were dragging after getting down a little too hard the night before, or at least hard enough, but the only thing to do was keep going. This festival, in the fine tradition of gatherings like Emissions from the Monolith, Stoner Hands of Doom, Days of the Doomed and the Eye of the Stoned Goat, would brook no absence.

Yeah, I was beat, but fuck it. It was rock and roll and I drove a long way to be there. The lineup for Day Two was Elder, Dorthia Cottrell of Windhand playing a solo set, Wretch, Weed is Weed, Carousel, Righteous Bloom, Foghound, Witch Hazel, Thousand Vision Mist, Wizard Eye, Wasted Theory, Buzzard Canyon and Heavy Temple, and the latter had the illustrious task of getting things rolling:

Heavy Temple

It had been more than two years since the last time I saw Philadelphia’s Heavy Temple, which was also the first time, and in between, bassist/vocalist High Priestess Nighthawk has completely revamped the trio’s lineup — she’s now joined by drummer Siren Tempestas and guitarist Archbishop Barghest — and has moved forward following the release through Ván Records of the band’s self-titled debut EP (review here), which by my estimation was one of last year’s finest short releases. They played four songs, all of them new, and I was glad for the glimpse at what’s to come, finding creative progression evident in how smoothly Heavy Temple seemed to weave in and out of parts, the fluidness with which they utilized classic stoner riffing without necessarily being beholden to it, and the dynamic between Nighthawk and her newcomer cohorts, Barghest an almost shoegazing presence on stage while Tempestas seemed to throw her whole body at the kit while she played. Some presentation nuances to be ironed out between the three of them — that is, I think at this point the band could do away with the stage names, and Nighthawk is the only one in a ritual robe, though that was the case last time as well — but past those crucial decisions to be made between robes and denim shorts, they were sonically more than dead on, rounding out their set with well-timed starts and stops and off-mic screams that were effective in adding drama to a set that showed Heavy Temple as a band well on their way. Looking forward to their next EP, which is reportedly already recorded.

Buzzard Canyon

There was little one might reasonably ask of a hard rock act that Buzzard Canyon didn’t offer, whether it was the soul behind the dual vocals of Amber Leigh and guitarist Aaron Lewis, or the straight-ahead but still weighted grooves of bassist Randall Dumas and drummer Matt Raftery. Actually, there was one thing one probably could’ve asked of them: the second guitar they left behind in Connecticut when they departed for Maryland early in the morning on Saturday in time to make their slot at Vultures of Volume II. Pretty much everything else they had covered. There was just about no way I was going to go into their set thinking of them as something other than Lewis‘ band — I’ve just known that dude for simply too long, been a part of projects with him, done shows with his other band, When the Deadbolt Breaks, etc. — but it was not only great to see him play after what’s been too long, but likewise great to see him explore the more upbeat, rocking side. Buzzard Canyon‘s debut, which they decided on stage was eight tracks, maybe nine, probably 11 by the time it’s done, is apparently in the works, and though they were down a guitar, they did well as a four-piece, playing both songs from the two-songer CDR they brought with them to give away, “Wyoming” and “Not My Cross,” the former of which seemed a long-enough time to wait to break out the cowbell and the latter of which closed their set in reinforcement of the active feel of the material, not at all afraid to have a good time or encourage the crowd to do the same.

Wasted Theory

You know, I do dig Wasted Theory. The Delaware four-piece have come a long, long way since the first time I saw them, and they’ve done a couple tours and weekenders since they put out their 2014 full-length, Death and Taxes (review here), and that has only furthered their cause in both the tightness of their execution and their confidence on stage. Sometimes though, I feel like I’m just not quite dudely enough for it. Here’s these guys, and they’re killing it, singing songs about running ‘shine through the southland and this and that, and I’m standing there watching them feeling like I should probably call up my primary care physician and see if I can get some testosterone supplements or something so as to properly appreciate what’s going down on stage. As has been the case the last couple times I’ve seen them — and I’ll see them again before the month is out, if all goes according to plan — “Hellfire Ritual” and “Black Widow Liquor Run” were highlights, guitarist Larry Jackson, Jr. having his “whiskey-soaked” in full effect while on either side, bassist Jonathan Charles and guitarist Dave McMahon followed a hairpin course of riffs propelled by Brendan Burns‘ drums. They would not be the day’s last kick in the ass, but they were a vehement one all the same, even for one so apparently hormonally imbalanced as I. In all seriousness, Wasted Theory are scary tight for being still-recently off their first record, and by all appearances they’re only continuing to nail down what they do. Not trying to tell anyone their business, but Ripple Music, keep an eye out.

