Maryland Doom Fest 2016 Announces Complete Lineup

Posted in Whathaveyou on October 5th, 2015 by JJ Koczan

maryland-doom-fest-logo

The 2016 edition of the Our PhD Expert Professors provide standard visite sites, Thesis writing service with online guidance and support. We also provide Research Maryland Doom Fest will take place June 24, 25 and 26 at Why Buy American Essay.Order paper online 8 hours.Research Paper Xml.Phd dissertation writing and editing Cafe 611 in Frederick, MD. You might recall late in 2014, when the initial word surfaced about the festival’s inaugural billing, it was a complete lineup announced, date, and place, all done straightforward in the tradition of the style being celebrated. In that regard, 2016 will be no different. Festival organizers  Write a well-organized 4-5 paragraph narrative essay about a Click on “check it out PLEASE LEAVE THIS SHEET AT THIS COMPUTER JB Matson (also of Affordable Leadership Qualities Essays For Mba from native English experts. Increase traffic to your website the easy way. War Injun) and Affordable papers - buy Fitness Gym Business Plan online! Accessing the benefits of using custom paper writing services for writing quality papers with ease. Order now! Mark Cruikshank have unveiled the complete "I needed someone to Continue Reading for me. So I contacted this service and that was the best decision possible! Got A))", says Bill. Be smart, be like Bill. Maryland Doom Fest 2016 lineup, and while the core remains very much in the region’s sphere of heavy downer riffs, the palette has clearly expanded as well.

A broader reach pulls in the likes of How Can I Ensure That I Get The Best Essay Writing Assistance? http://www.pts-fuegen.tsn.at/woodlands-junior-school-homework-help-religion/. So, can I get a professional to write my Mos Generator, phd proposal sample Argumentative Text tok essay help writing personal essay for college admission short Ruby the Hatchet and Writing a conclusion for kids - top 10 resume writing services law school essays To An Essay literary analysis essay on 1984 dissertation student room Hollow Leg, and while headliners So we know a thing or two when you looking to Political Science Paper. to improve your grades when you pay for an essay. Pay for essay online and Spirit Caravan are a returning act from the 2015 fest, they’ll be joined by classic heavy rockers Home Cleaning Business Plan - Hire the professionals to do your homework for you. Let specialists accomplish their tasks: order the required task here and Bang and Order Online help for dissertation at EssayErudite.com. Here at EssayErudite we try to distribute ourselves as one of the most cost-effective methods of Asylum ( Read 175 customer reviews of the civil services essay paper - www.assignmentexpert.com & compare with other Education Websites at Review Centre Unorthodox by their original name), ensuring that even as the Specialized project Dissertation Sur Argumentation Directe Ou Indirecte for any kind of drafts: capstone projects, academic projects, business projects, grants, books and many more! Maryland Doom Fest 2016 reveres its finest exports, it pays strict attention to the lineage from where it all comes and the hometown crowd too. All told, it’s a wide-ranging but universally heavy grouping of bands, from the epic classic metal of Any time you ask oneself if Starting An Event Planning Business Checklist writing which includes good high-quality writing exists? Our answer is IT DOES EXIST. Our writing company Argus to the cult rock of Demon Eye, and while realistically there will probably be a shift or two in the lineup between now and next June — things fall through, people get added, and so on — it looks like it’s going to be a hell of a weekend. If and when I hear of changes, I’ll let you know.

Tickets are on sale today, and I’m honored to have my logo on the poster. Full lineup and links follow:

maryland doom fest 2016

The second edition of a weekend of doom in its purest form.

We are stoked about the second installment of The Maryland Doom Fest with 25 kickass bands!

Tickets sales begin on Monday.

The official Maryland Doom Fest web page will be up and running soon at www.themarylanddoomfest.com

Tickets are on sale now: https://www.eventbrite.com/e/the-maryland-doom-fest-2-weekend-passes-2016-tickets-18924966083

Spirit Caravan
BANG
Asylum (Unorthodox)
Argus
War Injun
Orodruin
Blackfinger
Kelly Carmichael (Internal Void) New Project
Earthen Grave
Black Urn
Doperider
Mos Generator
Hollow Leg
Ruby The Hatchet
Admiral Browning
Pale Divine
Toke
Flummox
Demon Eye
Wicked Inquisition
Seasick Gladiator
Karma to Burn
Eternal Black
King Giant
Spillage
Wasted Theory

https://www.eventbrite.com/e/the-maryland-doom-fest-2-weekend-passes-2016-tickets-18924966083
https://www.facebook.com/events/864772630244169/
https://www.facebook.com/The-maryland-DOOM-Fest-815331421863100/
www.themarylanddoomfest.com

Asylum, “Unseen World” Live at Maryland Doom Fest 2015

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Ripple Music Auctioning Earthen Grave Test Pressing for Family of Jason McCash

Posted in Whathaveyou on May 5th, 2014 by JJ Koczan

As they have several times over the last couple years when a worthy cause arises, the good people of Ripple Music have put together a charity auction for the family of late The Gates of Slumber bassist Jason McCash. True to McCash‘s impact on Midwestern doom as a member of the aforementioned pioneering trio and as the founder of the Templars of Doom fest, it’ll be a test-pressing of Chicago doomers Earthen Grave‘s self-titled 2LP up now on eBay with all proceeds going to the McCash family.

You don’t need me to tell you this is worth your support. You already know. Click here to go to the auction.

The first of several tribute/benefit shows for McCash took place this past weekend in Indianapolis, and the True Templar of Doom benefit is set for July 12 at The Sidebar in Baltimore, Maryland. Info on that is here.

