Posted in Whathaveyou on January 12th, 2026 by JJ Koczan
Legions of Doom will head abroad next month to join Crowbar and Siverburn (mems. Taint) on a tour of UK/Ireland that, judging by all the low-ticket warnings and sellouts listed below, would seem to be hitting at just the right time. You’ll recall the band is a supergroup assemblage of parties from outfits like The Skull/Trouble, Blood of the Sun, Saint Vitus, Leadfoot and Blind-era C.O.C., and their somewhat-counterintuitively-titled-unless-you-know-the-background debut album, The Skull 3 (review here), came out in Sept. 2024.
The context there was related to bassist Ron Holzner, guitarist Lothar Keller and drummer Henry Vasquez moving forward from their prior outfit (which I’m pretty sure Vasquez was in at that point, but not 100 percent) The Skull following the 2021 passing of frontman Eric Wagner (also a founding member of Trouble, of whose banner years Holzner was an integral part). The Skull did two albums, and Legions of Doom finished the third. Golly, I wish I’d managed to be so concise when I wrote the bio for the project.
In any case, I’m curious what if anything Legions of Doom have been working on since that record, if they’ll continue to step forward from where The Skull left off and put co-vocalists Scott Reagers and Karl Agell — who generally trade out with each other onstage — left off, exploring what they can do with this lineup at this time working on a fresh batch of songs. I don’t have whats, whens or details on anything, but The Skull 3 was rad and I like rad records, so more would be cool whenever they get around to it, if they do.
Of course, if they want to roll in with Agell singing “Dance of the Dead” and Reagers pushing out “War is Our Destiny” into perpetuity like they did when I saw them in New York (review here), that’d be fine too.
Here are those dates:
Legions Of Doom + Crowbar + Silverburn are coming to the UK/Ireland next month! These shows are almost already legendary/have been selling out/upgrading since they were announced, get some details below. 🤘🤘🤘
Posted in Whathaveyou on January 12th, 2026 by JJ Koczan
Swiss progressive instrumentalists Monkey3 spent a decent portion of the second half of 2025 embroiled in the release plan for their collaboration with Mars Red Sky, Monkeys on Mars (review here), doing some live shows for that ahead of touring next year. Monkeys on Mars, which is the name of the band as well as the debut EP that was released through Mrs Red Sound, will continue live activity this year — there are Spring tour dates listed below — but before they go, Monkey3 will once again branch off for their own run through Eastern Europe.
They’ll be hitting familiar spots on the circuit like Arena in Wien and A38 Hajó in Budapest, Voodoo Club in Warsaw and so on with spots in Romania, the Czech Republic, Greece, Croatia, Slovenia, Serbia and Bulgaria. It’s 14 shows across 18 days and should be some good travel in addition to the gigs as they continue to support their 2024 LP, Welcome to the Machine (review here).
Tour is presented by Doomstar Bookings. Dates came from socials:
Monkey3 – Welcome To The Machine Tour 2026 – Eastern Europe
29.01.26 AT Vienna, Arena 30.01.26 SI Kranj, Trainstation SubArt 31.01.26 HR Rijeka, Pogon Kulture 01.02.26 RS Belgrade Zappa Baza 04.02.26 GR Athens, Gazarte 05.02.26,GR Volos, Cafe Santan 06.02.26 GR Thessaloniki, Eightball 07.02.26 BG Sofia, Mixtape 5 08.02.26 RO, Bucharest, Quantic 09.02.26 RO Brasov, Rockstadt 11.02.26 HU Budapest, A38 13.02.26 CZ Prague, 007 Strahov 14.02.26 PL Kraków, Zascianek 15.02.26, PL, Warsaw, Voodoo Club
Monkeys on Mars 2026: 12.03.2026 MONTPELLIER [FR] Victoire 2 13.03.2026 TOULOUSE [FR] Le Metronum 14.03.2026 BORDEAUX [FR] Rock School Barbey 15.03.2026 NANTES [FR] Le Ferrailleur 17.03.2026 LILLE [FR] Le Black Lab 18.03.2026 CLERMONT-FERRAND [FR] La Coopérative de Mai 19.03.2026 NEVERS [FR] Café Charbon 20.03.2026 PARIS [FR] La Maroquinerie (release party) 21.03.2026 VALENCE [FR] La Nuit du Metal #2 16.04.2026 WINTERTHUR [CH] Gaswerk 17.04.2026 LAUSANNE [CH] Docks 18.04.2026 MILANO [IT] Legend 19.04.2026 MUNICH [DE] Backstage 20.04.2026 DRESDEN [DE] Chemiefabrik 21.04.2026 BERLIN [DE] Neue Zukunft 22.04.2026 HAMBURG [DE] Kent 23.04.2026 NIJMEGEN [NL] Doornroosje 24.04.2026 HAARLEM [NL] Patronaat 25.04.2026 KARLSRUHE [DE] P8 16.08.2026 CARHAIX [FR] Motocultor Festival