Wizard Eye

We’re just about a month out from the release date of Wizard Eye‘s much-awaited self-titled second album on Black Monk Records, and the Philadelphia three-piece — Erik on guitar/vocals/theremin, Dave on bass/vocals, Mike on drums — seemed very much to be in good spirits ahead of the release. It was, as it was the last time I saw them, an absolute pleasure to watch them play. What they do isn’t overly complex or painstakingly crafted for nuance, but it’s impeccably well done and deceptively individualized. Most of what they played was culled from the impending Wizard Eye, which finds their semi-crusted rolling grooves firmly intact on songs like “Flying/Falling,” “Thunderbird” and “Eye of the Deep,” but there was one inclusion on the setlist I didn’t recognize — “Revenant” — which isn’t from the tracklisting I’ve seen for the new record, or from their 2010 debut, Orbital Rites, so I’m not sure if maybe it’s new or was left off the new album or what. Doesn’t seem unreasonable to think that after five years between outings they might have more material than just what’s showing up on the new LP. Either way, I’ll take their fuzz-overdosed nod any time I can. They were locked in tight at Vultures of Volume II, and remain a much better band than people seem to know, which is something that the new album will hopefully work to correct. Erik went to the theremin just once, earlier in the set — was it “Gravebreath” or “Flying/Falling?” — but even so, they were a blast to see again and offered stone-baked groove in plenty for their afternoon set.

Thousand Vision Mist

Given that they take their moniker from the name of Life Beyond‘s 2002 debut/swansong full-length, and given that they share guitarist/vocalist Danny Kenyon with that defunct MD trio, I guess I just assumed that when they got started, Thousand Vision Mist would essentially be an incarnation of the same kind of straight-ahead, post-The Obsessed/Revelation Maryland-style doom. That was not the case. Together with be-chapeaued bassist/vocalist Tony Comulada and drummer Chris Sebastian, Kenyon led the charge through a set of fiery but progressive metal. Doom was definitely a part of it, and listening to the studio versions on their 2015 debut demo of cuts like “Garden of Ghosts,” “Drifter” and “Tears of the Moon” — which was particularly proggy coming from the Delmar stage — that holds up, but by no means was it the sum-total of what they had to offer. Instead, they pulled off quick turns and shifts while also having a heavy sensibility, and the technical intricacies came across fluidly as the crowd clearly loved on a hometown act. As a power trio, the dynamic looked to be more the guitar and bass, then the drums, rather than the standard guitar/rhythm section divide, but I’d by no means consider the matter settled considering they just have the five-song demo out, and for what it’s worth, they played a new song “Skybound and Beyond,” which they said had been written on Thursday, just two days prior, and though it seemed like it was about to come flying apart at any moment, it never actually did, and Thousand Vision Mist‘s impressive control over their sound can only continue to suit them as they move forward.

Witch Hazel

It might have been enough for York, Pennsylvania, four-piece Witch Hazel to earn sympathy points for the recent loss of their hometown venue, The Depot, and it might have been enough that they broke out the weekend’s first tambourine to go along with their post-Pentagram ’70s-ish shuffle, but they also featured some especially passionate cowbell/headbang action in the last song (when else?) from frontman Nate Tyson, and dedicated a song to Iron Man, so if there were bases to cover, they were duly covered. Some of it was a little over-the-top — as intended — with the eyeliner, elaborate pants, and so on, but hard to fault Witch Hazel for keeping an eye toward presentation. Their new album, Nocturnity, is available now, and is a 28-minute concept piece that seems to be about a family with a bloodline that cures vampires, but though I don’t think “Moon People Unite” comes from that record, the crowd started to make its way back in to get a glimpse at what Witch Hazel — Tyson, guitarist Andy Craven, high-cymbal drummer Nick Zinn and bassist Seibert Lowe, who was playing his first show with the band — had to offer with their shuffling style and weirdo neo-classic edge. They closed with “Secret Door” from their 2013 debut, Forsaken Remedies, which only furthered their boogie cred.

