Friday Full-Length: Iron Man, I Have Returned

Posted in Bootleg Theater on April 26th, 2024 by JJ Koczan

Iron Man‘s fourth album, I Have Returned (review here), was released 15 years ago this week, on April 25, 2009. It came out through Shadow Kingdom Records, which over the next couple years would also stand behind reissues of the quintessential Maryland doomers’ LP catalog up to that point — namely 1993’s Black Night (discussed herereissue review here), 1994’s The Passage (discussed here) and 1999’s Generation Void (reissue review here) — and its arrival was all the more ceremonious with the decade’s split between records.

Of course the truth is more complex than Iron Man returning and putting out a record called I Have Returned to mark the occasion — founding guitarist and principle songwriter “Iron” Alfred Morris III had brought the band back in the mid-aughts and released two live albums (both recorded in Cincinnati) and an EP, Submission, in 2007 — and though 10 years from one record to the next should be well long enough to build anticipation among fans, they were never a ‘hype’ kind of band.

I was about 12 at the time and can’t claim to have been aware/on board when their first two records landed through the venerable German label Hellhound Records, which dug into the Maryland doomsphere in the ’90s to unearth outfits like UnorthodoxThe ObsessedIron ManWretchedRevelationInternal Void and Vortex of Insanity — along with Count RavenPigmy Love CircusLost BreedSaint Vitus and plenty of others from elsewhere; their catalog is a lost trove of doomers’ doom dying for loyalist reissue — but for me and I think a generation of underground-heavy heads who would come up in the next few years, I Have Returned marked a new beginning.

Perhaps it was less that for Morris. When I asked him in a 2009 interview here how things were different after 10 years, doing a new record and bringing out a revamped lineup with vocalist Joe Donnelly, bassist Louis Strachan (Life Beyond, Wretched, now Spiral Grave), and drummer Dex Dexter (who had played in Force with Morris, pre-Iron Man), he said simply: “Nothing has changed much.”

Fair enough, and on a few levels that was almost certainly true. Morris had started Force, from which Iron Man sprang initially as a Black Sabbath tribute act, in 1976, and he would continue with Iron Man for the rest of his life until his passing in 2018 at the age of 60, after a long decline in health that had left him legally blind and largely unable to tour. For him, maybe, it was so much a part of himself that it wasn’t a big deal, iron man i have returned wasn’t a “comeback,” because as long as he existed so did the band, even if they hadn’t done an album in however long. To an extent, he was Iron Man.

And while I won’t discount the punch of Strachan‘s bass as “Burn the Sky” starts I Have Returned at a decent clip with Donnelly — a more technical Ozzy-style singer who had done Sabbath tributes as well, and something of a comedian on stage — riding the coursing groove in the verse, the coordinating efforts of their manager Michael Lindenauer (who gets an Executive Producer credit), or anyone else’s work throughout, Iron Man was forever rooted in the riffs. And in this regard, in his riffs, Morris was a poet. The production of Frank “The Punisher” Marchand (so many, from Unorthodox and Sixty Watt Shaman to Foghound and Borracho) gives each instrument its space, and while the ethic the band always followed was light on flourish in a way that became a tenet of ‘Maryland doom’ as a style, hooky second cut “Run From the Light” was damn near stately in its dense distortion as Morris‘ guitar set the pattern for the lyrics that turned Trouble on their head, and whether it’s the march of the memorable title-track or “Curse the Ages (Curse Me),” the speedier chug of “Blind-Sighted Forward Spiral” and the shredding finale “Among the Filth and Slime,” the dug-in lumber of “Sodden With Sin” or the standalone acoustic strum-and-pluck of the interlude “Days of Olde,” in tone, tempo and delivery, Morris‘ work distinguished Iron Man as ever sure of their purpose, never having forgotten where they were coming from.