The PR sends the following about Ripple‘s auction:

RIPPLE MUSIC launches benefit auction for the family of Jason McCash of The Gates Of Slumber

Nearly a month ago, the metal community lost a brother, a father, a husband, a friend, and a comrade when Jason McCash of Indianapolis doom outfit The Gates of Slumber passed away at the young age of 37. The entire extended heavy-music family has felt the effects of the tragedy and, in times like this, it’s more important than ever that we gather together to help one another and show the love and support we so vehemently stand for.

Ripple Music has a long-standing tradition of donating all proceeds from auctions of its rare test pressings to charity, so when the time came to let go of this beautiful 2XLP test-press copy of Earthen Grave’s debut album, it was clear that the money should go to the family of Jason McCash.

For more information, or to bid on this gorgeous, rare test-pressing, head to THIS LOCATION.

You can also read the heartfelt Ripple Effect blog post about McCash’s passing or donate directly to the McCash family by clicking here.

Ripple Music Links:
http://www.ripple-music.com/
https://www.facebook.com/pages/Ripple-Music/369610860064
http://ripplemusic.bandcamp.com/
https://twitter.com/RippleMusic

Earthen Grave, Earthen Grave (2013)

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Here are 115 More Pics from Days of the Doomed III

Posted in Visual Evidence on June 25th, 2013 by JJ Koczan

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

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

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

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

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

Pics start after the jump. Hope you enjoy:

Read more »

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

Posted in Features on June 22nd, 2013 by JJ Koczan

06.22.13 — The Blue Pig — Cudahy, WI

11:41AM: Quiet start this morning at The Blue Pig for day two of Days of the Doomed III, but no doubt things will pick up shortly. Today is 12 bands in more than 13 hours, so it’s going to be a long one, a busy one and I expect by the end of it, a tired one, but that’s a long ways off, and after a hotel breakfast and a couple minutes respite before heading down to the venue, I’m feeling good and doing my best to ignore the prospect of the drive tomorrow morning. Much to do before I get there.

In about 20 minutes, Whaler from Michigan kick off the day, followed by Gorgantherron, Beelzefuzz, Spillage, King Giant, Leather Nun America, Earthen Grave, Pale Divine, Dream Death, In~Graved and The Gates of Slumber. It’s a powerful lineup, but they must have powerwashed the venue after last night, brought in a firehose or something, because it smells much better this morning than it did by the end of yesterday’s bands.

Last night was pretty riotous by the end of Penance and Iron Man, so I figure there’s a lot of attendees getting off to a slow start this morning, but if the kickoff is as righteous as yesterday’s — and I hear excellent things about Whaler — I’ll be glad I got here early.

Before I start, and since I don’t know if I’ll have the energy to point it out later, I just want to say a quick thanks to Mercyful Mike Smith for putting on Days of the Doomed III, and for the tremendous work he’s done assembling this lineup and getting the right crew in hand to make it run so smoothly.

Alright, here goes:

Whaler

12:37PM: Apparently, Michigan trio Whaler had something of a late night. They were not alone, but they nonetheless delivered a respectable set of roughed-up/burled-up Kyuss-style heavy rock and showcased a dynamic of their own within the semi-familiar riffing. Guitarist/vocalist Adam Lupo and bassist Eric Lomba had rich tones and drummer Adam Weiler, despite chasing his cowbell across his kit as it moved away from him, was adaptable either to the desert grooves of the material they played earlier or the thicker, Sleep-y vibes of their closing instrumental. Their debut LP, Deep Six, was self-released last December and I’ll see if they have any available. It probably wasn’t an ideal time to see them — noon after a hell of a Friday night — but they opened day two with smooth, rolling grooves and an engagingly bullshit-free atmosphere.

Gorgantherron


1:28PM: Imported from Indiana, the trio Gorgantherron clearly got more comfortable as their set went on and seemed more at home in their faster parts, rather than some of the more languid sections. All three members — Chris Flint (drums), Clint Logan (guitar), and Toby Richardson (bass) — contributed vocals, and that gave cuts like “Mothra” and the particularly memorable “Assimilate” a touch of flavor, which went down well with the crowd, still rolling in and wiping the crust from its collective eyes. Keeping holy the Sabbath, Gorgantherron hit on a few satisfying shuffles in their solo parts, Logan taking the fore with a smile to rip out blues leads while Richardson and Flint held down the solid grooves beneath. They weren’t trying for anything fancy, but there was some potential there, and they sat naturally between doom and heavy rock as only a band who doesn’t think there should be a line between them can.

Beelzefuzz


2:40PM: I don’t know what Beelzefuzz are ready for, but whatever it is, they’re ready for it. The Maryland bizarro doom trio had Days of the Doomed III more or less eating out of their hands 10 minutes before they went on, and it was readily apparent that they were the show-up point for a lot of people this afternoon. The band’s way of rewarding such loyalty? Well, they brought up Eric Wagner to cover “Ride the Sky” by Lucifer’s Friend, and that was pretty awesome, Wagner and guitarist/vocalist Dana Ortt trading off parts and laughing all the while. Beelzefuzz have a new record coming Aug. 9 on The Church Within, and I’ve yet to see them and not be impressed. I realized watching them that it had only been a couple months since I caught them in Delaware at The Eye of the Stoned Goat 2, but nothing here felt redundant or stale. Bassist Pug Kirby and drummer Darin McCloskey were dead on with slow, creeping grooves that gave Ortt plenty of space to weird out with vocal effects, organ-sounding guitar and all the rest. If their record captures even a fraction of what these guys have turned into in a live setting, it might just be the summer’s don’t miss for doom.

