Please note: These are not the results of the Readers Poll. That’s still going on. Please feel free to submit your list.

I did this last year mostly as a result of not having somewhere to put Elder‘s Spires Burn/Release EP in 2012, but it went pretty well, so I thought we’d do another round for 2014. The 2013 list covered demos, singles, EPs and splits — basically everything that’s not a full-length album — and the same rules apply here. It’s a pretty basic idea, but it makes sense to me to consider short releases apart from full-lengths because very often they’re trying to accomplish different things.

For example, if an album is trying to tell a story or describe a central theme, either blatantly in its lyrics or atmospherically through the music itself, a demo might just be the work of a band trying to feel their way into their sound. It doesn’t strike me as fair to judge the two on the same standard. Likewise, if a band releases a single, should that really be judged alongside an hour-long release? Granted, some bands’ singles actually are an hour long, but that’s another category entirely. “The ‘Dopesmoker’ Awards” will be handed out at another date.

No, not really. At least not this year.

If you didn’t see the full-albums Top 30 of 2014, please feel free to check it out and think of this and the year-end podcast as companion pieces, albeit both a little more casual. Let’s get to it:

The Top 20 Short Releases of 2014

1. Sleep, The Clarity
2. Fatso Jetson/Herba Mate, Early Shapes
3. All Them Witches, Effervescent
4. Cortez/Borracho, Split 7″
5. Naam/White Hills/Black Rainbows/The Flying Eyes, 4-Way Split
6. Heavy Temple, Heavy Temple
7. Death Alley, Over Under/Dead Man’s Bones 7”
8. Geezer, Live! Full Tilt Boogie
9. The Sun, the Moon and the Witch’s Blues, The Sun, the Moon and the Witch’s Blues
10. Demon Head, Demo 2014
11. Gold & Silver, Azurite and Malachite
12. The Proselyte, Our Vessel’s in Need
13. Hull, Legend of the Swamp Goat
14. Lamp of the Universe/Krautzone, Split
15. The Ultra Electric Mega Galactic, Through the Dark Matter
16. The Heavy Co., Uno Dose
17. Wren, Wren
18. He Whose Ox is Gored, Rumors 7”
19. Lewis and the Strange Magics, Demo
20. Godhunter/Secrets of the Sky, Gh/0st:s
21. Lord, Alive in Golgotha

—

Some honorable mentions to the Young Hunter/Ohioan split tape (the Young Hunter portion of which was included last year, otherwise it would probably be number two on this list), Inter Arma‘s The Cavern 40-minute single-song EP/LP, Harvest Bell‘s debut EP, Goya and Wounded Giant‘s split, Fuzz Evil and Chiefs‘ split, Cruthu‘s demo, Disenchanter‘s second EP, the White Dynomite/Hey Zeus split 7″, Humo del Cairo‘s EP, The Golden Grass‘ Realisations EP, Dune‘s Progenitor, Godflesh‘s comeback EP, and Blackwitch Pudding‘s reinterpretations/covers EP, Covered in Pudding.

A couple notes: The Sleep single was a given. I don’t think anything could’ve topped it one way or another, even if I hadn’t listened to it 100 times since its release in July as part of the Adult Swim Singles Series. In any case, there was no debate about where to place it. You might notice on the other end the list goes to 21. I thought that being the element of chaos suited Lord well, and since I’m not entirely sure their Alive in Golgotha EP has been officially released, they warranted inclusion just in case.

One thing that struck me in putting this list together was the amount of splits included. You’ll notice Fatso Jetson and Herba Mate‘s Early Shapes right in behind Sleep. That one was an utter joy, as far as I’m concerned, and made me wish both of them would get on putting out full-lengths as soon as possible. Not far behind is Cortez and Borracho‘s split single, which had killer tracks from both bands, and the Naam/White Hills/Black Rainbows/The Flying Eyes split from Heavy Psych Sounds that, even with four bands involved, managed to keep a flowing atmosphere front to back, which was impressive enough in and of itself, never mind the individual contributions of those four acts, which were also top quality. The Krautzone/Lamp of the Universe split also provided a considerable psych blissout, and Godhunter‘s split/collaboration with Secrets of the Sky earned extra points for its adventurous spirit and the payoff its risk-taking brought to bear.