It’s not a perfect record, even before you take on the sleazy lyrics of “Gomorrah Gold” — recommend you don’t, actually — but its love of classic metal and of course doom still resonate in the hard-hitting tension of “Among the Filth and Slime” as well as the more atmospheric nod of “Fallen Angel” just before it, and in “Run From the Light” and “I Have Returned,” “Burn the Sky” and “Curse the Ages (Curse Me),” etc., Iron Man declared themselves within and beyond the bounds of the fertile Maryland underground. Further, it was the point at which they started to get a modicum of the respect they’d long since deserved.

Strachan held the bassist position for the remainder of Iron Man‘s career, but Donnelly was out of the band and replaced by “Screaming Mad” Dee Calhoun (now Spiral Grave, solo, etc.) on vocals before 2011’s self-released 2011’s Dominance EP (review here), and Jason “Mot” Waldmann (also now Spiral Grave) would take over on drums circa 2012, in time to be part of the final Iron Man long-player, 2013’s South of the Earth (review here), also helmed by Marchand and issued via Rise Above Records in an era that saw Lee Dorrian (CathedralWith the Dead, etc.) standing behind landmark albums from the likes of Uncle Acid and the DeadbeatsGhostBlood Ceremony and others.

When Iron Man got picked up by Rise Above, it brought them to another level entirely. They would travel abroad to play a Rise Above anniversary party and other shows like the Castle of Doom Festival in Italy where the 2021 live album Hail to the Riff (on Argonauta) was recorded, and while they’ll probably always be undervalued to some degree, that it turned out to be their final run is bittersweet in hindsight because at least Morris had the chance to experience some of the impact of his work in and on the doom genre. I Have Returned set that in motion.

And in a move that remains both duly respectful and respectfully classy, after Morris‘ death, CalhounStrachan and Waldmann put the band to rest as well, moving on to Spiral Grave and carrying the legacy forward in new ways while telling their own story as well.

As always, I hope you enjoy. Thanks for reading.

Most of this week was dedicated in my head to returning from, processing and thinking through the trip to Roadburn last week and weekend, and that’s how it played out. Thanks to the unending kindness of The Patient Mrs., coming home wasn’t nearly as overwhelming as it might’ve been, and while I wouldn’t say The Pecan took it easy on me — she had darted in the parking lot of the airport and had to be picked up and put in the car to leave, at which point comes the hitting and biting; she wanted to keep riding the people-mover after however many laps back and forth; transitions are always her hardest moments — we’ve done a lot of good reading this week, both about Zelda and not, and I think maybe she missed me a little bit. Not that such a thing would ever be said outright, mind you.

Specifically in terms of The Obelisk, it was a catchup week in which I didn’t get caught up, so maybe not the most successful, but neither was it the most ambitious, and I’m pretty sure I didn’t drop the ball on anything I was actually on the hook to post. A couple album announcements — Lord Buffalo spring to mind first — and tours for Greenleaf/Slomosa and Dopelord/Red Sun should’ve gone up and didn’t, but hopefully I’ll get there. I’m surviving, in the meantime, and the world continues to spin.

Where I’ve really been lacking is in email. I’ve got a backlog from the contact form of things to check out in addition to relevant press releases and contacts about this and that. Messenger has been a bit better but I’m behind on that too (also less comes in). But I’ve found that with the limited time and brainpower I have in a given morning/early afternoon, I need to be writing if I want to get done what I want to get done. Not saying interpersonal communication isn’t part of that — I’m not on a total blackout or anything, just not keeping up the way I should — but if I have the time to write, then I’m going to do all I can to put myself in a position where I’m writing.

This thankfully also leaves me little time for questions like, “Is this crazy?” or “Does this matter to anyone but me?” or “Is this how I should be spending my days?,” which I’m not sure are any help in the asking. Being someone who writes about music, a reviewer or, in my loftiest of self-assessments, a critic, I’m used to a certain amount of condescension, generally from other creative-types based on their own insecurities. How much I want to feed into that cycle, I’ve never been sure. With the proliferation of other blogs and here-listen-to-this algorithms, what do I really add to anything by stressing out about news posts?

I’m not ready to hang up the site, emotionally or practically. I don’t have another outlet, for example. Nowhere to go at this point. But “I just want to write” has become only one of the processes involved in The Obelisk, and I need to look at that. I am not a content-provider. I do not want to pose out for social media, or do reaction videos instead of reviews. Does that make the work I do here out of date and/or irrelevant? Maybe.