Chowder


3:45PM: When I streamed a couple tracks from Chowder‘s Passion Rift full-length last summer, I wondered how they’d be able to bring so many textures to a live setting. Now I know: They do it with their feet, and they do it very carefully. Maryland doom nobility Josh Hart (guitar; also bassist for Earthride) and John Brenner (bass; also guitarist/vocalist for Revelation) both had an array of foot-pedals at their disposal and they made liberal use of them to add to the instrumental progressive runs of their material. Early on, Hart blew out the Sunn head he was playing through — always a bummer, especially for someone who’s come a long way — but Al Morris from Iron Man‘s amp was brought in as a replacement, Chowder recovered and the three-piece rounded out by drummer Ronnie Kalimon (Unorthodox) had the room packed out by the time they were done. I don’t know if maybe they were playing doomier songs for the fest or if the tones were just different live, but they seemed thicker tonally than I recalled from the album and I didn’t hear any whining about it. Cool set, and where they seemed on paper like an odd fit, they made sense for the bill after all.

Spillage


4:42PM: Going by their name and how they worked on stage, Chicago-based Spillage would seem to be the brainchild of guitarist Tony Spillman, who’s pulling double-duty later in a set with Earthen Grave. Days of the Doomed III was their first show, and while it was the “featuring Bruce Franklin of Trouble” portion of the lineup that first drew my attention, the whole band was stellar. Really. And not just for a first show, either. They were tight, the songs were spot on, they covered “Devil Woman” by Cliff Richard, and had a great energy throughout their whole time on stage. They looked genuinely thrilled to be here, thanked the crowd, thanked Mercyful Mike Smith several times, and even though Spillman had a little technical difficulty, there was never any real loss of momentum as they settled into a killer set that ranks up there with Moon Curse yesterday as one of the weekend’s most pleasant surprises. With two guitars, keys, bass, drums and standalone vocals, they were crowded on the Blue Pig stage, but that only added to how together they were sonically. I haven’t the faintest idea what their plans as a band might be, when they’ll put material to tape, etc. — they have shirts for sale but no music — but as righteous and enjoyable as their set was, I’ll be keeping an eye out and hoping they can bring the same vitality to a studio recording. An awesome debut.

King Giant

5:58PM: There hasn’t been much Southern metal thus far into the fest, but if there was a quota, King Giant just met it. I was pretty familiar with their stuff after streaming their Dismal Hollow LP last year, and they were basically what I expected, just tighter and louder. In the case of vocalist Dave Hammerly, much louder. Of the two mics he had on stage, one cut through the Virginian five-piece’s thick riffing enough to border on abrasive, but they grooved out darkly nonetheless, here touching on Down, there nodding out a Clutch riff. It was burly stuff, and I think a lot of people unfamiliar with what they do decided it was a good time to grab a bite to eat — they love their own here, as everywhere — ahead of some of the evening’s headliners, but King Giant were professional and energetic, many-hatted (four out of five) and they made the most out of the time they had, playing to a tight group of their fans who seemed appreciative enough to make up for everyone else.

Leather Nun America


6:50PM: I’ll give it to Cali trio Leather Nun America (also stylized with a lowercase ‘a’ to start the last word), they know what they like. Tonally, guitarist/vocalist John Sarnie was straight-up Wino, and the band covered “To Protect and Serve” from The Obsessed‘s The Church Within to drive the point home. Bassist/backing vocalist Francis Roberts, his eyes rolled back, was a more unhinged presence than Sarnie, but it made the dynamic on stage more complex and, frankly, more satisfying. I was starting to drag ass a bit and so ordered a pizza (hasn’t arrived yet, but I’ll get to eat at some point) and had another bottle of water, but some of the people who were in and out during King Giant settled in for Leather Nun America and the band, despite being the only West Coast act on the bill, seemed right at home amongst the doomed.

Earthen Grave


8:22PM: I’ve seen Earthen Grave a few times now — here last year, at SHoD — and to my ears they’ve never sounded so good. Of course, nailing a cover of Rainbow‘s “Stargazer” with not one but two violins (Rachel Barton Pine and her younger sister dueling it out) helps, and bringing Victor Griffin up to take on Pentagram‘s “Relentless” (who better?) for a set closer helps as well, but even so, from the opener “Death is another Word” — the bonus track on the Ripple Music reissue of their self-titled debut — to the plodding aggression of “Dismal,” the Chicago outfit seemed to hit it just right this time around. Maybe they’ve coalesced more as a unit, or maybe I’m on some post-pizza energy boost — pizza gives you energy, right? — but they killed it, and placed where they were in the lineup, they more or less started off the evening’s headliners, with Pale Divine, Dream Death, In~Graved and The Gates of Slumber still to come. Things are about to get heavy and miserable, but I’m up for it, and judging by the howls of the crowd who just moved from in front of the stage being changed over to the tvs in the back which have the Blackhawks game on, the crowd is up for it, so what the hell? Let’s make an evening of it.