Monkey3 are: Boris De Piante: guitar Jalil Perrenoud: bass Walter Albrecht: drums Guillaume Desboeufs “dB”: keys & sounds
Posted in Whathaveyou on January 12th, 2026 by JJ Koczan
Bergen, Norway, heavy classic-style prog-leaning rockers Kryptograf will head out in April on a nine-date tour, largely in Germany, as they support their well-received 2025 album, Kryptonomicon (review here), released by Apollon Records. Thus far, the confirmations are all in Germany and the Netherlands, but that’s still a ride and there are two TBAs — between Rostock and Amsterdam and between Amsterdam and Weimar — so there’s perhaps a day in there where Belgium or Luxembourg or somewhere else in Germany or the Netherlands could get a look, depending on the rides and actual geographies involved. But the point is they’re getting out, and good on them for that.
Kryptonomicon was arguably the most straight-ahead album Kryptograf have put forth to-date, and while a given listener might feel any number of ways about that — this is the internet, people can complain about anything — once you hear it, there’s little arguing that a song like “You and I” won’t serve the band well on this tour and hopefully many more to come. That it was the band’s third full-length gave it an air of arrival in terms of sound, as the four-piece of guitarist/vocalists Vegard Strand and Odd Erlend Mikkelsen, bassist Eivind Standal Moen and drummer Amund Nordstrøm (who made his first appearance this time around) continued the path of forward growth from their first two records, clearly having learned a few lessons on the way about the band they want to be. I don’t think they’re finished growing, which is so much the better.
The dates, including TBAs are below, as stumbled upon on social media:
Euronomicon Tour – April 2026!
Back on the road and excited as hell! Tour dates below ⚡
10.04 Rostock DE 11.04 TBA 12.04 Amsterdam NL 13.04 TBA 14.04 Weimar DE 15.04 Hildesheim DE 16.04 Finsterwalde DE 17.04 Braunschweig DE 18.04 Moers DE
The self-titled release above is from 2015, self-issued on Fu Manchu‘s At the Dojo imprint, and as you know if you pushed play, readily available to stream, download and own in a four-song 10″ edition on vinyl. The root of this five-track digital version, however, is in a three-song 1990 seven-incher called Kept Between Trees on Slap a Ham Records, which along with a couple other early singles — ’92’s Pick-Up Summer and Senioritis, ’93’s Don’t Bother Knockin’ (If This Vans Rockin’); this is all on Discogs, so don’t mistake it for arcane knowledge — mark the years of transition of the San Clemente, California, band from the teenaged hardcore punk of Virulence‘s reissued-in-2010-as-a-compilation If This Isn’t a Dream (discussed here, review here) to where Fu Manchu would be by the time they released their debut album, No One Rides for Free (reissue review here), in 1994.
Engineered by Billy Anderson (Acid King, Neurosis, hundreds of others) and produced by the band with Jonathan Burnside (Melvins, Clutch, hundreds of others), Kept Between Trees originally included its title-track, also renamed to “Trapeze Freak,” as well as “Bouillabaisse” and “Jr. High School Ring (7 Karat)” on the B-side. The lineup for the nascent Fu Manchu was guitarist Scott Hill, drummer Ruben Romano, bassist Greg McCaughey, and vocalist Glenn Chivens. Hill, McCaughey and Romano were in Virulence, and by the time they got to No One Rides for Free, they’d apparently be tired enough of lead singers for Hill to take over that duty. Fu Manchu — the five-track EP streaming above based on Kept Between Trees — helps fill in some of the evolutionary missing links between what Virulence was and what Fu Manchu would become.