Like their Lightning at the Door LP, All Them Witches‘ Effervescent 25-minute jam figured heavily in my 2014 listening habits, as did Heavy Temple‘s self-titled debut EP. Dutch garage/heavy punkers Death Alley earned spins with their debut 7″, a lack of pretense in melding proto-thrash and heavy rock impulses allowing them to quickly find a niche that one hopes they continue to develop. Their debut single, along with Demon Head‘s Demo 2014 (and, indeed, that band’s follow-up single) and the Lewis and the Strange Magics demo were an allay to concerns retro-minded rock might be stagnating.

Geezer featured on the Short Releases list last year as well. I wasn’t sure what to do with their Gage 12″, since it was released in 2013 as an EP and 2014 as an LP, but either way, their Live! Full Tilt Boogie tape effortlessly recalled classic blues rock performances and demonstrated the fluid chemistry at work in the New York trio, I hope it’s not the last live release they do. Along similar bluesy lines, The Heavy Co.‘s Uno Dose found the Hoosier three-piece dipping into heavy jams more than their last full-length, and if that’s the direction they’re headed, you won’t hear me argue. Hailing from Sweden and arriving as an offshoot of Asteroid, the single-song EP from The Sun, the Moon and the Witch’s Blues had more than a touch of heavy blues to it too, and made me look forward to that project’s development from here on out.

There’s little I’m going to complain about less than hearing Ed Mundell bust out Miles Davis-inspired solos, so yeah, The Ultra Electric Mega Galactic‘s Through the Dark Matter EP gets a nod. Impressive guitar work ran a current through Boston duo Gold & Silver‘s debut EP, Azurite and Malachite, but the proggy feel was what ultimately sold me on the two extended instrumentals included there, whereas with fellow Beantowners The Proselyte, it was the catchy songwriting and variety they showed in just four tracks. The He Whose Ox is Gored 7″ was likewise modern and satisfyingly weighted, though obviously shorter, and last but not at all least, the progressive sludge of Wren‘s self-titled EP seemed to fly under a lot of people’s radar but was a markedly individual take on a well established form that portended of good things to come.

As with everything, I’m sure there’s something in this mix that I forgot. If you’ve got a call you want to make on something, please let loose in the comments. Thanks for reading.

There isn’t much more to the Maryland Doom Fest 2015 at this point than a list of bands, dates and a place, but that’s really all you need. In true Maryland doom style, no bullshit, no one-at-a-time teasers, just “here’s this awesome thing” and you can either show up or suck. The inaugural edition of the Frederick-based fest will take place at Cafe 611 and bring together a killer assemblage of acts, headlined by The Skull and Spirit Caravan and also boasting Apostle of Solitude and War Injun-offshoot Outside Truth.

To that point, while Maryland itself is well represented — Spirit Caravan, Outside Truth, Iron Man, Weed is Weed, Foghound, Mind’s Eye, Pull, Daydreams with Nightmares, etc. — the festival’s reach is immediately wider, not only pulling in Lord and Valkyrie (the latter of whom should have a new album out by then, on Relapse) from nearby Virginia, but reaching up the Eastern Seaboard to nab Rhode Island’s Balam and into the Midwest for The Skull and Apostle of Solitude, who together supplied some of 2014’s best doom in their latest albums.  What’s consistent throughout the lineup is the spirit of doom. There’s some variety around sludge, stoner, heavy rock and so on, but it’s a riffer’s delight front to back and it looks like it’ll be one worth traveling to see.

I’m not sure if more bands are being added, but presumably there will be a change here and there one way or another — June 26-28 is a long time away — and if I hear anything, I’ll let you know. In the meantime, here’s the poster and lineup for the first Maryland Doom Fest:

The Skull
Spirit Caravan
Apostle of Solitude
Outside Truth
Unorthodox
Iron Man
Valkyrie
Weed is Weed
Balam
Project Armageddon
Foghound
Pull
Mind’s Eye
Slaves BC
Foehammer
Season of Arrows
Lord
Daydreams with Nightmares

https://www.facebook.com/pages/The-maryland-DOOM-Fest/815331421863100
http://cafe611.com/

Click Here to Download

[mp3player width=480 height=150 config=fmp_jw_widget_config.xml playlist=aot40.xml]

This one’s beamed in from a universe of all good times. I don’t want to walk around tooting my own horn like I actually did anything, but you’ll pardon me if I say that once you get on board here, you might not want to jump back off. The flow is up and down, alternately drawn out and rushing, and right up to the last song which is a bit of a return to earth, the second hour is the most spaced out it’s ever been around these parts. I’m way into it. I hope you’re way into it.