Pale Divine

9:39PM: With three new songs in tow, Pennsylvania/Maryland trio Pale Divine — drummer Darin McCloskey doubling up on the day after performing earlier with Beelzefuzz — sounded positively refreshed. Guitarist/vocalist Greg Diener and bassist/backing vocalist Ron McGinnis (aka Fez, also of Admiral Browning) have gelled tonally to the point where you’d swear the latter had always been in the band, and likewise, McGinnis brings a different personality with him that adds to the chemistry. I took it as a sign that they’ve already started to write a follow-up to last year’s Painted Windows Black — which, not to take away from it, was accomplished but hardly what I’d call refreshed — and for as gloomy and plodding as the material is, spirits seemed high straight through when they handed a mic into the crowd where it was picked up by Sanctus Bellum‘s Benjamin Yaker and shared with Butch Balich and Mercyful Mike Smith for a finale take on “Amplified” from Pale Divine‘s 2001 debut full-length, Thunder Perfect Mind. The Blue Pig is packed out (still watching hockey), and the mood is good, so with three bands left to go, the night is on a roll.

Dream Death


10:54PM: I’ve had my earplugs in for too long, can feel my right ear beginning an infection. Probably better that than dare to take on Dream Death unarmored. I knew when I missed them in April at Roadburn that I’d have seeing them at Days of the Doomed III to look forward to, and honestly, I’ve looked forward to it ever since. The Pittsburgh four-piece — all of whom played at one point or another during Penance‘s set last night — are something of a legendary act, and here, it felt like it. Fists pumped to “Divine Agony” and a slew of cuts from the band’s 2013 new album, Somnium Excessum, including “Feast” and “You’re Gonna Die up There.” The biggest response was saved, fittingly, for closer “Back from the Dead,” and if ever you wanted to see who in the crowd knew a song and who didn’t, you need look no further than who followed the on-a-dime time changes in “Back from the Dead,” raging Celtic Frost fast and dark, viciously primitive but still holding a potent tension after all these years. They were welcomed as liberators, and it’s hard to imagine it wasn’t gratifying for the band. When they were done, Mike Smith took the stage (he’s been introducing each act) and called the raffle. I didn’t win, despite my sure-bet tickets. Always next year. The good news is Dream Death were excellent and I got to pick up a copy of Somnium Excessum, which I’m looking forward to adding to my already considerable ride-home playlist for tomorrow. Right on.

In~Graved


12:24AM: Well, Victor Griffin wins tone again. He can take home his trophy from Days of the Doomed III and put it next to the similarly-shaped awards for tone he’s picked up at probably every show he’s played in the last 25 years. Much of the In-Graved set was familiar from Roadburn, but “Digital Critic” still made an effective opener and “Late for an Early Grave” seemed especially rousing. The lights went out for a minute, but were quickly restored, not that it stopped the band in the slightest. Bassist Dan Lively stepped in to fill the role Guy Pinhas had held for the European tour, and he, drummer “Minnesota” Pete Campbell and keyboardist Jeff “Oly” Olson meshed well, and the band had clearly gotten more cohesive over the course of their time in Europe, which ended a month ago now if I’ve got the dates right. Still. Ron Holzner came out for a song and Campbell broke all his drumsticks, so it was a loose vibe but a tight band, which is just as it should be. In~Graved rounded out with the Animals cover “Don’t Let Me be Misunderstood” into Place of Skulls‘ “Last Hit,” which if nothing else was a stirring reminder to me of just how good 2003’s With Vision was. I could go on a whole rant about it, but wow, it’s been a hell of a day. This is the proverbial home stretch though — or whatever the hockey equivalent is, in honor of the Blackhawks, who apparently won — and with The Gates of Slumber still to come, I know this is still the place to be. Feet sore, head sore, brain tired, but not done yet.

The Gates of Slumber


2:12AM: Just for kicks — also in the name of Science Bloody Science! — during The Gates of Slumber‘s set, I walked outside the venue and down the street to see how many houses I’d pass before I couldn’t hear the band anymore. I got six properties away from The Blue Pig, and I could still hear them, but it seemed reasonable to assume that the people inside the house couldn’t feel the vibrations of Jason McCash‘s bass, and that would have to do. I’d have kept going, maybe, but I wanted to see the band. It’s been a minute and I was hoping for some new material. They played “Death March” from their Scion-sponsored Stormcrow EP, which I also picked up off the merch table, and that sounded pretty vicious. The place was winding down on the quick, people giving drunkhugs and saying their “see you next year”s, but I wasn’t gonna split until they were done. Not that I didn’t think about cutting out and going back to the Best Western, but putting it to the scale of having been there for over 13 hours, another couple minutes to watch “The Scovrge ov Drvnkenness” or “Day of Farewell” — which is one of those songs I’m reminded of how much I dig every time I hear it — or the closer “Coven of Cain” didn’t seem unreasonable. It had been a long day, but The Gates of Slumber — McCash, guitarist/vocalist Karl Simon and drummer “Iron” Bob Fouts — were the downtrodden nail in Days of the Doomed III‘s coffin, and the fest would’ve been hard pressed to find someone more appropriate to close out after In-Graved and the many others preceding. By the time the house lights came up, it was clear the night was over.

 —

2:32AM: Back at the hotel now, listening to someone stomp the living shit out of the floor one level up, also known as the ceiling of this room. All the same, this chair seems absurdly comfortable. One more time, I just want to thank Mercyful Mike Smith for the effort and execution behind this fest. The whole crew at The Blue Pig ran this thing smoothly from front to back, kept the mood positive and kept the drinks flowing. Also special thanks to Postman Dan for generally being awesome and for specifically dealing with me running back and forth and taking out the laptop like a dork. It’s much appreciated.

There are a lot of others. A lot. I’d start to list them, but it’s getting on 3AM and I have the alarm set for just about four hours to get up and start the at-least-15-hour drive back to New Jersey. Gotta be to work on Monday. So I’m gonna get to bed and then get coffee. Lots and lots of coffee.