Foghound

No sooner did Baltimore’s Foghound walk on the stage than they owned it. Seriously. Before they even started playing, the entire room was theirs. Last time I saw the band was Eye of the Stoned Goat IV in Worcester, MA (review here), and they killed then, but this was a different league entirely. No doubt part of that stems from relatively-new bassist Rev. Jim Forrester, who, like Foghound drummer Chuck Dukehart III, is a Sixty Watt Shaman expat. Forrester was kinetic on stage — and off it, as he hopped down on the regular throughout — and seemed to pull the rest of the band along with him, Dukehart sharing vocal duties with guitarists Bob Sipes and Dee Settar all the while, the three of them switching back and forth here, coming together there, racing through material from their upcoming second album. They were a shot of life just when I was feeling like I needed it most, and while the locals, who obviously have more occasion to see them than I do, weren’t necessarily surprised by what they delivered, I was utterly blown away. Their new stuff was faster, meaner and tighter than 2013’s Quick, Dirty and High (review here), and I liked that CD plenty. The tempo of the songs, the stomp and the energy they brought made them the band of the day up to that point, and cuts like “Serpentine” and “Rockin’ and Rollin'” were absolutely propulsive alongside the other “Dragon’s Tooth” and “Resurrect the Throwaways,” which remains almost insidiously catchy. That song was a bit of a slowdown comparatively, but the momentum held up anyway to the end of the set, and if Foghound brought even half of that level of vitality to the studio, their second record’s going to be a stunner.

Righteous Bloom

Whatever unfortunate drama brought about the change in the first place, I have to think particularly after seeing them play at Vultures of Volume II that the changeover from Beelzefuzz to Righteous Bloom will be a positive in the longterm for the band. Not even because Bert Hall — speaking of chapeaus; his deserves its own Facebook page just so I can like it, unlike it, then like it again — is such a monster player, though rest assured he is, as he’s proved over the years in Revelation and Against Nature, but just for how much easier it is to take them seriously with the new name. I never saw Beelzefuzz as a four-piece after they added Pale Divine frontman Greg Diener as a lead guitarist, but he serves in that capacity well in Righteous Bloom, Hall is indeed a master of groove, and Darin McCloskey‘s fluid drumming is every bit as effective in the new band as it was in the old, adding classic style to underscore the eerie progressivism in frontman Dana Ortt‘s effects-heavy guitar work and live-multitracked vocals. Some of what they played came from Beelzefuzz‘s 2013 self-titled debut (review here) — “All the Feeling Returns,” “Lotus,” “Hypnotize” and “Reborn” garnering knowing appreciation from the crowd, myself included — but newer songs like “Within Trance” (posted here) and “Nazz Riff” went over with no trouble, as well as older demo cuts “Peace Mind,” which opened, “The Soulless” and “Hard Luck Melody,” Ortt‘s wide-eyed delivery throughout playing off a quiet “hey man” hippie routine between the songs that was Akerfeldtine in its entertainment value. Fact of the matter is that he could easily become the kind of dude who, years from now, people will talk about the first time they saw him play and try to compare notes for who got in lowest on the ground floor. I can’t make any such claim, but watching Righteous Bloom for the first time post-Beelzefuzz sure felt like a landmark anyway. Hall fit in perfectly, Diener‘s soloing was tasteful, McCloskey‘s timing and swing are as close to a sure thing as life has to offer and Ortt was the madman front and center. There was nothing — and I mean nothing — not to dig. Their album can’t get here fast enough.