Like last time, I tried to get a mix of excellent stuff upcoming with other recent items you might’ve missed. One of these days I’m gonna do another one of these where I talk, but this is straight-up track into track the whole way through and I think it moves really well that way. Please feel free to grab a download or hit the stream and dig in and enjoy.

First Hour:
The Melvins, “Sesame Street Meat” from Hold it In (2014)
Fever Dog, “One Thousand Centuries” from Second Wind (2014)
Lo-Pan, “Eastern Seas” from Colossus (2014)
Witchrider, “Black” from Unmountable Stairs (2014)
Alunah, “Awakening the Forest” from Awakening the Forest (2014)
Craang, “Magnolia” from To the Estimated Size of the Universe (2014)
Slow Season, “Shake” from Mountains (2014)
Lucifer in the Sky with Diamonds, “Guillotine” from The Shining One (2014)
The Proselyte, “Irish Goodbye” from Our Vessel’s in Need (2014)
Flood, “Lake Nyos” from Oak (2014)
Lord, “Golgotha” from Alive in Golgotha (2014)

Second Hour:
My Brother the Wind, “Garden of Delights” from Once There was a Time When Time and Space were One (2014)
Spidergawd, “Empty Rooms” from Spidergawd (2014)
The Myrrors, “Whirling Mountain Blues” from Solar Collector (2014)
Witch Mountain, “Your Corrupt Ways (Sour the Hymn)” from Mobile of Angels (2014)

Total running time: 1:54:28

Thank you for listening.

Download audiObelisk Transmission 040

I always wanted to be in Lord. Since the days of their 2006 demo, Under the Sign of the Maker’s Mark, the Fredericksburg, Virginia, outfit has been a raging tumult of sludge extremity. Born of the same scene that gave us Valkyrie, VOG, Durga Temple, Ol’ Scratch, Ancient Astronaught and any number of other underrated acts outside the sphere of Richmond’s varied metals and Maryland’s doom yet somehow in line with both, Lord have proved over the years to be the most chaotic, the most turbulent of the pack. On the rare occasion one might see them live, they’re staggering in their intensity, and the sheer fact that they manage to hold it together somehow makes the experience all the more visceral.

The volatility has a price, however. Lord released a full-length debut in 2006’s Built Lord Tough (a play on Ford’s logo appeared on the cover), and that was it until 2011’s riotous Chief (review here), which brought a new lineup and a take more indebted to Southern metal than they had been five years earlier, but was still plenty maddening, vocalist Steven Kerchner adding experimental abrasion by manipulating his screams through a range of effects. Three years after Chief, Lord return with yet another new lineup — you can see why I thought I might’ve had a shot at being in the band — and a brand new four-song EP, Alive in Golgotha, recorded by Vince Burke (Beaten back to Pure/Hail!Hornet) at his own Sniper Studios.

Comprised here of Kerchner, guitarist/vocalist Will Rivera and drummer/bassist Stephen Sullivan — the lineup has already changed again to the four-piece pictured above; Rivera, Kerchner, bassist Chris Dugay (Reticle) and drummer Kevin “Skip” Marrimow (Ol’ Scratch, Palkoski) — Lord are no less a beast than they’ve ever been, the opening cut “We Own the Storms” setting a quick reaffirmation that time has not dulled the band’s edge or tamed their ferocity. Fast, aggressive, almost punk in its rawness, “We Own the Storms” leads to the more decidedly Southern “What You May Call the Devil is Amongst Us,” reminiscent of the last album’s grooving take. “With Reaching Hooves” jumps back and forth between grinding verses and a sludgy chorus, giving a tension/release vibe before moving into a heavy rock shuffle masterfully balanced in Burke‘s mix, and the closing semi-title-track, “Golgotha,” offers the EP’s most lethal groove of the bunch and speaks to the realization of the potential that’s been in Lord‘s chemical imbalance all along.

Lord will reportedly be hitting the studio again next month to record for a split EP with Black Blizzard, so maybe Alive in Golgotha will mark a turning point for the band in terms of activity. If history has shown anything with these guys, though, it’s that you never really know what’s coming next. I’ll never get to be in the band — Kerchner‘s a better screamer than I ever was anyway — but I’m thrilled to host a full stream of Alive in Golgotha ahead of the release on Heavy Hound Records. Please find it below, and enjoy:

[mp3player width=480 height=300 config=fmp_jw_widget_config.xml playlist=lord-alive-in-golgotha.xml]

To keep up with Lord and get more info on Alive in Golgotha, as well as to score a copy, check the links.