Obviously no accounting for the growth of a band is ever going to be complete, whether it’s a documentary film or a listen-back-for-context piece like this, because of things like life experience, both individual and collective among the members of the band, the influences at the time and the growth into one’s own that invariably happens among committed artists over however many years (ideally all of them), and the inherent incompleteness of any human narrative to convey what actually happened and when, but there’s value in hearing the proto-lurch in the guitar line of the two-minute “Bouillabaisse” and realizing that this was Fu Manchu in the process of learning what manipulating tempo could do to make a song sound heavy, having taken inspiration from what was around them, be it slow-Slayer thrash divergence the tonal presence that grunge brought to punk and noise, and directed it toward what were the the ends of their own craft at that point. This too would change over time, as the members of Fu Manchu changed, in terms of lineup, yes, and also as people and a group. As they grew up, in other words.
Last week, after I posted the discussion of Virulence, Scott Hill left a comment highlighting some of their earliest points of inspiration:
…Started as a hardcore punk band, then saw BL’AST! Live in 1985 then got the Melvins Gluey LP then stared listening to a lot of the Swans and late period Black Flag and a band called Gore from overseas……..then around 1988 heard and saw TAD / Soundgarden / Nirvana / Laughing Hyenas / Big Chief / Mudhoney / Dinosaur JR / Sonic Youth / Monster Magnet / early White Zombie and changed to Fu Manchu……
Swans, Black Flag and the Netherlands’ Gore into TAD, Big Chief, Mudhoney, Sonic Youth and Monster Magnet, etc. — one would be lucky to be alive in 1988-1990 and to have heard those bands, though one would hear some of them soon enough on the radio as commercial media embraced grunge and alternative rock in its wake. But thinking about Kept Between Trees, the noisier aspects of Fu Manchu‘s sound, the organic bringing together of weighted distortion, riff-led groove and a disaffection that on “Kept Between Trees” itself (which got retitled at some point, morphing into “Trapeze Freak”), with its punch of low end and ready howl on the turnarounds, feels specifically born of Black Flag, was already in the processs of coming into itself.
In its most expanded form — that is, as 2015’s retrospective Fu Manchu rather than 1990’s Kept Between Trees, with “Blowtorch” and “Flashin'” added that were recorded around the same time and went unreleased — this offering still only runs five songs and 16 minutes. It’s not the most in-depth studio catalogue of Fu Manchu‘s 36-years-ago ouevre. But I feel like especially considering the punk foundations from which they emerged, it makes sense that they would have turned to recording and releasing singles for a few years as they sorted the lineup, probably focused on live shows, and eventually made their way to making a full-length.
And to be sure, some of who Fu Manchu would be is audible in the material of this era, limited though the amount of it ultimately is. The start-stop riff in “Jr. High School Ring (7 Karat)” is prescient of the kinds of grooves on which the band would make their name throughout the mid- and late-1990s, and already in the upped density of “Blowtorch” and “Flashin’,” one can hear the exploration taking place of just how heavy Fu Manchu could and wanted to get. Organic creative progression. Trying new ideas. Building from one thing into the next. In many ways, Fu Manchu have continued this process all along, and it’s a defining feature of their work.
But to go back to before they ‘figured it out’ and to hear the iterative steps as they happened is a reminder that most bands, most art, don’t emerge ready-made. Some certainly appear to, and maybe if you heard Fu Manchu doing “Regal Begal” on your local FM station in 1996, you might think it was all brand new, but the truth is that there’d been over a decade of work leading them to that point. In that way too, Kept Between Trees is a critical document of the beginnings of this band. It tells you what they were doing, where they were going, and portrays the evolution in progress. Especially noteworthy, while one can hear likenesses to the names Hill listed in that comment above, already Fu Manchu were beginning to differentiate themselves. The niche they’d end up finding is still their own.
As always, I hope you enjoy. Thanks for reading.
—
I’m writing this later in the day than I generally would. It’s just after 1PM. We had a meeting at The Pecan’s school and it went long. For my own future edification, I’ll mark it as the first time outside-district placement was brought up even as a hypothetical to the team. Nobody’s respone to that, by the way, was that it was a terrible idea and/or unnecessary. When I asked if my genius-ass daughter was currently on track to finish a second grade curriculum by the end of the year, the answer was a solid maybe.
More meetings is how we first proceed. Those will be next week. Next week my other two Hungarian classes pick up (one of which I still need to register for), so time will be tight. I’m going to try to review the Pelican EP and maybe one or two other things, but if it’s light like it’s been these past weeks despite the fact that things are actually happening as everybody returns from break and starts rolling out 2026 announcements for records, tours, festivals, whatever it might be, I’m doing life stuff. I’ll write as much as I can, like always.