Carousel

If you’re having a good time, Carousel want to be the reason why. The Pittsburgh natives’ sophomore LP, 2113, was still pretty fresh in my head after its recent stream and review, so I was glad to have the chance to catch the four-piece live and experience the songs first-hand. They played the first three of them in a row — “Trouble,” “Photograph” and the unrepentantly hooky “Buried Alive in Your Arms” — and guitarist/vocalist Dave Wheeler took the time to note between the second and third that the band is very well known for their expert sequencing. That was something I mentioned in my review, but I wouldn’t flatter myself to think they had any idea who I was other than drummer Jake Leger, who also plays in reactivated ’70s rockers Bang, who toured with Kings Destroy last year for a run on which I tagged along. I’m sure it was a happy coincidence. Still, Wheeler was right, 2113 was a well put together album, and I’m not really sure what might be wrong with that. Either way, their boozy classic-heavy good times carried over remarkably well live — turns out they know how to structure a set as well, dipping back to the title-track from their 2013 debut, Jeweler’s Daughter (review here), after “Buried Alive in Your Arms” — and their cardiovascular-style delivery felt like an all-around win. Wheeler took the time to introduce the band, starting with bassist Jim Wheeler before getting to Leger and guitarist/backing vocalist Matt Goldsborough, who he noted handles guitar as well in Pentagram from time to time and in Trouble offshoot The Skull, and ending with himself: “And I’m Dave,” the band playing behind him all the while in classic showman fashion. They slowed down the set and brought the energy level back up effectively with the 2113 title-track, and their catchy songcraft, ’70s vibes and, yes, sequencing, found much welcome.

Weed is Weed

You could give me a pad and paper and two full weeks to brainstorm ideas, but I’m not sure I could come up with anything more stoner rock than Dave Sherman fronting Weed is Weed while singing through a mic on a custom stand made to look like a bong. It even had incense burning near the bottom so there was smoke coming out. That, my friends, is charm, and Weed is Weed have plenty of it to go around between Sherm clearly having a blast with the entire thing and the riffery provided by three — three! — guitarists: Gary Isom (ex-Spirit Caravan), Russ Strahan (ex-Pentagram) and Rob Portillo. With Darren Waters holding down yet more low end on bass throughout such family-friendly hits as “Cleptus Butanus” — a song about stealing lighters that featured a line about having enough in your pocket to build a butane rocket — and “The Bong Remains the Same,” Weed is Weed also introduced their new drummer, Tyler Lee, age 18. Gotta start ’em young. Worth noting that “The Bong Remains the Same” will also be the title of the six-piece’s next EP, and it must have been a hard call between that and “Reign in Bud,” which closed out, Lee teasing a Slayer drum thud reference at the beginning before they took off on another stoner-for-stoner onslaught, their groove as undeniable as their central theme was dank. Does anyone say dank anymore? I don’t even know. In any case, Weed is Weed‘s particular brand of fun was infectious, and even as a non-smoker, their puns were second to none. Not a stem in the nugget.

Wretch

In much the same way that Righteous Bloom is a continuation of Beelzefuzz, so too does Wretch feel born directly from the demise of The Gates of Slumber. The Indianapolis three-piece had traveled the farthest to get to Hagerstown — headliners Elder would be no slouch in that department either — and they were heavy enough that the head sitting on top of guitarist/vocalist Karl Simon‘s full-stack of cabinets was at several points very close to vibrating off and falling to the floor. It didn’t, thankfully, and Simon, drummer J. Clyde Paradis — who, like Simon, is a The Gates of Slumber alum — and bassist Bryce Clark held down some of the weekend’s most thoroughly doomed vibes, morose plod and downer tones emanating at max volume. “R.I.P.” was a highlight, which feels strange to even say, and a couple of songs from the final The Gates of Slumber album, 2011’s The Wretch (review here), were aired, among them “Bastards Born” and “The Wretch” itself. They finished out with “The Jury,” which originally appeared on 2004’s …The Awakening debut from the defunct outfit, their set having been cut short on account of the usual running late, but ending on a faster note somehow suited them. From what I’ve seen, Wretch have a few studio tracks floating around, but I’ve yet to hear of anything recorded being due for public consumption. Seems like a no brainer that they’re one to watch given their pedigree and Simon‘s established post-Vitus doom supremacy, but it’ll be even more interesting to see how they manage to stand themselves out from The Gates of Slumber and how much of what that band was will ultimately carry forward into the new one.