Lord on Thee Facebooks

Heavy Hound Records

For the next 10 days I’m going to take a look at just a sampling of the killer acts playing this year’s Stoner Hands of Doom festival in Virginia from Nov. 7-10 at Strange Matter, and I couldn’t think of a better place to start than with the unhinged Southern sludge aggression of Lord. A band whose history is filled with underappreciation, makeups, breakups, lineup changes and whatever else you can think of, Lord has nonetheless served over the years as a proving ground for those who’s also make a stamp in Fredericksburg and Richmond bands from Ol’ Scratch and Ancient Astronaught to Akris and The Might Could. What’s been consistent for them over all this time is the intensity of their sludge, which they most recently demonstrated on the 2011 full-length, Chief (review here), which was alternately violent and brooding, a torrent of chaos that mirrors the band itself.

Of course, that being the case, there’s a kind of permanent X-factor around the band. Since the days of their 2006 long-play debut, Built Lord Tough, you’ve never known quite what you’re going to get with Lord, who’s going to be there and what kind of madness is going to be unleashed. They played Stoner Hands of Doom two years ago at Krug’s Place in Maryland (review here) along with Cough, Earthling, Fire Faithful and others, and what seemed to be becoming an annual gig at the festival was cut short in 2012 when vocalist Steven “Kerch” Kerchner announced they had called it quits:

Lord will unfortunately not be playing SHOD this year. Lord has officially disbanded. We had a blast rocking while we did and appreciate the love and support everyone has given us over the years!! Everyone is still jamming in other projects – definitely check them out: Bourne of Ash, Lacy, House Size Giant, Akris, Palkoski. There are still a limited number copies of Chief available from the members of Lord and it can still be downloaded from iTunes and so on. Love you guys – Kerch

As someone who’s been a fan of the band since the long, long ago, in the beforetimes, naturally it was a bummer to hear they were done, but though the members were busy in the projects listed by Kerch above — Akris have a new record out now (stream it here), and Palkoski never seem too far removed from another challenging slab of noise — apparently the split didn’t take, and they’ve once again joined SHoD and are set to bring their melee to Richmond this year. Not only that, but the band’s lineup of Kerchner, guitarist Willy Rivera, bassist Helena Goldberg and drummer Stephen Sullivan are also reportedly at work writing a new full-length, which they’ll record sometime after the appearance at Stoner Hands of Doom XIII.

How that will come together remains to be seen, but if Lord are working on something at all, you won’t hear me complain. They play SHoD on Sunday, Nov. 10, and share the bill with Devil to Pay, Black Thai, Wizard Eye and others. Check out “Zoh K Zo Kay” from Chief and find more details below:

Lord, “Zoh K Zo Kay” from Chief (2011)

Stoner Hands of Doom XIII

Lord on Thee Facebooks

Heavy Hound Records

Reformed following a few years’ quiet around a 50 percent new lineup in which guitarist Willy “Will-Kill” Rivera and drummer Steven “Sven” Sullivan are the sole remaining original members, Virginian crushers Lord return for their first full-length outing since 2006/2007’s Built Lord Tough. The new album, called Chief, finds release through the band-affiliated Heavy Hound Records, and sees Lord inject a forward-thinking, vaguely-spiritual bend to their already-formidable sludge. Chief is comprised of eight cuts that play out in 38 minutes, and is bound to surprise both those who never heard Lord’s prior incarnations and those who did with its complexity of arrangements and melodic vocal interplay between newcomers Steven “Kerch” Kerchner (aka Frank Palkoski of Palkoski, also drums for Ancient Astronaught and ex-VOG and Ol’ Scratch vocals) and bassist Helena Goldberg (also of Akris, formerly of New York duo Aquila). The pair play a huge role in defining Lord’s sound as it exists on Chief, and with the bulk of the album recorded by Beaten Back to Pure guitarist Vince Burke at his own Sniper Studios in North Carolina, there’s enough dirt thrown on these tracks to build a mountain.