Honestly, a lot of this week I spent distracted ahead of this meeting that happened this morning, and I can still feel my body being ‘keyed up’ from being in that room. Part of me wants to take a shower about it. Part of me wants to take a nap. Part of me knows he should start his Hungarian homework. Also vacuum, reading, fucking off, going to buy bananas because we’re out and I forgot to bring my wallet when I went to take The Pecan her lunch so I couldn’t go to the store (which I realized of course right after I walked into it), and whatever else.
Anybody want to do a Zelda update? I might finish A Link Between Worlds when I’m done with this post. It’s not the longest game, but it’s a fitting successor to A Link to the Past, and given my 35-years-strong affection for that game, I can’t think of a higher compliment to pay it. Outside that franchise, I bought Dragon Quest XI last week off Facebook Marketplace and have been enjoying the early going of that. I played the first three Dragon Warrior games on NES, did Dragon Quest VII on PlayStation, so not my first time among the slimes and such, but it’s fun by which I mean deeply repetitive while you grind and explore. You can run up and smack monsters before you fight. I find that enjoyable. The Pecan’s been neck-deep in various Mario Party titles on the Switch. I don’t know which ones because in my view they’re all awful — I’ve always hated mini-games; even in A Link Between Worlds, there are heart pieces I’m kissing up because I don’t want to do the race, the target-shoot, whatever it is; I’ve done the same as I’ve played through the Zelda series, 2D and 3D — but when they’re not infuriating her, she’s enjoying herself. There is a fair bit of yelling at the tv involved though, and so I’m not sure how long the delve will last ultimately. “Are you sure you’re having fun right now?” is a question she might be asked on a given evening the last two weeks or so. No answer beyond the strongly implied “fuck you.”
I admire her persistence, of course — not that she hasn’t proven her ability to stick to her guns in everything she’s done for the eight years she’s been alive — but I also believe there’s value in walking the fuck away from a thing when it’s not working for you. That whole “quitter’s never win” ethic is reasonable until it’s applied needlessly to things you don’t actually want to be doing. Sometimes you need to move on.
Are we still talking about video games? Yes, but also the school, or sports, a job, whatever else, hypothetically. I ask myself if I still need this site in my life all the time. It’s an ongoing conversation I have. With me.
I’m light on plans for next week beyond catching up on news that I’m already behind on and reviewing whatever hits me hardest. I guess that’s not the best ‘stay tuned!’ teaser for the week to come, but hell, it’s Jan. 9 and the world has ended like three times in the last fucking week. My brain is elsewhere. How about everyone goes on a general strike and then I’ll blog more.
Fuck fascism. Fuck ICE. Fuck you if you think extrajudicial murder by regime-backed paramilitaries is okay. One more time, just to be clear. Get fucked. Forever. I will never forgive the contingent of my countrymen who have put the United States where it is. This regime will end — they all do — and for the rest of my life, I will carry a special hate reserved for just these people, most of whom look a lot like me. If you’re one of them, then you too can eat shit and die for all I fucking care. No safe space here for nazis.
Everyone else, have a great and safe weekend. Have fun out there and keep your head up as best you can. I’ll be hanging in and back on Monday with more.
Posted in Whathaveyou on January 9th, 2026 by JJ Koczan
My first reaction to seeing the photo below of Dortmund, Germany, good-vibes heavy rockers Daily Thompson with Tony Reed (Mos Generator, Big Scenic Nowhere, Hot Spring Water, Constance Tomb, solo, Pentagram, and more besides) was to wonder if it was old, because in my head, it was about a year ago that the band traveled to Port Orchard, Washington, to record their 2024 LP, Chuparosa (review here), when actually it would’ve been at least two years by now. “Quick turnaround!” was what I commented. Still true relative to some, but not, apparently, as quick as I thought.
So it indeed is a new photo and Daily Thompson are presently renewing their collaboration with Reed as producer as they work on the follow-up to Chuparosa, the title of which is obviously still TBA. I could speculate on a timeline for when the record will be out — it will be their seventh full-length, so lucky you for having a back catalog to dig into if you’re just getting into them — but it seems more useful to note that Daily Thompson were among the first batch of confirmations for Ripplefest Texas 2026 (info here) in Austin, so while they have a couple Washington dates lined up after recording, you can rest easy knowing they’ll be back around later this year. Tour around that? I don’t know. Would you want to tour this country right now?