Dorthia Cottrell

Only one problem with putting Windhand vocalist Dorthia Cottrell on so late in the day for a solo acoustic set — everyone’s sloshed. Much to the room’s credit, people actually did really well policing themselves to keep conversation to a minimum as Cottrell ran through a set of dark neofolk accompanied only by the Delmar‘s fog machine and laser lights, the response to which was mixed but which I thought worked well. Anyone can play a sad twanger like “Maybe it’s True” from Cottrell‘s 2015 self-titled solo debut in the dark, but to do it with a lightshow going? That’s impressive. Those committed to being loud either moved to the back bar or went outside, but everyone who stayed was treated to Cottrell‘s quiet, alternately traditional and minimalist atmospherics, her breathy delivery calling to mind any number of blues singers who earned the first name “Mama” while keeping consistent in its downtrodden feel to work with her main outfit. Influences were worn on her sleeve in covering Townes Van Zandt‘s “Rake,” a song both Wino and Scott Kelly have taken on previously, and the traditional “Wayfaring Stranger” — the mere mention of which immediately sends my mind reeling back to David Eugene Edwards and 16 Horsepower‘s version on 2000’s Secret South full-length, though everyone from Burl Ives to Neil Young has given it a shot — was slowed-down and given due melancholy to comport with the rest of the set. A marked change in sound from the rest of the day, but more consistent in overall mood with Wretch than one might initially think, Cottrell offered a moment of clarity as Vultures of Volume II made ready to round out its journey on a sea of riffs.

Elder

“Dead Roots Stirring” made for an especially righteous opener. I hadn’t seen Massachusetts trio Elder since the release show for their 2015 third album, Lore (review here), which continues to rightly garner praise from all corners of the globe and has positioned the three-piece as headliners for the first time both on tour and at fests like this one. They are quite possibly the East Coast’s most pivotal up and coming act at this point — the great heavy hope of an entire seaboard’s next-gen scene — and with Lore, they’ve moved into a progressive style that’s entirely their own without giving up the sonic impact of their earlier work. And where the turns of “Compendium” were somewhat choppy back in March, two full tours (US and EU) later, they’re no less fluid than was “Dead Roots Stirring” at the start or “Release” from their 2012 Spires Burn/Release EP (streamed here), guitarist/vocalist Nick DiSalvo having apparently long since mastered the complex notations of his own design while bassist Jack Donovan and drummer Matt Couto held together the tight turns of that song and “Spirit at Aphelion,” also from the new album. Between songs, DiSalvo apologized to anyone who might’ve run into the band the night before, and that got a laugh from the crowd who had very clearly stuck around to see them specifically. They’ve grown not just tighter on the more recent songs, but in terms of their stage presence as well, and particularly with Donovan and Couto, they were so locked in that they didn’t even really have to look at each other to know where they were and where they were going. That kind of chemistry only really develops with touring acts, which of course Elder have become, and and they continue to move forward with Lore and beyond, it will continue to serve them well. They are distinct sonic personalities, between Couto‘s swing, Donovan‘s smooth, warm-toned basslines and DiSalvo‘s penchant for exploring progressive psychedelic passages, but the way they’ve come to work together is truly something special, and they showed that in top form at Vultures of Volume II, building and releasing tension throughout “Spirit at Aphelion” and closing out their set and the fest as a whole with “Gemini” from Dead Roots Stirring (review here), which seemed tailor made to be suited to the task. They’re still growing. They’re not done. But still, don’t be surprised a couple years from now when new bands are coming out and noodling like you hear on Lore, because people have picked up in a serious way to what Elder are doing. They’ll get no argument from me.

—

In the back of my mind I’d had the thought of starting to drive home directly after the fest ended, getting in my car and pushing through all night on the highways of Maryland, Pennsylvania, New Jersey, maybe beyond. Didn’t happen. Instead, I not only went back to the hotel to crash out, but overslept and wound up making my return home even later than I’d intended. After 13 bands, the extra two hours of sleep might well have enabled my survival.

Before I wrap this up, I have to note the hard work of Kathy Reeves in putting Vultures of Volume together. No way a two-dayer like this is easy to make happen, but she pulled it off and made it look that way anyhow. Job well done, and thanks for having me down for the reminder of just how unique and welcoming the Maryland heavy scene is.