That actually holds the record back at points – some of the roughness in the production feels like it’s coming at the expense of Rivera’s guitar on the drum-heavy “Goliath” – but nonetheless sets Lord in line with a long tradition of Southern sludge. Chief gets underway with “Medic,” which proves a more than suitable introduction to what Kerchner and Goldberg have to offer vocally, the somewhat Anselmoan of the former meeting with Goldberg’s obviously higher register croon and relying equally if not more on abrasive screams noisily manipulated to endurance-testing effect on the later “Break of Day.” “Medic,” in contrast, doesn’t veer into the progressive or experimental, but listening to it, it sounds like a generational shift in sludge, Rivera adding vocals as well to Kerchner and Goldberg’s layered onslaught and the structure of the song proving more complex than the standard, punk-informed verses/choruses of first-gen outfits like EyeHateGod and, to some extent, Weedeater. The groove, fortunately, remains, and “Medic” puts it to good use, setting up the more ethereal “S&M” (it stands for “Sun and Moon”) as one of Chief’s biggest surprises.

Once introduced in “S&M,” the lines, “Tell me your master plan/So I can understand/What lives inside of me/Sun, moon, energy,” and  “How am I ‘sposed to breathe/When I’m not all of me/You ask someone to lead/When you are your own chief” become a thematic refrain to which Lord return later on Chief’s most melodic and brooding tracks, “The Connection” and “Lady of the Harvest Moon,” both of which were recorded separately from the rest of the tracks, and which sound it in Sullivan’s drums and elsewhere. In that way, “S&M” becomes a central part of Chief, and the 11-minute runtime – some five and a half minutes longer than the next closest cut – backs that up. The song rests in its movements, but never loses sight of its base, Kerchner’s noises cutting through the mix in a way that makes them sound as though they were added later, and Rivera managing to squeeze in overlapping solos after the halfway point of the song. The lyric, “Sun and the moon’s got a master plan,” is repeated multiple times toward the end of the chaos, and it’s about as close as Lord get anywhere on the album to being catchy of fodder for any kind of sing-along. The dynamics between sludgy and melodic that one can measure elsewhere on Chief between songs like “Goliath” and the piano-led “Lady of the Harvest Moon” play out in close proximity at the end of “S&M,” the madness of the apex giving way to a more wistful finale, that in turn devolves into static noise.

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It was early when I pulled into the parking lot of the strip mall that houses Krug’s — around 1PM for a show that wouldn’t start for another hour. I nonetheless made my way inside, mostly to see if there had been any obvious schedule changes or anything like that, and on the way, passed the front door of the Baptist church next door, only to hear the songs and testimony happening inside. I stood there for a minute and listened. Seemed pretty exciting. Since stuff like SHoD is about as close as I get to religion, I felt like I could relate to all the yelling and singing. I’m pretty sure what I witnessed the crowd doing during Earthride‘s set last night counts as “testifying.”

Being early today, I decided rather than sit there by myself for the extra hour, I was going CD shopping. On my way to CD and Game Exchange in downtown Frederick — which is charming in the way that white people find expensive boutiques and wine bars charming — I passed a sign that read “Rock and Roll Graveyard” on E. Patrick St., and immediately parked my car in the next spot I could find. More to come on that later, but I’ll spill it now that it was a pleasurable way to pass that time. Here are the notes from when I got back to Krug’s Place:

Heavy Burner: I don’t know if the 2PM start time was to allow church to get out or what, but the last day of SHoD XI got off to a strong start with this Virginian trio. They were definitely of the scene, but the bass had thick fuzz to it that approached — especially in a couple jammed out parts which were complemented by subdued vocals — the Colour Haze-style low end I’ve been bemoaning the complete lack of in the American scene. Of course, the fact that Chris Kozlowski of Polar Bear Lair Studio had been handling sound for the whole weekend might have had something to do with it too. Everyone’s bass sounded good. The guy recorded the last Blue Cheer album! Of course the bass sounds good. Nonetheless, Heavy Burner had a good balance between jams and structure, and though I’m not sure it would be on a recording what it was live, I was disappointed they didn’t have CDs yet. In progress, reportedly.

Fire Faithful: First heard these guys when I reviewed their split with the revitalized Lord, and they were heavy Southern riff metal both then and now. More doom than stoner hands, but still definitely a Maryland band. Some harsh vocals from Brandon Malone reminded me of Alabama Thunderpussy‘s more metallic moments, set to some Pepper Keenan riffs, and it was a good fit. They brought their female companions (two of them, anyway) on stage to provide backing vocals on a song called “A Devil in London” that I had to strain to hear, but the song was catchy anyway, and they were clearly looking to impress whoever showed up early, even going so far as to break out their Orange cabinets instead of using the house Mesas. Growth to be had, but they fit right in.