These are vague thoughts presented in vague terms, so I’ll be concrete and say this: someday this will end. I could get hit by a bus tomorrow. I’m 42 years old, and when The Obelisk started I wasn’t yet 30. I’ve dedicated 15 of the years of a life that in the best of cases is probably more than halfway over to this thing, and I’m comfortable thinking of it as my life’s work in terms of writing and reaching an audience. I’m happy with what it’s become, the generally respectful tone in which it’s spoken about, and that it’s spoken about at all. Every now and then, someone on the internet says something very nice about my work. I feel fortunate to have that as my situation. It is not something I take for granted. Thank you for reading, in other words. I’ll leave the discussion at that, which is what I most want to say anyhow.

This weekend we’re headed to Legoland, which I expect will be a total shitshow, but one of a familiar sort, and probably that will be the big event. I have two liner notes projects coming due at the same time, so my big plans to review Brume and DVNE and do three track/album premieres besides next week might prove too much, but I’ll do my best to dig into as much as I can, same as ever. Whatever you’re up to, I hope you enjoy the time. Have fun, be safe, hydrate and all that. It’s a hard world to live in, but there’s music too.

FRM.

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The Obelisk Questionnaire: Dee Calhoun

Posted in Questionnaire on February 26th, 2021 by JJ Koczan

dee calhoun (photo by Julya Brown)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Dee Calhoun of Spiral Grave, Iron Man, author, and solo performer

How do you define what you do and how did you come to do it?

Basically, I’m just a fan who gets to do and create things that I’m a fan of. It all started with music and has branched out from there. My mother would hear me singing along to stuff like Kiss and Sabbath in my bedroom when I was a pre-teen, and guilted/bribed me into entering a talent show at school. I ended up winning, and that set everything in motion. For decades it was only music, but in the past several years that has branched out into writing and voice work as well. It all goes back to mom putting a boot in my ass and telling me not to be afraid to try things.

Describe your first musical memory.

Probably my brother-in-law, who is 20 years older than me, playing me stuff like Grand Funk and Alice Cooper when I was in grade school. The big one was seeing Kiss on TV in 1976. That was the moment when I said “I want to do that.”

Describe your best musical memory to date.

As a fan, seeing Kiss on the reunion tour in 1996. I never saw Kiss in makeup on the first run, so seeing the band that really started it all for me, in full glory, was amazing for me. We had front row center for that show, and when the house lights went out my friend and I were hugging one another cheek to cheek, jumping up and down and crying. It was a moment of pure joy, and moments like that are few and far between.

As a performer, it was when my son joined me onstage at the second Maryland Doomfest. I’ve played bigger sets than that, both solo and in bands, but that’s a moment that I’ll take to my grave with me.

When was a time when a firmly held belief was tested?

I was raised in a Pentecostal church, and was taught that things regarding The Lord were not to be questioned. It was my getting into music that made me take a long hard look at some things, and made me realize that things should be questioned. About once a year we’d have the standard “Rock and Roll is the Devil’s Music” sermon, and I would always be sure to be right in front to watch and listen. We’d hear about everything from backward message to what certain band’s names stood for, and I could always look forward to an argument with my parents when I got home. Finally, they realized that I was into this music, and that I was a polite, well-spoken kid (teenager by then) who got good grades, didn’t drink or dope, and wasn’t holding séances. It was a learning experience for all of us.

Where do you feel artistic progression leads?

It takes us inward, as we search our own souls for the music to record, or for the words to be written on paper. It extends us outward, and we share these things with our audience. It can serve as a coping mechanism, or as a way to celebrate. It can be the conduit to pull something beautiful out of something horrific.

How do you define success?

Being content and happy. I’ve known musicians who were on tour and “living the dream” who were miserable. I’ve also known people whose only musical outlet was playing songs to their kids at bedtime and who were thrilled about it. That’s the name of the game.