Curious what ‘new era’ they’re talking about, but I guess we’ll find out in time:
Ready for a new chapter? We are! On Monday we arrived in Seattle and are now finally back in Port Orchard to record our new album! Our friend @tony_reed2112 will do his magic again ✨ and we are really excited about everything! Let a new DT era begin (you will see)
Oh and we got some shows on both sides of the sea 🤯 to all humanoids in the Pacific Northwest it’s time to party
🇺🇸01.17.26 Bremerton – @manettesaloon * 🇺🇸01.18.26 Port Angeles- @littledevilslunch ^ 🇩🇪01.31.26 Frankfurt – The Cave @ffm_jam 🇩🇪04.11.26 Münster – Alterna Sounds Festival
Posted in Whathaveyou on January 9th, 2026 by JJ Koczan
Especially in light of last year’s bill for Down the Hill, which included the classic-prog likes of Gong and Focus, it’s awesome to see this year’s edition featuring UK ’70s-heavy originals Atomic Rooster along with the rest of its first lineup announcement. No way that won’t be a fun set, and the statesmen o’ riff find suitable complement in MaidaVale, who’ve done more to modernize classic boogie than they’ve ever gotten credit for, presumably because they’re women.
From there, it continues to vary. Pothamus are heavy as a punch to the sternum, while Black Flower and on down from there in the text below, everybody has their own stylistic trajectory. I don’t know Belgium’s Aufhebung well, which is to say at all, though this isn’t the first time their name has appeared on this site (I looked), but I just put on their 2021 album Chasms and it’s killer and crushing, so thanks for the nudge on that one, Down the Hill. Not sure how I would’ve heard it except seeing their name in something like this, though the world has its ways.
Tickets are on sale now for Down the Hill 2026, and I’ve never been, but neither have I, in the five years I’ve covered the festival’s lineups, seen anything that would make me not want to be there. So, here’s this from socials. I’m not pretending it’s brand new news or that I’m at all competent in any way at keeping up with anyone’s anything ever. Thanks for understanding:
Down the Hill 2026
WOW! Already 20% SOLD in the first weekend, and still a big load of bands to announce! Here is our poster, so you get an idea where we are going this year.
Thank you so much for your trust! We won’t let you down 😉. Still 12 names to announce, keep your eyes open on our socials and website in the next few months.
Get ready for another incredible musical journey this year. Here are the first bands joining our stages:
• Atomic Rooster – Legendary British prog-rock pioneers featuring that iconic, heavy Hammond organ sound.
• MaidaVale – Heavy psychedelic rock from Sweden that pulls you into a hypnotic, fuzzy groove.
• Pothamus – Mesmerizing post-metal and sludge; a deep, atmospheric wall of sound.
• Black Flower – A vibrant, cosmic blend of Ethio-jazz, afrobeat, and oriental psychedelica.
• GROS COEUR – Belgian psych-rock from Liège that is as melodic as it is danceable.
• Aufhebung – Raw, experimental noise and industrial textures that push every boundary.
• WASTE – Energetic and uncompromising; the absolute cutting edge of modern noise-punk.
• The Moondig – Local favorites delivering the perfect mix of psychedelic and reverb-soaked vibes.
Much more to be announced!
Don’t miss out! Grab your tickets on our website from Januari 2, 17h!
Posted in Whathaveyou on January 9th, 2026 by JJ Koczan
Cyprus heavy rockers Stonus have signed to Ripple Music and are back March 20 with their second full-length, Space to Dive, which they’re heralding today with the new single/video “Hope Dose.” In the clip, you’ll find classic desert-style shove and an uptempo energy that suits the portrayal of the band onstage that makes up part of the clip along with some narrative shots, and don’t worry, they tell you when it’s time to party. And they’re not wrong.
“Hope Dose” makes an interesting first glimpse at Space to Dive, which apparently themes itself around the flow of energy through the universe (as one will) and finds ‘space’ for a kind of mystique in the science of that. I look forward to hearnig how the theme plays out in the material and if it manifests in the songs or was more of a guiding principle during the making of the record rather than a tangible part of the finished product.
The PR wire brought art and info as they begin the promo cycle. Expect at least one more single, probably tour dates and all the rest in the months to come:
Cypriot heavy rockers STONUS to release sophomore album “Space to Dive” on Ripple Music this March 20th; new video “Hope Dose” available now!
Straight from the depths of the Mediterranean Sea, Cyprus heavy rock torchbearers STONUS return with their sophomore full-length “Space to Dive” this March 20th on Ripple Music, and unleash their rip-roaring new single and video “Hope Dose” on all platforms today!
