Posted in Whathaveyou on January 19th, 2026 by JJ Koczan
It was like two weeks ago that The Knights of Doom 2026 — the inaugural edition of a two-dayer put on by JB Matson and the crew from Maryland Doom Fest, which ended its decade-plus run in 2025 — announced the first names for its lineup. The full bill has been revealed since, and if you’re getting mini-MDDF vibes off the list of names, many of whom are veterans of past years, I don’t think that’s unfair, but there are some newcomers as well. And if you do some quick division on 35 bands over two days, you know that’s 17.5 per day — actually it’s 16 on June 20 and 19 on June 21; yes I had to count — so those days are probably going to start early, go late, and be jam-packed in a spirit that should be familiar to anyone who hit MDDF during its time.
You can see how this might go, right? Folks show up for the family reunion — and MDDF was very, very much that; a more loyal crew would be hard to find on the Eastern Seaboard if you even deigned to look — and bands get added. This year is two days. It’s got room to grow, and I don’t know if it will — on some level, these folks have been-there-done-that in terms of building a festival culture and vibe, let alone managing four days’ worth of logistics with 50-plus bands shuffling about — but this will be the starting point one way or the other. It can only happen first once, and with love and respect for many in that family from a little ways north, I hope it goes off without a hitch.
The announcements were made on social media:
💀KNIGHTS OF DOOM ‘26 final band dump / rosters / complete lineup!!!
Wolftooth, Vanishing Kids, Foghound, Crop, Moonsinger, Uga Buga, Clamfight, Sun Voyager, Locust Pointe, End of Age, Thunderbird Divine, Black Manta, Bog Wizard, Faith in Jane, Black Night, Tommy Stewart’s Dyerwulf
June 21:
Lie Heavy, Borracho, Stone Nomads, Curse the Son, Bloodshot, Stormtoker, Hovel, Mourn the Light, Thunder Horse, Kulvera, Born of Plagues, Dreadstar, Professor Emeritus, Strange Highways, Gravedigger’s Biscuits, Grave Next Door, Double Planet, Bleak Shore, Burn the Martyr
Alright, back at it. Putting together yesterday over the weekend was more scattershot than I’d prefer, but one might say the same of parenting in general, so I’ll leave it at that. Still, as happens with Quarterly Reviews, we got there. That my wife gave me an extra 40 minutes to bang out the Wizzerd video premiere was appreciated. As always, she makes everything possible.
Compared to some QRs, there are a few ‘bigger’ releases here. You’ll note High on Fire leading off today. That trend will continue over this and next week with the likes of Pallbearer, Uncle Acid, Bongripper, Harvestman (Steve Von Till, ex-Neurosis), Inter Arma, Saturnalia Temple spread throughout. The Pelican two-songer and My Dying Bride back to back a week from today. That’ll be a fun one. As always, it’s about the time crunch for me for what goes in the Quarterly Review. Things I want to cover before it’s too late that I can fit here. Ain’t nobody holding their breath for my opinion on any of it, or on anything generally for that matter, but I’m not trying to slight well known bands by stuffing them into what when it started over a decade ago I thought would be a catchall for demos and EPs. Sometimes I like the challenge of a shorter word count, too.
And I remind myself here again nobody really cares. Fine, let’s go.
Quarterly Review #11-20:
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High on Fire, Cometh the Storm
What seems at first to be business as usual for High on Fire‘s fourth album produced by Kurt Ballou, fifth for MNRK Heavy (formerly E1), and ninth overall, gradually reveals itself to be the band’s tonally heaviest work in at least the last 15 years. What’s actually new is drummer Coady Willis (Big Business, Melvins) making his first studio appearance alongside founding guitarist/vocalist Matt Pike (Sleep, Pike vs. the Automaton) and long-tenured bassist/backing vocalist Jeff Matz (also saz on the instrumental interlude-plus “Karanlik Yol”), and for sure Willis‘ thud in “Trismegistus,” galloping intensity in the thrashy and angular “The Beating” and declarative stomp beneath the big slowdown of 10-minute closer “Darker Fleece” is part of it, but from the way Pike and Matz bring “Cometh the Storm’ and “Sol’s Golden Curse” in the record’s middle to such cacophonous ends, the three-and-a-half-minute face-kick that is “Lightning Beard” and the suckerpunch that starts off with “Lambsbread,” to how even the more vocally melodic “Hunting Shadows” is carried on a wave of filthy, hard-landing distortion, their ferocity is reaffirmed in thicker grooves and unmitigated pummel. While in some ways this is what one would expect, it’s also everything for which one might hope from High on Fire a quarter-century on from their first demo. Triumph.