What is something you have seen that you wish you hadn’t?

My three-year-old daughter dead on a hospital table. I picked her up and held her. It was the worst moment of my life, but you know what? I’m still here.

Describe something you haven’t created yet that you’d like to create.

I would love to direct a film. I do all of my own video work, and I’ve been involved in some documentary films, and I think creating a film from the ground up would be a wonderful experience.

What do you believe is the most essential function of art?

Release, and the satisfaction of creating something. Even if no one hears it, reads it, or sees it, just the act of making the art is a wonderful thing for the soul. If that art can impact someone else in a positive way, then even better.

Something non-musical that you’re looking forward to?

The release of my first novel. After that, being able to hang out with friends again.

www.screamingmaddee.com
https://www.facebook.com/screamingmaddee/
https://www.facebook.com/SpiralGrave/
www.argonautarecords.com

Spiral Grave, “Modern-Day Golden Calf”

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Iron Man: Live 2LP Hail to the Riff out March 5

Posted in Whathaveyou on November 19th, 2020 by JJ Koczan

Iron Man‘s final studio album, South of the Earth (review here), came out in 2013 and was the inarguable pinnacle of their career. Founded by Maryland doom forebear “Iron” Alfred Morris III (RIP 2018), it was released through Rise Above Records in what felt an awful lot like long-overdue recognition of the band’s legacy in the Chesapeake region and their unquestionable, unwavering loyalty to traditional doom, as well specifically as the tone, riffs and songwriting of Morris. The new live album, Hail to the Riff (what else to call it?) will be out in March through Argonauta — which has also handled former Iron Man vocalist Dee Calhoun‘s solo work — and captures the four-piece at this apex, what would turn out to be the crescendo of their time together as Morris gradually succumbed to health issues and eventually his passing.

You can see in the video for “As the Gods Have Spoken” at the bottom of this post that the band were thrilled to be playing where they were in Italy, and the spirit of the release in homage to Morris feels only appropriate.

Preorders are up and PR wire info follows:

iron man hail to the rifF

Argonauta Records To Release IRON MAN Live Album “Hail To The Riff”!

Argonauta Records has proudly announced the release of a live album by Maryland Doom Metal legends IRON MAN. Originally formed in 1988, IRON MAN became one of the most distinctive doom metal bands of all time, not just for paying excellent tribute to godfathers Black Sabbath but with their very own blend of heavy sounds. IRON MAN toured the world with bands like Cathedral and Pentagram, released unforgettable classic doom masterpieces, and left a huge gap in the world’s music scene when the group disbanded in 2018 after the passing of their founding member and guitarist, Alfred Morris III.

2014 saw the iconic band at the height of their powers, when they performed at the Castle of Doom Festival in Pagazzano, Italy on July 5th. It was IRON MAN’s first (and only) trip to Italy.

“This was Iron Man at its most powerful, and I think that Al would be thrilled with this release.” IRON MAN vocalist, Dee Calhoun, remembers. “Performing at this festival in Italy was a huge triumph for him, and to see the show preserved like this would make him very, very happy.”

As a tribute and monument to Al, Argonauta Records will release this memorable live moment by IRON MAN, titled “Hail to the Riff”, as a limited 2LP edition featuring one previously unreleased studio song on March 5th 2021. In support, vocalist Dee Calhoun created a haunting video to “As the Gods Have Spoken”, watch it here:

Al’s daughter, Alana Morris, shares some touching statement about the music legacy of her father and the upcoming live album:

“I am so grateful to Argonauta Records for making a tribute album for my dad. What an honor, considering Iron Man started out as a tribute band to Black Sabbath, I know he would’ve never dreamed someone would be doing a tribute to him.

The Type of person my father was, he never expected anything huge. He just enjoyed doing what he loved. Music was in his blood; part of his DNA and he wasn’t complete without it. He was open to all genres of music and receptive to all types of people. No matter who you were, if you asked him to jam with you, he would ask you ‘when and where’.