Thanks also to Darin McCloskey, Matt Dayton, Mike Smith, Fanny Shamer, Ron McGinnis, Jaki Cunha, Dustin Davis, Chris Wolfe, Don Welch, Lisa Hass, Melanie Streko, Jon Pacella, Jim Forrester, Håkan Nyman, Kesha Atwood Nyman, Elyse Mitchell, Ron, Andrew Thornhill, Nick DiSalvo, Jack Donovan, Matt Couto (though, man, those are some fierce looks in those shots), and everyone else whose names I’ll hope to add over the next however long.

Most of all, thanks again to you for reading. More pics after the jump.

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It turns out Pull had to them-out (get it?) of the first-ever Maryland Doom Fest, but they’ve been replaced by reunited riffers Nagato, who got back together last year after a cessation of activity in 2012. Thick on vibe, they’ll add progressive atmospherics and gorgeous tone to the lineup of the fest, which takes place from June 26-28 at Cafe 611 in Frederick, Maryland. I’ve only been fortunate enough to see the four-piece once, at Stoner Hands of Doom XI in 2011 (review here), for which they also played on a Sunday, but that set left enough an impression that four years later I keep hoping I’ll hear some news about them putting out a record sooner or later.

They might get there. I know the members of Nagato are involved in a few other projects as well, so maybe their playing Maryland Doom Fest is enough for the moment. They’ve joined a killer lineup, for which the final schedule has just been announced.

And just so we have it all in one place, alphabetically, here’s the full lineup as of now (there are still a couple months to go, things can change) for the inaugural Maryland Doom Fest: Apostle of Solitude, Balam, Banned from H.E.L.L., Foehammer, Foghound, Into the Void, Iron Man, Lord, Mangog, Mind’s Eye, Nagato, Outside Truth, Primer Grey, Project Armageddon, Season of Arrows, Serpent Witch, Sixty Watt Shaman, Slaves B.C., Spirit Caravan, The Skull, Unorthodox, Valkyrie, Weed is Weed.

Poster by Audrey Mantel and running order follow, along with Nagato‘s return show last August:

The Maryland Doom Fest 1

June 26 – 28, 2015
Cafe 611, Frederick, MD

A weekend of doom metal in its purest form.

FRIDAY
The Skull 1225-130
Sixty Watt Shaman 1115-1210
Unorthodox 1005-11
Weed Is Weed 855-950
Into The Void 755-840
Banned From H.E.L.L. 655-740
Primer Grey 6-640

SATURDAY
Spirit Caravan 1215-130
Apostle of Solitude 1105-1200
Outside Truth 1010-1050
Valkyrie 910-955
Project Armageddon 815-855
Foghound 720-8
Balam 630-705
Slaves B.C. 540-615
Season of Arrows 445-525

SUNDAY
Iron Man 1045-1215
Foehammmer 945-1030
Lord 845-930
Mind’s Eye 745-830
Nagato 650-730
Serpent Witch 655-735
Mangog 6-640

https://www.eventbrite.com/e/the-maryland-doom-fest-tickets-15022390374
https://www.facebook.com/events/562627560540323
https://www.facebook.com/pages/The-maryland-DOOM-Fest/815331421863100

Nagato, Live at Guido’s Speakeasy, Frederick, MD, Aug. 23, 2014

Tickets go on sale March 6 for Eye of the Stoned Goat 5, set to take place June 12-13 at Amityville Music Hall, on Long Island. The Golden Grass and Mos Generator will headline, and the lineup has been finalized to include acts from the East Coast, the West Coast and in between — Lord Fowl, Wounded Giant and Brimstone Coven, if you need an example of each — in what’s without a doubt the most expansive Stoned Goat festival yet.

The poster for this year’s Stoned Goat is by Joe Mruk, and you can see the final version below (click to make it even larger) followed by the official lineup announcement from the fest:

‘Eye of the Stoned Goat 5’ announces official lineup for summer festival!

Snake Charmer Booking is pleased to announce the final artist lineup for the annual celebration of stoner-psychedelic rock and doom-heavy metal known as The Eye of the Stoned Goat Festival—now in its 5th year. The two-day fest, featuring some of the most exciting talent of the Mid-Atlantic, East and West Coast, will take place June 12th and 13th 2015 at the Amityville Music Hall in Long Island, New York.