A release concurrent to a remastered edition of their 2016 debut, Lemanis (review here), only puts into emphasis how much Spaceslug have come into their own over eight productive years. Recorded by drummer/vocalist Kamil Ziółkowski (also Mountain of Misery), with guitarist/vocalist Bartosz Janik and bassist/vocalist Jan Rutka dug into familiar tonal textures throughout five tracks and a quick but inevitably full-length-flowing 32 minutes, Out of Water is both otherworldly and emotionally evocative in the rollout of “Arise the Sun” following the intertwined shouts of opener “Tears of Antimatter,” and in keeping with their progression, they nudge toward metallic aggression as a way to solidify their heavy psychedelic aspects. “Out of Water” is duly mournful to encapsulate such a tragic notion, and the nod of “Delusions” only grows more forcefully applied after the return from that song’s atmospheric break, and while they depart with “In Serenity” to what feels like the escapism of sunnier riffing, even that becomes more urgent toward the album’s finish. The reason it works is they’re bending genre to their songs, not the other way around, and as Spaceslug mature as a group, they’ve become one of Poland’s most essential heavy acts.
First issued on CD through JM Records in 2023, Lie Heavy‘s debut album, Burn to the Moon, sees broader release through Heavy Psych Sounds with revamped art to complement the Raleigh, North Carolina, four-piece’s tonal heft and classic reach in pieces like “In the Shadow” and “The Long March,” respectively. The band is fronted by Karl Agell (vocalist for C.O.C.‘s 1991 Blind album and now also in The Skull-offshoot Legions of Doom), and across the 12-song/51-minute run, and whether it’s the crunch of the ripper “When the Universe Cries” or the Clutch-style heavy funk of “Chunkadelic” pushing further from the start-stops of “In the Shadow” or the layered crescendo of “Unbeliever” a short time later, he and bassist/vocalist TR Gwynne, guitarist/vocalist Graham Fry and drummer/vocalist Jeff “JD” Dennis deliver sans-pretense riff-led fare. They’re not trying to fix what wasn’t broken in the ’90s, to be sure, but you can’t really call it a retread either as they swing through “Drag the World” and its capstone counterpart “End the World”; it all goes back to Black Sabbath anyway. The converted will get it no problem.
Dublin, Ireland, trio Burning Realm mark their first release with the four-song Face the Fire EP, taking the cosmic-tinged restlessness of Wild Rocket and setting it alongside more grounded riffing, hinting at thrash in the ping ride on “From Beyond” but careening in the modern mode either way. Lead cut “Homosapien” gives Hawkwindian vibes early — the trap, which is sounding like Slift, is largely avoided, though King Gizzard may still be relevant as an influence — but smoothly gives over to acoustics and vocal drone once its urgency has bene vaporized, and spacious as the vocal echo is, “Face the Fire” is classic stoner roll even into its speedier ending, the momentum of which is continued in closer “Warped One (Arise),” which is more charged on the whole in a way that feels linear and intended in relation to what’s put before it. A 16-minute self-released introduction to who Burning Realm are now, it holds promise for how they might develop stylistically and grow in terms of range. Whatever comes or doesn’t, it’s easy enough to dig as it is. If you were at a show and someone handed you the tape, you’d be stoked once you put it on in the car. Also it’s like 1995 in that scenario, apparently.
Offered through an international consortium of record labels that includes Crême Brûlée Records in the band’s native France, Echodelick in the US, Clostridium in Germany and Weird Beard in the UK, French heavy psych thrusters Kalac‘s inaugural full-length, Odyssée — also stylized all-caps — doesn’t leave much to wonder why so many imprints might want some for the distro. With a focus on rhythmic movement in the we-gotta-get-to-space-like-five-minutes-ago modus of current-day heavy neo-space-rock, the mostly instrumental procession hypnotizes even as it peppers its expanses with verses here or there. That might be most effectively wrought in the payoff noiseblaster wash of “II,” which I’m just going to assume opens side B, but the boogie quotient is strong from “Arguenon” to “Beautiful Night,” and while might ring familiar to others operating in the aesthetic galaxial quadrant, the energy of Kalac‘s delivery and the not-haphazard-but-not-always-in-the-same-spot-either placement of the vocals are enough to distinguish them and make the six-tracker as exciting to hear as it sounds like it probably was to record.