As long as I can remember, Iron Man was a large part of my dad’s life, and mine. My first rock show? My dad’s band. The first live show I ever saw was Iron Man. Watching my dad perform, I saw him transform. He had this amazing stage presence. An effortless grace when he played guitar that was mesmorizing. Even though I had seen him play a thousand times, I was always impressed!

I was nevery really interested in playing the guitar, oddly enough. Probably because I was satisfied enough just by watching my dad play, but he is the reason I play the bass and violin. I started playing the violin first and a few years later, my dad bought me a bass for a Christmas present. I was familiar with the bass because it’s similar to the violin as far as the string set up, but with the way my dad taught, he definitely helped me to develop my playing ability. Some of my favorite memories involve him and I jamming out together, either with him on guitar and me on bass, or me playing the violin part while he played the guitar part to Dust In the Wind. I believe these would have been some of my late mother’s favorite memories of us as well.

I am beyond words about this record being released in 2021. I am so excited and my heart is so full, knowing how much people admired and loved my dad. I will be anxiously awaiting the release, and I know Argonauta Records will release one AMAZING record! With the crazy year we’ve all had in 2020, I know this will certainly help usher in a new year with positive vibes and some incredible and timeless riffs!”

“Hail To The Riff” Tracklist:
01. The Fury
02. Run From the Light
03. The Worst and Longest Day
04. Ruler of Ruin
05. South of the Earth
06. Grown
07. As the Gods Have Spoken
08. Hail to the Haze
09. Sodden With Sin
10. A Whore in Confession
11. On the Mountain
12. Fallen Angel
13. Black Night
14. Black Morning (previously unreleased studio track)

The track “Black Morning” was recorded in late September 2013, just days before “South of the Earth”, the final IRON MAN album, was released on Rise Above Records.

The pre-sale of “Hail To The Riff”, a must-have live monument featuring one of the greatest and most charismatic doom metal guitarists of all time, is available via Argonauta Records at THIS LOCATION!

https://www.facebook.com/IronMan666MarylandDoom
http://www.ironmanband.com/
www.argonautarecords.com
https://www.facebook.com/ArgonautaRecords/
https://www.instagram.com/argonautarecords/

Iron Man, “As the Gods Have Spoken”

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Spiral Grave Sign to Salt of the Earth Records; Premiere “Nothing” Lyric Video

Posted in Whathaveyou on April 10th, 2019 by JJ Koczan

You knew someone was going to step up and snag Spiral Grave for an initial release, whether it was Argonauta Records, with whom frontman Dee Calhoun works on his solo stuff, or Shadow Kingdom, which has in the past released outings from Iron Man, or somebody else. The label pulling this oh-so-doomly rabbit out of its hat is Salt of the Earth Records out of Connecticut, and they’ll release the band’s debut single, from which you can hear the premiere of the track “Nothing” in the lyric video at the bottom of this post.

A debut album is slated to follow either late this year or early in 2020, but Spiral Grave have been gearing up with live shows over the last month in their native Chesapeake region, and they’ll make their first appearance outside those geographical confines next month at the New England Stoner and Doom Festival, in which Salt of the Earth also has a hand. Given the band’s pedigree in Iron Man and Lord — a perennial favorite who were underrated from their outset to their demise — to say I’m looking forward to their set would be something of an understatement.

The PR wire has the signing announcement:

spiral grave

Spiral Grave – Salt of the Earth Records

SALT OF THE EARTH RECORDS is proud to announce the addition of Maryland Doom cult SPIRAL GRAVE to their roster.

Spiral Grave is comprised of the three surviving members of IRON MAN in vocalist “Screaming Mad” Dee Calhoun, bassist “Iron” Louis Strachan and drummer Mot Waldmann, as well as former LORD guitarist Willy Rivera, whose sharp-edged riffing sets the mood for the band as heavy-as-hell aggressive doom.