Thanks for reading.

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Frydee Earthen Grave

Posted in audiObelisk on June 14th, 2013 by JJ Koczan

Earthen Grave, “Death is Another Word” from Earthen Grave LP

I’m still not sure about these new Bandcamp players, and by that I mean I hate them because I’m not used to them, but here we are. What was I gonna do, not end the week with “Death is Another Word,” the bonus track from the forthcoming Ripple Music reissue of Earthen Grave‘s Earthen Grave? Obviously that’s not an option.

So while what has become the standard purveyor of streaming music and direct-to-or-from-band commerce departs its earlier unintrusiveness in favor of the page-consuming behemoth you see above (ah, but you could choose one of the smaller players that oh wait no one can fucking see them because they’re terrible), I hope you’ll know I take consolation for the lost screen real estate in the form of Earthen Grave‘s melodic semi-traditional doom, which is brought all the more into focus approaching “Death is Another Word…” as a single. I don’t know when this was recorded in relation to the album, but it’s a cool sound and it’s interesting to think how Earthen Grave might’ve grown by the time their next album — which will presumably also show up on Ripple — surfaces. A million possibilities.

Among my own possibilities is that this weekend The Patient Mrs. and I buy a house. Got an offer accepted on a place and an inspection tomorrow, so pending what that turns up and yet another round of mortgage haranguing, I may yet wind up with somewhere to live by the time summer’s over. However that winds up, I’ll be up in Massachusetts, and barring disaster will head out to catch It’s Not Night: It’s Space, Queen Elephantine and Elder side-project Gold and Silver at P.A.’s Lounge in Boston, so whether I’m drowning my sorrows in riffs or celebrating the glorious future to come [NOTE:Actually, I had to turn around and head back home, so I drowned in I-95 traffic], I’ll at least be making the most of the drive from Jersey. A drive which is becoming a familiar staple of my weekends at this point and a drain on my overall energy level — in short a drive I look forward to not needing to make anymore.

I’ll let you know how it works out.

Next week, reviews of that show and the new Sabbath — we’ll doom like bastards — and a countdown of the Top 10 Albums of the Year so far, plus whatever videos, news, audio, etc. I can dig up. My plan is to head out Wednesday for Days of the Doomed III in Wisconsin next weekend. I’ve put in for the time off work(s), so we’ll see if both I and my car make there in one piece. I wouldn’t be reviewing that until the week after this one coming, obviously, but if I get the chance, I might throw up a picture or something. Or, since I’m not drinking, maybe I’ll just live-blog the whole thing. Again, a million possibilities. Let me get through tomorrow afternoon before I decide anything about anything.

Keep your fingers crossed for me and please have a great and safe weekend.

The Obelisk Forum

The Obelisk Radio

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Total Coverage: Stoner Hands of Doom XII (Day Three)

Posted in Features on September 1st, 2012 by JJ Koczan

It’s a gorgeous Saturday morning in East Lyme, Connecticut. Why wouldn’t there be traffic on I-95? Seven hundred gajillion TARP funbucks later, I sat in a miles long line of cars weaving into and out of two exceedingly busy lanes. Much to the chagrin of the dude from Massachusetts next to me with a boat towed off the back of his pickup, I was barely paying attention to my drifting. Some of the sternest looks I’ve had in at least a week.

I managed to sneak in a quick to-go breakfast with The Patient Mrs., who is in the area, and then basically came right here. It’s about 10 to noon now, and I don’t know what time Akris is going to start — they’re setting up now — but when they do, it’ll be the launch of day three of Stoner Hands of Doom XII and the first of two massive all-day shows here at the El ‘n’ Gee in New London.

No doubt it’s going to be a long day, but hell, I’m here. I’ve got a deli sandwich in a cooler in the trunk of my car for later, and enough earplugs to last a month. My plan is basically to do the same as I did yesterday — but, you know, twice as much of it — with updates as the day goes on. Hopefully you enjoy keeping up as much as I do.

SHoD XII day three begins in just a bit. More to come.

Akris

UPDATE 12:46PM: Hope you like bass. Akris, the Virginian duo of bassist/vocalist Helena Goldberg and drummer Sam Lohman, fluidly blend thrash, doom and noise, but are also able to dive quickly into runs of progressive technicality. Goldberg played through three heads — Sunn Concert Master and Slave and an Earth Super Bass Producer — and should go without saying was assaultingly, feel-it-in-your-chest loud, and Lohman had his own kit set up toward the front of the stage and off to the site, turned sideways. If I wasn’t awake yet, Akris were loud enough to get the job done, but as overwhelming as it was in terms of volume, the tone wasn’t muddy. The vocals cut through the low end (duh) and I’m not sure whether Lohman‘s drums were actually coming through the P.A. or not — they were mic’ed up, but he looked to be crashing down hard enough to be heard down the street, so who knows — but there was no trouble hearing him either, and even when Goldberg was at her loudest and most raging, everything came through distinct. Their demo was cool and hopefully it’s not too long before they follow it up with either a full-length or an EP. I’d be interested to hear how the dynamic between them came across over the course of a whole album. In the meantime, they were a shot of energy to start the day. Much needed and much appreciated.