The live-tracked fourth outing from Helsinki psych improvisationalists Alkuräjähdys, the lowercase-stylized ehdot. blends mechanical and electronic sounds with more organic psychedelic jamming, the synth and bassier punchthrough in the midsection of opening piece “.matriisi” indeed evocative of the dot-matrix printer to which its title is in reference, while “központ,” which follows, meanders into a broader swath of guitar-based noise atop a languidly graceful roll of drums. That let’s-try-it-slower ideology is manifest in the first half of the duly two-sided “a-b” as well, as the 12-minute finale begins by lurching through the denser distortion of a central riff en route to a skronk-jazz transition to a tighter midtempo groove that I’ll compare to Endless Boogie and very much intend that as a compliment. I don’t think they’re out to change the world so much as get in a room, hit it and see where the whole thing ends up, but those are noble creative aims in concept and practice, and between the two guitars, effects, synth and whathaveyou, there’s plenty of weird to go around.
Already a significant undertaking as a 95-minute 2LP running 11 tracks themed — as the title(s) would hint — around tarot cards, the mostly serene sprawl of Magick Brother & Mystic Sister‘s Tarot Pt. 1 is still just the first of two companion albums to be issued as the follow-up to the Barcelona outfit’s 2020 self-titled debut (discussed here). Offered through respected Greek purveyor Sound Effect Records, Tarot Pt. 1 gives breadth beyond just the runtime in the sitar-laced psych-funk of “The Hierophant” (swap sitar for organ, synth and flute on “The Chariot”) and the classic-prog pastoralia of closer “The Wheel of Fortune,” and as with the plague-era debut, at the heart of the material is a soothing acid folk, and while the keys in the first half of “The Emperor” grow insistent and there’s some foreboding in the early Mellotron and key lines of “The Lovers,” Tarot Pt. 1 resonates comfort and care in its arrangements as well as ambition in its scope. Maybe another hour and a half on the way? Sign me up.
The eight-year distance from their 2016 debut long-player, Little Cliffs, seems to have smoothed out some (not all, which isn’t a complaint) of the rough edges in Amigo‘s sound, as the seemingly reinvigorated San Diego four-piece of lead guitarist/vocalist Jeff Podeszwik (King Chiefs), guitarist Anthony Mattos, bassist Sufi Karalen and drummer Anthony Alley offer five song across an accessible, straightforward 17 minutes united beneath the fair-enough title of Good Time Island. Without losing the weight of their tones, a Weezery pop sensibility comes through in “Dope Den” while “Frog Face” is even more specifically indebted to The Cars. Neither “Telescope Boy” nor “Banana Phone” lacks punch, but Amigo hold some in reserve for “Me and Soof,” which rounds out the proceedings, and they put it to solid use for an approach that’s ’90s-informed without that necessarily meaning stoner, grunge or alt, and envision a commercially relevant, songwriting-based heavy rock and roll for an alternate universe that, by all accounts here, sounds like a decent place to be.
Culminating in the Sabbathian shuffle of “Eye for an Eye,” Wild Fever is the hook-drenched third full-length from Montreal fuzzbringers The Hazytones, and while they’ve still got the ‘tones’ part down pat, it’s easy to argue the eight included tracks are the least ‘hazy’ they’ve been to-date. Following on from the direction of 2018’s II: Monarchs of Oblivion (review here), the Esben Willems-mixed/Kent Stump-mastered 40-minute long-player isn’t shy about leaning into the grittier side of what they do as the opening title-track rolls out a chorus that reminds of C.O.C. circa In the Arms of God while retaining some of the melody between the vocals of Mick Martel (also guitar and keys) and Gabriel Prieur (also drums and bass), and with the correspondingly thick bass of Caleb Sanders for accompaniment and lead guitarist John Choffel‘s solo rising out of the murk on “Disease,” honing in on the brashness suits them well. Not where one might have expected them to end up six years later, but no less enjoyable for that, either.
God damn that’s harsh. Mostly anonymous industrialists — you get F and N for names and that’s it — All Are to Return are all the more punishing in the horrific recesses and engulfing blasts of static that populate III than they were in 2022’s II (review here), and the fact that the eight-songer is only 32 minutes long is about as close as they come to any concept of mercy for the psyche of their audience. Beyond that, “Moratorium,” “Colony Collapse,” the eats-you-dead “Archive of the Sky” and even the droning “Legacy” cast a willfully wretched extremity, and what might be a humanizing presence of vocals elsewhere is screams channeled through so much distortion as to be barely recognizable as coming from a human throat here. If the question being posed is, “how much can you take?,” the answer for most of those brave enough to even give III a shot will be, “markedly less than this.” A cry from the depths realizing a brutal vision.
