Posted in Whathaveyou on November 18th, 2016 by JJ Koczan
Preorders have been made available now for Mangog Awakens, the suitably-titled debut offering from oldschool Maryland doomers Mangog, who feature in their ranks Bert Hall, Jr. of Revelation and Beelzefuzz and drummer Mike Rix, formerly of Iron Man. Official release date is Jan. 9, 2017 — not nearly as far off as it sounds — and the album will be out via Argonauta Records, furthering that label’s ties to the Maryland doom scene as established earlier this year when it released the acoustic solo debut from Iron Man frontman Dee Calhoun.
I was fortunate enough to catch Mangog live this past summer at the third evening of Maryland Doom Fest 2016 (review here), and while I wouldn’t necessarily count on it to speak for the album as a whole, the track “Into Infamy” which you can stream below courtesy of the band actually speaks pretty well to the undercurrent of classic heavy metal that seems to run through their work. I guess what I’m saying is that one more or less expects them to doom out considerably at some point or another on Mangog Awakens, slow and low and all that — their live set certainly had those moments, as I remember it — but they’re very clearly not beholden solely to the doom of their region, at least as far as tempo goes. Metal’s always played a large part in the Maryland sound though, so perhaps it’s a question of where the balance ultimately lies on Mangog‘s debut.
We’ll find out after the New Year. Until then, Argonauta posted the art, the following info and the aforementioned stream of “Into Infamy.” Have at it:
MANGOG reveal cover artwork and new song
Baltimore based Doom masters MANGOG reveal cover artwork and first single from their highly anticipated new album.
The song “Into Infamy” is streaming here, a notably shorter and more up tempo example of MANGOG’s brand of doom.
“Mangog Awakens” will be released by ARGONAUTA Records in CD/DD and available from January 9th, 2017. This is a must have for all of you into IRON MAN, REVELATION and CANDLEMASS sonorities.
The car died as I pulled it into the spot outside Cafe 611, and it was abundantly clear it would not start again sans professional assistance. Oh, and it’s The Patient Mrs.‘ car. So there’s that.
That puts the tally of busted shit at: my feet (I’ve been wearing a supportive boot cast all weekend, not sure if I’ve mentioned that yet), my camera, and my wife’s car. Maryland Doom Fest 2016, you have thoroughly kicked my ass.
None of that is the fest’s fault, of course. After an awesome two and a half weeks, I was due a couple hits, and if anything, yesterday, the third and final day of the festival with another 11 bands on the bill starting at 3PM, it was the music that kept my head up while I was flipping out about things like waiting for tow trucks, The Patient Mrs. never picking up her phone, how the fuck I’m going to get back to Massachusetts with a dead car so I can start my new job on Tuesday, and so on. I’m thankful for that. Not sure I’d have made it through the afternoon otherwise without spontaneously combusting.
Time to wrap this thing up. If you’ve checked out the reviews of night one or night two, thanks, and thanks for reading this one too.
One more time, hello Frederick:
Mangog
I’ll admit it was somewhat strange to watch Bert Hall on stage holding a guitar. The longtime Maryland doomer has played bass through the years in Revelation and Against Nature and now is also handling thick strings and fuzzy-hat for Beelzefuzz, but in Mangog it’s guitar and backing vocals to complement those of Myke Wells. Completed by drummer Mike Rix (ex-Iron Man) and bassist Darby Cox, the four-piece announced this week that they’d signed to Argonauta Records for the early 2017 release of their debut album. Presumably most of what they played, whether it was “God” or “Into Infamy” or “Meld,” comes from that record, but they also played two of the three cuts — “Ab Intra” and the title-track — from their 2015 debut EP, Daydreams Within Nightmares. The band played their first show at Maryland Doom Fest last year, and are still finding themselves as a unit, but seemed to be on the right track with their aggressive blend of doom and metal. Wells was also the first frontman to stand on the P.A. speakers in front of the stage, so points there as well.
Flummox
The first, but not the last. Bassist/vocalist Blake Dellinger of Flummox, in checked leotard regalia and with one eye blacked out, also got on that speaker, in addition to thrashing around just about everywhere else on the Cafe 611 stage as he, guitarist Drew Jones, and drummer/vocalist Jody Lester tore into their raucous stoner thrash, which it’s easy to imagine has been a highlight of the last couple years at house shows in their native Murfreesboro, Tennessee, as well as other haunts around the South lucky enough to book the band. Youth was on their side, sure, but they still delivered one of the weekend’s most energetic sets, and had the chemistry between them to stand up to the force of their delivery. They’re also reportedly responsible for the Tennessean Sludge Fest, which this August features Place of Skulls, Doomstress, Shroud Eater and Order of the Owl, among many others, so clearly doing good work on multiple levels.