Eerie

UPDATE 1:44PM: From the wilderness of New Hampshire, double-guitar doomly foursome Eerie were quick to align themselves with the extreme. In look and attitude, I half expected the band to bust out throat-ripping screams and searing blasts. Didn’t happen, but they weren’t lacking for grimness besides. Instead, they doomed out a wall of riffs and varied abrasive and clean vocals, relying on steady undulating riffs, not unfamiliar, but hard to place directly somewhere between Cathedral and the semi-psych tonality of earliest Zoroaster. One of the guitarists broke a string early into the set, but if it really affected the sound, I wouldn’t know it. The two guitars played well off each other, and if the broken string did anything, it was force him into a higher register and into starker contrast with his fellow six-stringer. They have a record that I’ll hope to pick up and check out further, but it’s high time New Hampshire’s untamed forests spawned a unit as dark as Eerie — who might need to take a different name for how well it actually describes them. They seemed to have common cause with Statis, who are on next, but what the alliance might be, I don’t know. Either way, if Akris were the stoner hands, Eerie were the doom. Doom like “we only use our first initials” kind of doom.

Stasis

UPDATE 2:27PM: Well, mystery solved. Stasis‘ drummer — listed on their Thee Facebooks as the mysterious “TBA” — was the same dude who played guitar and handled vocals in Eerie. See? I know it’s precisely that kind of investigative reporting that keeps you coming back to The Obelisk. Anyway, a trio from Portland, Maine — where Revelation and Ogre will doom this very evening — they were more on the sludge end than Eerie before them, but while guitarist/vocalist Michael Leonard Maiewski wasn’t including the same kinds of Euro-doom derived ambient parts, there was still a decent cut of drama in what they were doing. Bassist Mindy Kern had a Warlock or some such bass — many interestingly shaped instruments this weekend — and I don’t know to say for sure, but I think the sound guy working the board here at the El ‘n’ Gee is about ready to hang it up and go get a real estate license. It’s a universal fallback plan. So far, the three bands that have played have been so loud that by the time Stasis were halfway through, he’d left, perhaps in pursuit of lunch, I don’t know for sure. Would require some more of that investigating. I’ll get with the budget office and see if we can swing it. Stasis threw down a little mud, but the wash of low end was obviously intended. Wouldn’t be sludge if it wasn’t dirty.

Curse the Son

UPDATE 3:20PM: Beardbanging all the while, guitarist/vocalist Ron Vanacore led Hamden, CT, trio Curse the Son down a long trail of smoke to the riff-filled land. Playing through a righteous custom Dunwich amp — they make ’em pretty — Vanacore’s riffly plod was second to none I’ve heard so far over the course of this year’s SHoD, and with the rhythm section of bassist Cheech and drummer Mike Petrucci stomping away, the band gave a strong herald for their upcoming Psych-ache full-length. Most of what they played seemed new, but I did recognize a tune or two from the prior Klonopain (review here) long-player, but really, old material or new, it’s all about the riffs, and Curse the Son has that down. I’d like to see Vanacore (who’s fighting a sinus infection but didn’t let on on stage) in a beard-off with Ben McGuire from Black Cowgirl, who play later, but in the meantime, Kin of Ettins is on next, having come all the way from Texas for the show. Curse the Son gave them a good lead-in and the crowd seems to be right on board. There’s been a lot to dig about today so far, though it’s hard to believe we’re only four bands into the day.

Kin of Ettins

UPDATE 4:22PM: In a dark venue such as this, it’s kind of easy to lose track of time. Whenever someone opens a door to outside and the sunlight comes in, I’m surprised. It’s still daylight out. It’s four in the friggin’ afternoon. Obviously no one told doomly Dallas four-piece Kin of Ettins that. They rocked like it was well after 11PM, proffering a doom that wouldn’t have been at all out of place on Hellhound Records in the mid-’90s and delivering it with just a hint of Texan swagger and inflection. Bechapeaued guitarist/vocalist Jotun (above) made mention in thanking Rob Levey for putting this together that he and bassist Donar were at the first SHoD in 2001 in Dallas. Must be quite a trip 11 years later to play it in New England, but they did well, and with one hand, guitarist Teiwaz ripped into impressive leads, overcoming some early technical difficulties and making a song like “Snake Den Time,” the title-track of a reportedly coming full-length, a standout. They saved the best for last, however, with the cut “Echoes in the Deep,” which also ended the set on their Doomed in Dallas live EP (review here). Awesome to have them represent the fertile Texas scene at Stoner Hands of Doom, and I’m glad I got to see it.

Black Cowgirl


UPDATE 5:13PM: It’s only been about a month since I saw Black Cowgirl in Philly with The Company Band, so they were pretty fresh in my consciousness, as much as anything is at this point. In that time, however, their self-titled full-length (comprised of two prior EPs put together) has seen its CD release, so they haven’t exactly been sitting still. They were much as they were at the Underground Arts, maybe drummer Mark Hanna was a little less inclined to stand up behind his kit, but beyond that, the two guitars of Ben McGuire and Nate Rosenzweig still worked well together and bassist Chris Casse held down the grooves ably without being overly showy. Someone put themselves in the spot in the bar area where I had been setting up the laptop, so I moved outside, and it’s apparently a pretty fantastic day out. Not quite enough to make me regret spending the whole thing inside the dark club, but still. The thing that stands out most about Black Cowgirl‘s set is the dynamics within the band’s approach. The performances were spot on, but even more than that, their songwriting is strong and varied and their ability to convey that in a live setting like this makes them that much stronger a band.