Acid Queen: Were not at all what I expected. Totally thought they were going to be a super-fuzzed out stoner doom band, you know, like friggin’ Acid King. No dice. A four-piece hailing right from Frederick, they were entirely instrumental and played a thrash/NWOBHM hybrid that’s bound to go over well at the Defenders of the Old fest the bassist — who seemed to be in charge, or at very least was the one who had a mic for saying thanks — said they were playing with their original lineup. SHoD was also their last show with their current drummer, so there seemed to be a bit of upheaval in the band. On the most basic song level, their material sounded like it would benefit from a singer, so it wasn’t necessarily a surprise to find out they had one at some point. Whatever else happens, I hope they hold onto their young lead guitarist. Kid was a ripper.

Earthling: Following Jake from Valkyrie‘s recommendation yesterday, I was legitimately excited to check these guys out. They played a crusty Virginian blackthrash that sounded like their dads locked them in a closet with nothing for sustenance but what they could get from Motörhead, Darkthrone and Venom records — and if that’s the case, kudos to pops for raising them up right. They too were young, and pummeling. They had a couple slower parts and enough groove to keep the doom heads into it, but were coming from somewhere else entirely. Super heavy, and with the kind of urgency that can only come from a total lack of self-consciousness. Punk rock arrogance as filtered through thrashing fuckall and tectonic tonality. If they lived in Brooklyn, they’d be playing museums.

Demonaut: It was about time someone covered “Supernaut.” If you think about it, it was bound to happen. Demonaut stepped up to the plate for all of us, and with their two basses and lead guitar cutting through, they did the massive low-end heaviness of Master of Reality justice. Not a compliment easily earned: it did take them two bassists to do it. Between the two four strings and the three vocals (both bassists and the guitarist), Demonaut had a lot going on, but none of that was enough to distract me from the fact that drummer Dwayne had the deepest snare of the weekend, which he bought from a Texan high school marching band on eBay. Thing sounded huge, and where the lone guitar might have otherwise had a hard time standing up to the noise surrounding, a White Matamp and Rectifier labeled “Boogie” did the job quite nicely.

Wrath of Typhon: I was getting tired by the time they went on, and they had some radio-voice DJ from a Pennsylvanian metal show in a Fear Factory hat introduce them. The guy thanked everyone for coming out for the whole weekend, and yet I hadn’t seen him either Friday or Saturday, or even earlier this afternoon. Yeah, thanks for coming out. Anyway, soured though I was, Wrath of Typhon‘s upbeat semi-trad metal pulled a good response as the afternoon began to transition to the evening, but Cough had just shown up and a bunch of people went outside to hang out by their van, so that cut attendance inside somewhat. I went to my car and placed a call to The Patient Mrs. before going back in to catch the end of their set. They brought up a hooded Sickie Wifebeater, who’d been sitting behind the cabinets the whole time, for a song, and then the SHoDmaster himself, Rob Levey, took the stage for the second time of the weekend to lead vocal for an “Electric Funeral” cover. Two Sabbath covers right in a row. Someone really should’ve put in dibs beforehand. All the same, it was a rousing rendition of the song.

Nagato: Probably the most pleasant surprise of the day. They had also played SHoD X back in 2009, but I missed them then. More the fool I, because the West Virginian two-guitar four-piece played an unassuming kind of rock that was a reminder of how much a band can accomplish when they set out to be heavy in mood and not just volume. Nagato were easily the most subdued act of the day, and since Against Nature played Friday night, but there was no dip in heaviness or power in terms of the effect on the crowd. Their dark fuzz blues seemed an odd fit at first, ultimately showing what a guitarist can do when making the most of the mystic side of Orange reverb, and the songs were psychedelic not so much in swirls or overarching echo, but if you closed your eyes, the music wanted to take you somewhere. Exhausted as I was, I hadn’t expected to be blown away, but I was. They were a joy to watch, and it was a letdown that they didn’t have any music for sale. I’d have bought everything.