“The music Spiral Grave is creating is some of the most ferocious doom metal I have heard. Ever. They take tradition and fury, and melt them together for a devastating ride.” – Scott Of The Earth

SPIRAL GRAVE recently recorded two songs for an upcoming CD single release, which will be followed by a full-length release late-2019/early-2020. The band will be performing at The New England Stoner and Doom Festival next month (May 3-5) at Altones Music Hall in Jewett City CT. Tickets are available at www.NewEnglandStonerAndDoomFest.com

Preorder your CD Single @ www.SaltOfTheEarthRecords.com

Spiral Grave live:
May 3-5 Altone’s Music Hall Jewett City CT – New England Stoner & Doom Fest II
June 8 Guido’s Speakeasy Frederick MD

Spiral Grave is:
Screaming Mad Dee – voice
Willy Rivera – guitars
“Iron” Louis Strachan – bass
Jason “Mot” Waldmann – drums

https://www.facebook.com/SpiralGrave/
www.facebook.com/SaltOfTheEarthRec
www.saltoftheearthrecords.com

Spiral Grave, “Nothing” lyric video

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Spiral Grave Announce First Live Shows Including New England Stoner & Doom Fest and More

Posted in Whathaveyou on March 14th, 2019 by JJ Koczan

spiral grave

With members of Iron Man and Lord coming together for the first time on stage, Spiral Grave will make their first live appearance tomorrow night, March 15, at The Depot in Baltimore. The four-piece were in the studio last month putting together a single previously teased in a rehearsal clip on thee social medias, and I’m not saying I heard the results of that session or anything, but yeah, that is what I’m saying and if their intent was as stated to capture the feel of “doom meets Dehumanizer,” they’re well on their way to that. I don’t know if they just did the one song or what — I think so, but don’t quote me — but either way, they must have at least a few songs together, since they’ve got two shows this weekend and they’ll be at New England Stoner & Doom Fest II in May and playing sets requires, you know, a set.

Still looking forward to more from these guys, and to seeing them in Connecticut:

We’re hitting the ground running…

Spiral Grave Upcoming Shows:
Friday March 15 The Depot Baltimore MD
Sunday March 17 The Pinch Washington D.C.
Saturday March 23 Bricks Staunton VA
Friday March 29 VFW 9724 Falls Church VA
May 3-5 Altone’s Music Hall Jewett City CT – New England Stoner & Doom Fest II
Saturday June 8 Guido’s Speakeasy Frederick MD

Spiral Grave is the collaboration of the members of two legendary mid-Atlantic bands: Iron Man, who disbanded in early 2018 following the death of their guitarist and founder Al Morris III, and Lord.

In mid-2018, former Lord guitarist Willy Rivera reached out to longtime friend and former Iron Man voice “Screaming Mad” Dee Calhoun about forming a new project, something that Willy described as “doom meets Dehumanizer.” Former Iron Man rhythm section “Iron” Louis Strachan (bass) and Jason “Mot” Waldmann (drums) came onboard, and Spiral Grave was born.

Spiral Grave is:
Screaming Mad Dee – voice
Willy Rivera – guitars
“Iron” Louis Strachan – bass
Jason “Mot” Waldmann – drums

https://www.facebook.com/SpiralGrave/

Spiral Grave, “Abgrund” rehearsal clip

Spiral Grave, “Nothing” rehearsal demo

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Spiral Grave: New Band Brings Together Members of Iron Man and Lord

Posted in Whathaveyou on January 2nd, 2019 by JJ Koczan

The surviving members of Iron Man have announced a new project together, as vocalist “Screaming Mad” Dee Calhoun, bassist Louis Strachan and drummer Jason “Mot” Waldmann have joined with guitarist Willy Rivera, who until this past summer was one of the essential figures behind heavy thrashers Lord. The new band is called Spiral Grave, and it will mark the first outing from WaldmannStrachan and Calhoun together since the death last January of Iron Man founder “Iron” Alfred Morris IIICalhoun and Strachan — the latter of whom seems to have inherited the “Iron in front of his name, and rightly so — have continued working together on Calhoun‘s solo-project, but Spiral Grave seems much more of a full-band entity than the singer-songwriter-gone-metal-isms of Dee‘s two to-date records.