Lie Heavy will issue their debut album, Burn to the Moon, through Heavy Psych Sounds on April 19. The well-pedigreed North Carolinian outfit comprised of guitarist Graham Fry (ex-Confessor), vocalist Karl Agell (The Skull/Legions of Doom, Patriarchs in Black, Leadfoot, Blind-era Corrosion of Conformity), drummer Jeff “JD” Dennis (Hank Sinatra and the Backsliders) and bassist TR Gwynne self-released the 12-song bangerfest last year and will now see it issued through Europe’s foremost heavy purveyor in its first physical editions.
An interesting passage-of-time aspect to how Lie Heavy are presented, since around the time Agell was were in Leadfoot (you’ll know it’s them because they drink for free) there was little talk of “throwbacks to another era” or this kind of dudely, straight-hitting sound as primal, with the implication of course that more complex ideas have come along since. That happens to be true. You can’t deny that heavy music has developed in the last two decades and that Lie Heavy are intentional in sticking to their guns updating their own versions of ‘the classics’ while themselves being cast with a classic sound.
This is a good thing, distinguishing among generations. You and I will live to see the first generation who made rock and roll die out. It is uncharted territory for the art form, and the narratives of the history of heavy will be made not by those who were there when the first riff was strummed but those who look back after and decide what was ‘classic’ or otherwise worthwhile in terms of influence. If Lie Heavy are a voice from the past stylistically, fine — heavy’s all about speaking to its own beginnings — but let’s also keep in mind that two decades (-plus) will has happened to Agell and company as well, and Lie Heavy are a stronger, fresher band for that.
Their video for “Burn to the Moon” — not a terrible-sounding idea — premieres below to coincide with the opening of preorders for the album from Heavy Psych Sounds. Info below comes from the PR wire.
Please enjoy:
Lie Heavy, “Burn to the Moon” video premiere
US heavy rock supergroup LIE HEAVY: Debut album “Burn To The Moon” out April 19th on Heavy Psych Sounds
Raleigh, North Carolina’s Lie Heavy is one of the few, true throwbacks to another era. They feature the vocals of Karl Agell, best known for Corrosion of Conformity’s BLiND album and Leadfoot. Heavy, heavy-ass blues that would have fit on the Man’s Ruin label back in the 90s, around the time that Orange Goblin was making waves. This is primal stuff: not quite Stoner, not quite Metal, and not quite giving a shit.
1. Nothing To Steal 2. In The Shadow 3. Burn To The Moon 4. Drag The World 5. The Long March 6. Lie Heavy 7. When The Universe Cries 8. Chunkadelic 0. Pontius Pilate 10. Unbeliever 11. Diabolik 12. End the World
Karl Agell – Lead Vocals Jeff JD Dennis – Drums & Percussions / Vocals TR Gwynne – Bass / Vocals / Acoustic Guitar Graham Fry – Guitars / Vocals
Posted in Questionnaire on July 31st, 2023 by JJ Koczan
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: Jeff “JD” Dennis of Lie Heavy
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How do you define what you do and how did you come to do it?
I create music w/ other people. I use my musical instincts and drums as a vehicle to do that.
Describe your first musical memory.
My Mom spinning records on our console stereo.
Describe your best musical memory to date.
Signing my first record deal. Recording that first record & touring to support it.
When was a time when a firmly held belief was tested?
Becoming aware of the true nature of organized religion changed my whole worldview & understanding of what it means to be a good human. And, how that can be accomplished without the presence of religion in my life.
Where do you feel artistic progression leads?
Artistic progression leads to a sense of accomplishment. And, a realization that there’s so much farther you can go.
How do you define success?
In younger years success meant something different than it does now. Now, success just means accomplishing a goal.
What is something you have seen that you wish you hadn’t?
The death of my Mom because of cancer.
Describe something you haven’t created yet that you’d like to create.
I would like to create a drum-centric piece of music utilizing loops of live tracks in different time signatures.
What do you believe is the most essential function of art?
To push boundaries and make people think.
Something non-musical that you’re looking forward to?
I always look forward to my next fly fishing trip.