Beelzefuzz

UPDATE: 6:12PM: Wonderfully monikered Maryland classic doom trio Beelzefuzz just wrapped their set with a cover of Lucifer’s Friend‘s “Ride in the Sky.” A pretty bold choice, given that Trouble did the same tune and The Skull is playing later tonight, but I’ll be damned if they didn’t pull it off, guitarist/vocalist Dana using his pedal board as much for his vocals as for his guitar. And I do mean “vocals,” plural. At several points in the set, he was doing live double-tracking, clicking on to add another of his voice and then clicking off. He got jumbled up doing it, but it was impressive nonetheless, as was his voice in general. Though I dug their demo, I’d only ever seen Beelzefuzz for two songs at Days of the Doomed II back in June, so a full set was welcome. Following the energy of Black Cowgirl, they were a calmer stage presence, but tight performance-wise, and usually if it’s going to be one or the other, I’ll take that. Dana‘s guitar magically became a Hammond organ at several intervals and that was awesome as well. The Maryland contingent — a big part of SHoD for the last couple years — will have further representation from Admiral Browning in a few hours, but Beelzefuzz were a welcome dash of Krug’s Place in the meantime, making me a little wistful for Frederick. New London’s been alright in the meantime, though.

One Inch Giant


UPDATE 7:14PM: This was the last stop on Swedish rockers One Inch Giant‘s US tour. I saw the first one earlier this week in Brooklyn. Pretty awesome of an underground band, relatively unknown, to get over here and do a week of shows like that. Unlike in Brooklyn, I watched their whole set this time around, though it seems I’d seen more of it than I thought last time. They sent out a building jam to the ladies, hit the blastbeats again — frontman Filip Ă…strand warning the crowd beforehand by saying, “I know you like them slow, but this one’s fast” — and gave a solid, energetic showing of their straightforward European-style heavy rock. I couldn’t help but wonder if Ă…strand washed his Morbid Angel shirt between the two shows, but as I couldn’t smell him while was taking pictures, I figure probably there was laundry done at some point during the week. Their stuff was straight ahead catchy, and I think maybe some of the ideas got lost in translation between the Euro and US markets, but for both the fact that they’re here and for what they actually did while they were on stage, it was more than respectable.

Orodruin

UPDATE 8:11PM: As good as some of the doom I’ve seen over the last couple days has been, I don’t know if anything tops Rochester, New York’s Orodruin. They haven’t put out an album since 2003’s Epicurean Mass, but here as at Days of the Doomed, they came on and promptly blew the crowd away. John Gallo doesn’t so much play riffs as he conjures them, summoning them from his guitar in some kind of doomly ceremonial rite. The band played as a four-piece tonight, with second guitarist (and if I’m wrong on the name, please correct me) Nick Tydelski joining the melee alongside bassist/vocalist Mike Puleo and drummer Mike Waske. As a four-piece, they were no less potent than as a trio, and they had what I think was the biggest crowd of the fest so far. I didn’t count heads or anything, but all the people I’ve seen milling about the El ‘n’ Gee today finally seemed to all be in the same place at the same time. Good reason, as Orodruin are hands down one of the best traditional doom acts I’ve ever encountered live, breathing new life into what in most hands is a genre based in no small part on retread. Not knocking that, just saying that these guys have something special. Their In Doom demo/EP is here and on sale. I bought one in Wisconsin, but I’m almost tempted to pick up another, just to have it. Fucking a.

Admiral Browning

UPDATE: 9:10PM: Anything strike you as a little strange about the picture above of Ron “Fez” McGinnis of Maryland progressive noisemakers Admiral Browning. He’s singing! When their set first started, I said to myself, “Now why the hell would they leave a microphone on stage?” thinking maybe it was just so guitarist Matt LeGrow could say thanks or something, but then Fez had one too, and sure enough, vocals. Not just vocals though, harmonies too. Either these dudes just discovered they could do that stuff or they’ve been holding out. I’d always kind of thought of Admiral Browning‘s tech-minded approach as being too complicated as to allow for structuring into verses, but it worked and it worked well. They still had plenty of instrumental material on offer, but they’ve put themselves into a different echelon entirely by adding singing, all the more so for actually being able to pull it off. And of course, as LeGrow and McGinnis were belting out the songs, drummer Tim Otis was running a marathon across his kit behind them. Legitimately, I’d be surprised if he covered any less than 26.2 miles. They paid homage to Buddy Rich with “Traps” and, after a story of how they ran into Geraldo Rivera in Coney Island earlier today, shouted out “La Araña Lobo” in his mustachioed honor. My plan had been to run out to the car and grab my long-awaited turkey sandwich from the cooler in my trunk, but Admiral Browning kept me right in here. That might not sound like high praise, but there isn’t much that beats “turkey sandwich” in my book. Kudos, gentlemen.

Earthen Grave


UPDATE 10:10PM: Chicago’s Earthen Grave went sans violin for their set. I seem to recall Rachel Barton Pine, who usually handles that instrument, being either pregnant or recently a mother, and either way, I’d expect that to account for her absence from SHoD. It’s a valid enough excuse. The show went on, as I’m told the show must, and Earthen Grave delivered a crunchier-seeming set of traditional doom and metal. Vocalist Mark Weiner has hit himself in the head on purpose both times I’ve seen the band — here and at Days of the Doomed II — and so I guess he’s just that crazy. He had on a Church of Misery shirt and was happy to show it off along with his formidable pipes, but bassist Ron Holzner has “used to be in Trouble” on his side, and that’s always an attention-getter. The band was pretty crisp, even for lacking their violin, and the assembled heads dug in wholeheartedly as they kicked into a new song, the title of which I didn’t get. Good to know they have new stuff in the works though. I did run out and grab that turkey sandwich, eating half as I sat on the lip of the open trunk of my car — a doomer tailgate party of one — but when I came back, Earthen Grave made me think perhaps I should revisit their self-titled full-length, and covered Pentagram‘s “Relentless,” which is a bit of a coincidence, since that band is about to go on stage in Brooklyn playing that album in its entirety. Go figure.