Cough: Death by volume. Quite a contrast coming off Nagato, and even before they went on, I was counting down the minutes until I could justify to myself getting in the car and starting the drive back to Jersey. They also looked like they were counting the minutes, and in the case of drummer Joseph Arcaro — who was the hardest-hitting percussionist of the weekend, hands down — it felt like minutes between each slamming of the toms toward the end of “Ritual Abuse.” Cough played two songs that I could discern, and I was surprised they didn’t have more of a crowd than they did, as they seem sonically to have transcended this scene and moved onto the touring market, but they were loud as fuck and doomed likewise, and they thanked Rob and Cheryl for doing another SHoD and plugged Lord‘s upcoming set, so rockstar assholes they weren’t. That’s more than you get from some returning heroes. Part of me had been hoping that, in the wake of Hour of 13‘s last-minute cancellation, that Cough would move into the headliner spot and Lord would play earlier, so I could leave sooner and start the trip north, but I was glad to have seen Cough without the hipster audience baggage they might otherwise be surrounded by.

Lord: And then it happened. The first song they played was typified by the chorus line “The wait is over,” and when Lord finally got going, that’s exactly how I felt. I basically stuck around today and tonight as long as I did just to see Lord. Everything else was gravy. I’ve been a fan of this band since 2005/2006, and I was stoked to learn they had gotten back together and started going again in the wake of Ol’ Scratch‘s demise. They were ridiculous in how heavy they were. I dug the hell out of it, I really did. I wish we could get bands like this up here. I wish people up here gave a shit. Fuck ’em. I’ve driven four hours for a set like that before and I’m sure I’ll do it again. I didn’t stay the whole time, though — that was never the plan — but I did score a copy of their new record, which I’ll be reviewing in the coming weeks, once I manage to get my head around it. If the songs I saw them play at SHoD were any indicator, that might take a while. Heavier, louder, meaner. Lord is righteousness personified. I was ready to raise my hand up like the Baptists next door and give praise.

The ride back up, I nailed. I missed Backwoods Payback and Weed is Weed, but got back here just before 2AM (right around when I’d probably get to the hotel if I’d stayed at the show), and it’s 3:30 now. I listened to Tin House and Weed and then did a Sabbath trio of Sabotage, Heaven and Hell and Master of Reality, and by the time that was done, I’d arrived. I love driving when no one else is on the road. It was raining, and I don’t know how many 18 wheelers saw me pumping my fist to “Lady Evil” or “Children of the Grave,” but who gives a shit? I live for days like today, for weekends like this one. Much thanks to Rob and Cheryl Levey and Krug’s Place for their hospitality, to Ken-E Bones, Joe Wood and Andrew Jude Riotto, George Pierro, Jason Clemins, Kyle from Rochester, Tim Otis, Jake Adams, Fez McGinnis and everyone else down there for making Stoner Hands of Doom XI such a special experience for me and everyone else who was lucky enough to see it. Here’s to keeping doom doomed.

Born of the same fertile sub-Mason Dixon underground that’s previously given rise to acts like Ol’ Scratch, Valkyrie, Vog and others you might see opening any given weekend for Weedeater or Earthride at Krug’s Place in Frederick, Maryland – essentially the home of doom on the Eastern Seaboard – Virginia’s Fire Faithful and the recently reinvigorated Lord join forces on the self-released Refuge for the Recluse split. These and bands from other locales like Caltrop, Backwoods Payback and OSSM have formed a network of post-Alabama Thunderpussy Southern metal, tinged to various degrees with stoner and doom elements, angry in different measures, but a cohesive scene nonetheless, so it’s not really a surprise that two acts would get together for a split. I’m pretty sure this isn’t the first time it’s happened.

Each band gets three songs to show off, and Fire Faithful (formerly known as Southern Vein) begin in force with “Company Loves Misery,” a doom ethic brought to life with tried and true shuffle riffage courtesy of guitarist Dave Marrs, thick bass from Shane Rippey, the smooth drum fills of Joss Sallade and the decidedly metallic vocals of Brandon Malone, who peppers his bottom-of-the-mouth melodic approach with occasional screams. There’s something downtrodden in his voice that sits well over the more midpaced “Now We’ve Made a Memory,” and when he says, “Let me help rest your worried soul,” it sounds genuine. The production on Fire Faithful’s half of Refuge for the Recluse turns out less than fortunate in terms of the drum sounds as compares to Lord, but the sullenness of “Fire Faithful” comes across anyway as the track’s heaviness ebbs and flows. Their three songs are a gradual decline in mood, like a drunken night that starts out partying and ends with your wife pulled over to the side of the highway so I can puke my guts out at three in the morning. I’ve said too much.

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