Firing on all cylinders and not looking in the rearview mirror, STONUS are ready to set the world on fire with their high-octane and anthemic new single “Hope Dose”! The band comments: “Hope Dose addresses our daily choice between self-destruction and self- improvement. It is about accepting and embracing the darker side of the self, acknowledging that growth requires confronting inner shadows rather than escaping them. Choices carry consequences, but at the end of the day, survival often comes down to holding onto hope, and sometimes, releasing tension through raw, unapologetic living.”
🔥 Watch new video “Hope Dose” at this location 🔥 + listen to the track on all streaming platforms:https://lnkfi.re/hopestonus
Their forthcoming sophomore album “Space to Dive” is a transcendent journey into the space within, an esoteric exploration aimed at redefining identity through intuition, sound, and self-discovery. Inspired by the torus field — the visual representation of sound, energy, and atomic vibration — the record explores the continuous flow between the inner self and the universe. “To us, this space represents infinite potential: a meeting point between consciousness, creation, and what could be perceived as the face of God. “Space to Dive” challenged us to move beyond comfort, allowing instinct and vulnerability to guide the songwriting. The result is a more personal and intuitive expression, where each track reflects fragments of introspection, transformation, and awakening,” says the band.
Stonus on “Hope Dose”: “‘Hope Dose’ addresses our daily choice between self-destruction and selfimprovement. It is about accepting and embracing the darker side of the self, recognising that growth requires confronting inner shadows rather than escaping them. Choices carry consequences, but at the end of the day survival often comes down to holding onto hope, and sometimes, releasing tension through raw, unapologetic living.”
Recorded at Wreck It Sound Studios in Corinth, in collaboration with Johnny S.A. (former 1000mods), “Space to Dive” captures the fiery quintet at the peak of their creativity. The mastering, handled by legendary engineer Howie Weinberg (Nirvana, QOTSA, Deftones, Kyuss, Metallica), adds both sonic depth and a rare prestige to the final work. The visual world of the album was crafted by Kamil Czapiga of Cosmodernism, whose mastery of cymatics translates sound into geometry with alchemical precision.
Despite the challenges of being spread across three countries whilst touring and working simultaneously, the realisation of this concept proved essential to the band. “Space to Dive” stands as both a personal reckoning and a universal exploration – an invitation to dive inwards to better understand the whole.
Posted in Whathaveyou on January 8th, 2026 by JJ Koczan
So here’s what I know: The Knights of Doom isn’t quite a reboot for Maryland Doom Fest, which was held for the last time in 2025, and it’s not quite not. To wit, it’s being headed by that decade-plus-running festival’s founder JB Matson, being held at Cafe 611 in Frederick, Maryland, and seeming to pack as much music into its span as possible. A key difference is in the length of that span itself. This inaugural edition of the fest, to be held in June when otherwise MDDF might’ve taken place, will be two days as opposed to MDDF‘s four, and this first lineup announcement with seven bands is the first of four to come in the next two weeks.
You can do the math on that yourself. Four times seven is 28 bands, which if you break it evenly means 14 per day. I don’t know that each announce will have the same amount, and I don’t know what the total number will be, but clearly one thing The Knights of Doom will have in common with Maryland Doom Fest is the continued ethic of putting on as many acts as it can. And from Curse the Son to Crop, Hovel and Faith in Jane, there are names even in this first batch of reveals that will be familiar to the former denizens of MDDF, while Professor Emeritus, Bleak Shore and End of Age (formerly Black Cowgirl) are new to the fold.
A mix of familiar and not, then, and that should work well as the reveals play out over the next couple weeks. I guess staggering that is another form of departure from MDDF methodology, where Matson‘s prior fest would drop all the names at once each Halloween and let small changes shake out over the ensuing months, but it still looks like it’s going to be a family reunion for that crowd, who are great, and a way to welcome new folks without an overwhelming, 60-bands-in-four-days onslaught. Scaling back in some ways and trying some new things. When Maryland Doom Fest announced it was done, it was clear something needed to take its place. This looks like the readiest candidate.
From social media:
WE ARE PLEASED TO SHARE THE FIRST OF 4 SEPARATE BAND DUMPS SHOWCASING THE ROSTERS OF KNIGHTS OF DOOM!!!
The Knights of Doom ’26
Curse the Son Professor Emeritus Hovel End of Age Faith in Jane Crop Bleak Shore