Headlining the Friday night opener on June 12th are Brooklyn, New York trio The Golden Grass (Svart Records), whose catchy progressive psychedelic self-titled debut received numerous accolades as the “Best of 2014.” Another band that has received copious amounts of praise from rock blogs and music rags alike are none other than Long Island’s long-running rock outfit John Wilkes Booth, whose album ‘Useless Lucy’ was mentioned in many journalists “Best of 2014” lists. Also joining the bill from Long Island territory, those wildly eclectic heavy rockers Moon Tooth, who Metal Injection recently named one of “10 Awesome Underground Bands You Need in Your Life!”

Naturally, it wouldn’t be a ‘Stoned Goat’ show without giving attendees a healthy dose of band from the excellent Small Stone Records label. This year’s elite selection includes three bands that are simply a treat to bring to the stage: Boston’s master craftsmen and 2014 Desertfest alums, Gozu; local New York natives It’s Not Night: It’s Space; and returning ‘Stoned Goat’ retro rockers Lord Fowl, currently working on the follow-up to their 2012 riff encyclopedia, Moon Queen.

More contenders for total rock domination include Ripple Music stalwarts White Dynomite, composed of former members of such fine acts as Roadsaw, Lamont, and Wrecking Crew, to name a few. Also on the Ripple Music roster, from Frederick, Maryland: Weed is Weed, featuring Dave Sherman and Gary Isom of Pentagram, Earthride and Spirit Caravan fame. Additionally, hailing from Pittsburgh, Pennsylvania, fans will experience the infectious “sludge n’ space rock” vibe of Supervoid, who will be heading into the studio in February to record their follow-up to 2013’s Filaments.

For the first time, Seattle Washington’s own rising stars Wounded Giant will be bringing their blistering, monstrous, signature sound to this year’s festival. Also spearheading the volume-dealing campaign from STB Records is Connecticut’s Curse The Son, who’s latest offering Psychache (2014) was widely heralded as “the best of its kind in 2014” by The Sludgelord and other critics. Another band traveling a good distance to bring their doomy, occult craft to the east coast is Metal Blade Records’ newest acquisition, Brimstone Coven, who are currently working on their much anticipated next album for the label. Speaking of travelling a long distances, the festival will witness the U.S. debut of Toronto, Canada’s demonic stoner-blues rockers Ol’ Time Moonshine. Alongside this already hefty bill, ESG5 has decided to treat festival goers to the atmospheric retro-doom stylings of Totem Cat Records’ own Doctor Smoke.

One band that has been tenaciously trekking through the rock scene for over a decade now is Philadelphia’s working class groove dealers, Kingsnake. The four boys of Kingsnake have had the honor of performing alongside such acts as Clutch, The Sword, Scorpion Child, The Skull, and Vista Chino, to name a few. Also on board for the 5th installment of the festival, Long Island locals Borgo Pass—a popular act that has developed quite an impressive loyal following.

Last, but not least, officially closing out this year’s Eye of the Stoned Goat festival is none other than Port Orchard, Washington’s stoner rock torch-bearer’s Mos Generator. This marks the band’s first ever performance in New York. Mos Generator have released 5 studio albums, a retrospective album, numerous splits, and a live album, attracting such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. For charismatic singer/guitarist Tony Reed and crew, touring has been just as important to the profile of the band as making records. Over the years, Mos Generator has shared the stage with many great heavy rock bands, and in March of 2013 joined a 26-date European tour with Saint Vitus, earning a whole new fan base to their fuzzy, energetic sound. On stage, Mos Generator embodies the word “chemistry,” revolving their sound around swagger and groove, while improvising just enough to keep the songs feeling fresh from night to night—often with delightful results.

Tickets for ‘Eye of the Stoned Goat 5’ will officially go on sale on March 6th 2015. The Event will be 21+ with I.D. Tickets will be $15 per night, or $25 for a weekend pass. For more information on the Eye of the Stoned Goat festival, visit www.TheEyeoftheStonedGoat.com

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The Golden Grass, A Curious Case/The Pilgrim (2014)