Iron Man‘s final album was 2013’s South of the Earth (review here), issued by Rise Above Records and a fitting-if-unfortunate capstone on the band’s career of more than 20 years. Lord meanwhile announced their breakup last year even as they were getting ready to release their finest album in Desperation Finds Hunger in All Men (review here), which found their oft-chaotic approach on its most solid ground while giving up none of it razor-sharp edge. Spiral Grave would seem to draw from both sides in terms of its groove, though at least in the posted rehearsal room demo for “Nothing,” the band seems to lean much more toward doom than extreme sludge or thrash, as Lord sometimes would.

But they’re a new band, so it’s up in the air where their sound and exploration of influences might take them. They’re reportedly set to hit the studio next month for a single, and then I suppose it’s on from there. The start of a New Year is always supposed to hold some kind of promise of good things to come, so here’s this:

spiral grave

Spiral Grave is the collaboration of the members of two legendary mid-Atlantic bands: Iron Man, who disbanded in early 2018 following the death of their guitarist and founder Al Morris III, and Lord.

In mid-2018, former Lord guitarist Willy Rivera reached out to longtime friend and former Iron Man voice “Screaming Mad” Dee Calhoun about forming a new project, something that Willy described as “doom meets Dehumanizer.” Former Iron Man rhythm section “Iron” Louis Strachan (bass) and Jason “Mot” Waldmann (drums) came onboard, and Spiral Grave was born.

In February 2019, Spiral Grave will record their first single, and will take to the live stage.

Spiral Grave is:
Screaming Mad Dee – voice
Willy Rivera – guitars
“Iron” Louis Strachan – bass
Jason “Mot” Waldmann – drums

https://www.facebook.com/SpiralGrave/

Spiral Grave, “Nothing” rehearsal demo

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“Iron” Al Morris III Benefit Shows Announced

Posted in Whathaveyou on January 22nd, 2018 by JJ Koczan

Two benefit shows have been announced in Maryland to honor the memory and help with the medical and memorial expenses for Iron Man founder and guitarist Alfred Morris III. The first is Jan. 27 at The Depot in Baltimore and the second is Feb. 17 at the Patriotic Club in Frederick. Neither city locale, in being centers of Maryland’s doom underground, would seem to be a coincidence, and in addition to acoustic performances by Wino and members of Iron Man — presumably that’s vocalist Dee Calhoun and bassist Louis Strachan taking the stage together — the shows will feature sets by Witch Hazel, Bound by the Grave, Mind’s Eye, Wrath of Typhon, and others.

Morris passed away Jan. 10 after a long fight with diabetes and along with the benefits, a crowdfunding campaign has been set up to accept donations in his memory. Info on all of the above follows the graphic below, which, if it wound up on a t-shirt, I would proudly wear:

iron man al morris memorial

“Iron” Alfred Morris III Benefit Shows

JAN 27 – Benefit Show For Alfred Morris III, doom metal legend

The Depot
1728 N Charles St, Baltimore, Maryland 21201

We have assembled a stellar lineup to honor Al Morris III which demonstrates how much he was loved by the music community of all genres. $10 at the door.
Electropathic
Witch Hazel
Thee Iron Hand
BOUND BY THE GRAVE
Members of the Iron Man Band performing an acoustic set
and Scott “Wino” Weinrich performing an acoustic set
We still seek raffle donations: Please contact Greg Serio or M A Spiro to arrange that. Spread the word!

Al was a great father, mentor, brother, and friend to many. As a guitarist and founding member of The Iron Man, his influence was legendary. This benefit is to help the family with the funeral expenses and also to honor a legend in The Doom Metal community..
https://www.gofundme.com/doom-metal-hero-al-morris-iii
We are seeking any donations for a raffle that will be held at midnight at the event on Saturday, January 27th at The Depot in Baltimore. Any help would be greatly appreciated.

https://www.facebook.com/events/177563542842460/

Feb. 17 – Al Morris III Benefit Concert

Patriotic Club
300 E 4th St, Frederick, Maryland 21701

We are hosting a benefit concert to celebrate the life of a local legend, and Doom genre icon Al Morris III (Iron Man). Al was recently taken from us after battling health issues, and being a loyal brother within the local scene, the local scene now has the opportunity to help with this worthy cause to provide some relief to Al’s already grieving family with funeral, and preexisiting medical bills.