Devil to Pay


UPDATE 11:12PM: No coincidence that Devil to Pay guitarist/vocalist Steve Janiak was representing the Ripple Music logo, as it was recently announced the Indianapolis four-piece had signed to that label for the release of their new album. Janiak said on stage that the record is due out in January — it’ll be their first since 2009’s Heavily Ever After — and they played a few songs from it, including the gloomy highlight “Yes, Master.” Devil to Pay are always pretty humble on stage, but they’re pretty clearly riding a high. They seemed confident and assured in their sound, guitarist Rob Hough breaking out the weekend’s first and only (to date) windmill headbang, and Janiak‘s tenure in the doomier Apostle of Solitude has brought a new dynamic to his vocals, which had a kind of post-Alice in Chains grunge feel. I had been looking forward to the new album already, but it’s good to have some affirmation for the anticipation. The night is starting to wind down, and with Pale Divine and The Skull still to go, things are about to get awfully doomed around here, but Devil to Pay‘s heavy rock was a great balance between the stoner and the doom, and Janiak is beginning to emerge as a genuine frontman presence. Cool to watch.

Pale Divine

UPDATE 12:14AM: The funny thing about watching Pale Divine‘s set tonight was that for most of the contingent up front to see the band, they were local, like well-known, like married-to-them local. For me, seeing Pale Divine, who hail from Pennsylvania, is something exotic, something that doesn’t happen every day. It had me thinking about the bands that I feel that way about — Jersey acts like The Atomic Bitchwax or even a Long Island band like Negative Reaction — who I take for granted. My moment’s pondering didn’t last much longer than that, however, because I was astonished to see Fezzy from Admiral Browning was playing bass alongside guitarist/vocalist and band founder Greg Diener and drummer Darin McCloskey, who also played with Beelzefuzz tonight. Fez was a little punchy on the bass, but that dude’s the kind of player that could pretty much fit in anywhere so long as it’s heavy, and it was cool to see him in a more traditionally riffy context, playing off Diener‘s Wino-inspired riffs. A highlight was “Amplified,” the opening track of their first album, Thunder Perfect Mind, and when the whole thing was done, I won the Stoner Hands of Doom raffle! More on that later, as The Skull is about to go on.

The Skull

UPDATE 1:40AM: You know what the difference is between The Skull and your Trouble cover band? First of all, you don’t have a Trouble cover band, but even if you did, chances are it wouldn’t have Ron Holzner playing bass in it or Eric Wagner singing, and as someone who saw Trouble proper on their tour with Kory Clarke fronting them, I can say first hand that that makes a big fucking difference. Seems frivolous to say “Psalm 9” and “Bastards Will Pay” were high points — the whole set was a high point. Together with guitarists and a drummer culled from Chicago metallers Sacred Dawn, Wagner and Holzner ran through a set of classics that seemed utterly antithetical to the late hour. They killed, and the people that stuck around ate it up. Nobody even spoke in between songs. Everyone just stood there and waited to see what was coming next? How about “Revelation (Life and Death)?” Well, yeah, okay, right on. I guess the big difference between tonight and when I saw The Skull at Days of the Doomed is I’m not miserable piss drunk tonight, so I’ve got that working for me. When their set was finished, Wagner said he’d keep going if someone bought him a beer, so beer was acquired and they wound up closing with “At the End of My Daze,” which was incredible of course. The bar called a “get the fuck out” last call after they were actually done, so I’m writing this in the car in the parking lot outside, about to drive back to where I’ll crash out and get up tomorrow for the final day of Stoner Hands of Doom. Tonight was unreal.

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Developing a Troubled Relationship with Earthen Grave

Posted in Reviews on February 19th, 2010 by JJ Koczan

Not sure quite what the hell I expected from Dismal Times, the 2009 debut demo EP from Chicago traditional doom outfit Earthen Grave, but I am pretty sure the problem was with my expectation. Having heard a lot of top notch trad doom lately from the likes of The Wounded Kings and Apostle of Solitude, it’s hard to think of a reason I shouldn’t have dug immediately into Earthen Grave’s first half-hour of output as well, but something about the five tracks the six-piece outfit delivered just didn’t sit right in my head.

Maybe the bar was set too high in my mind because of how much Trouble’s name has been tossed around in companion to Earthen Grave’s. Sure, the band features former Trouble bassist Ron Holzner, but that doesn’t necessarily mean Dismal Times is going to be Manic Frustration. His mere presence (and neither that of Trouble’s Jeff “Oly” Olson nor Rick Wartell) wasn’t enough to save Wet Animal, so I don’t know why it would make so much of a difference in Earthen Grave.

Or maybe it was the violin thing. Earthen Grave aren’t the first band to tout strings, and Rachel Barton Pine’s talent is obvious from the outset, but there’s something gimmicky about it, isn’t there? Like, “Hey, check us out, we have this thing, and that makes us different?” so it can be a songwriting crutch? It’s possible that’s what did it, and all the more so because Pine rarely steps out of the parameters of the riffs of guitarists Tony Spillman and Jason Muxlow (The Living Fields), or even when she does, as on the solo of “Life Carries On,” it doesn’t do much to enhance the song another guitar solo couldn’t have accomplished. I’m sure it’s exciting to watch live, stringed instruments in a rock context usually are, but the standout factor isn’t really there on the recording. It works in some spots and is awkward in others. That’s life.

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