I’ll be providing many details in the coming days, including band lineup with set times, raffle information, etc.We will be charging a $10 donation at the door, and drink/ food specials will be made available at this comfortable, family friendly environment. Would like to thank Jackie from the Patriotic Club for agreeing to host the event on short notice, and Dave Davidson for once again displaying his heart by donating his time to run sound for us.

Thank you to all the bands that contacted us with interest, and we are determined to incorporate acts that not only knew Al personally, but also shared the stage with him over his remarkably rewarding musical journey.

Will update as information becomes available. This second show is being requested so those who knew Al and can’t make the cold journey to Baltimore for the 1st benefit, can have a chance to show their support.

We want to treat this second show as a family friendly event, and less about the theatrical impact.

We hope you will join us….

Set Times:
Children of the Grave – 6:00 – 7:00
War Mask– 7:15 – 7:45
Mind’s Eye – 8:00 – 8:45
Wrath of Typhon – 9:00 – 9:45
Wino w/ Brian Costantino – 10:00 – 10:45
Members of Iron Man w/ Bill Miskowitz– 11:00 – 11:30

https://www.facebook.com/events/1277913502323853/

https://www.facebook.com/IronMan666MarylandDoom/
https://ironmanband.bandcamp.com/
http://www.ironmanband.com/

Iron Man, “Black Morning”

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R.I.P. “Iron” Alfred Morris III, 1957-2018

Posted in Whathaveyou on January 10th, 2018 by JJ Koczan

iron man (photo by JJ Koczan)

Devastating news out of a Maryland doom community already reeling this afternoon. The passing of Iron Man founder, songwriter and guitarist “Iron” Alfred Morris III has been confirmed by the band:

It is with profound and immeasurable sadness that we let you know that Alfred Morris III passed away this morning. There are no other words at this time.

Morris, who would have turned 61 on March 9, had been dealing with declining health effects from an ongoing battle with diabetes over the last several years, and reportedly had an extended hospital stay in 2017 following the amputation of his left leg. While it is unknown as of this writing if this directly contributed to his death, Morris’ issues had been a major contributing factor to a stretch of inactivity on the part of the band following the release of their last full-length, South of the Earth (review here), in 2013.

Issued by respected UK purveyor Rise Above Records, that album represented a pinnacle for the long-running and influential Maryland doom outfit. With Morris’ riffs and solos ever at the center of their approach, Iron Man — founded as a Black Sabbath tribute band following Morris’ time in proto-doomers Force — issued their first demo 30 years ago in 1988 and would follow it in the subsequent years with four LPs prior to their final one: 1993’s Black Night (discussed herereissue review here), 1994’s The Passage (discussed here; reissue review here), 1999’s Generation Void (reissue review here) and 2009’s comeback outing, I Have Returned (review here), as well as a slew of EPs and other limited offerings along the way.

In addition to bringing Iron Man to a new level of prestige in terms of its release, South of the Earth also gave the band their first opportunity to play internationally, at Rise Above’s 25th anniversary celebration in London in December 2013. The band continued to make regular appearances thereafter at Maryland Doom Fest and other regional events, but would never embark on wider touring in support of the album, and word of a follow-up through Rise Above or any other label never materialized.

What the loss of a figure of Morris’ status means to the Maryland doom community can hardly be overstated. One of the longest and most loyal practitioners of the Chesapeake region’s particular brand of downtrodden riffing, in his tone and construction, Morris has served for decades as a blueprint for others to follow. To watch his smooth-grooving presence on stage and bask in the warmth of his guitar tone was to know a singular joy of traditional doom in its finest Sabbathian spirit.

On behalf of myself and this site, I wish condolences to the family, friends, current and former bandmates and fans of Alfred Morris III. He brought something special to Maryland doom that, to put it simply, will never be replaced and will be deeply missed.

“Iron” Al Morris. 1957-2018. The Riff.

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