DopeRider
Hailing from my beloved Garden State, sludge torquemongers DopeRider proffered massive tones offset by a couple stretches of ambience, putting them in league with the likes of Connecticut’s Sea of Bones or any number of crushers in the post-YOB sphere, and that is a compliment as far as I’m concerned. Their slow-churning, growling, thudding lumber wasn’t the first bout of extremity the weekend had seen — one still recalls Philly’s Black Urn starting off Friday — but it did speak to the expanding definition of what Maryland Doom Fest might continue to encompass. Uniformly brutal in their approach, DopeRider — who released a debut demo last year with the tracks “Drugged up Demonoid” (15:09) and “Fractal Resin” (6:07) — were thankful to the crowd, guitarist/vocalist MP saying that there wasn’t much like this in Jersey. I know from personal experience that’s 100 percent true, but little doubt DopeRider would’ve stood out on the bill whatever the context. Will keep an eye out for what they do next.
Seasick Gladiator
I’ll admit that for a decent portion of D.C. residents Seasick Gladiator‘s set, I was outside dealing with the tow truck driver from AAA. Actually he was the second, past the one who tried to jump the car to no avail, so yeah, it took a minute. What I saw of the instrumental outfit offered metallic doom marked out through the use of violin, adding a sense of drama to the material as strings invariably will. They had some progressive edge that didn’t necessarily feel showy or overly self-righteous, and from what I heard sounded pretty fluid. Meanwhile, outside, the car still refused to start — battery? alternator? — and had to be dragged onto the back of the flatbed and hauled off to some local garage. A genuine what the fuck moment, but like I said, the music kept me going. Somehow I doubt it will be the last opportunity to catch Seasick Gladiator, and from the glimpses I got and from watching the end of their set after the truck drove away, their appeal came through even despite distraction.
Eternal Black
I’ll never pretend to even feign impartiality about any band Joe Wood is playing in. Aside from being a former bandmate, the Borgo Pass and Eternal Black drummer is among the nicest, most sincere individuals I’ve ever met — King of the Dudes — and whether he’s behind the kit or in the crowd, any day I get to see Joe is a good day, including this one. He is not, however, all that Eternal Black have working in their favor. Atop rolling The Obsessed-style riffs, the NY three-piece with Wood, guitarist/vocalist Ken Wohlrob and bassist Hal Miller, fit right in with the sphere of Maryland doom but had more than a touch of Northeastern intensity to their approach as well, particularly from Wohlrob‘s vocals. The same was true of their first demo (review here), which was released last year, but they had a host of new songs in the set — “Snake Oil and Coffin Nails” was a highlight, along with “Sea of Graves” — and announced plans to record this summer/fall for a debut full-length, which will be one to anticipate. Granted NYC is four to five hours from where I live depending on traffic, but I still felt I probably should’ve seen Eternal Black by now. Glad I got to in such a setting.
Toke
North Carolina’s Toke were the only band of the weekend to bring their own lights, and their focus on presentation likewise extended to how they carried themselves on stage, each of the three members putting his full body into the groove of their hard-hit, swinging riffs, seeming way more influenced by Sleep live than on their 2014 demo, High Friends in Low Places (review here), but still marked out on the harsher end of sludge by the vocals, which were on the more searing end of screams. Comprised of Tim, Bronco and Jeremy, they reminded some of Elder‘s Matt Couto in the drumming style, but were on an entirely different trip sonically, and for a band who doesn’t yet have an album out, they had steady command over the stage, the room, and their consuming tonal largesse. Very obviously a band who’s done some road time — they played Denver Electric Funeral Fest earlier this month — and one who’ve dug in hard to their practice space. They were high among the most pleasant surprises at Maryland Doom Fest 2016, all three days.
Foghound
Foghound were not a surprise, true, but they were a joy to watch all the same. The Baltimore heavy rock kingpins are on the cusp of releasing their second album, The World Unseen (review forthcoming), on Ripple Music, and they absolutely blew me away last fall at Vultures of Volume II (review here), also in Maryland, but to hear those songs now and know them better, whether it’s the ultra-catchy “Rockin’ and Rollin'” or “Message in the Sky,” “Never Return,” “Above the Wake,” “Serpentine,” etc., was an entirely different experience, drummer Chuck Dukehart III and guitarists Bob Sipes and Dee Settar sharing vocal duties while bassist Jim Forrester held down the low end. Playing a set entirely comprised of new material only emphasized how far beyond 2013’s Quick, Dirty and High (review here) they’re ready to be, and like last time I was fortunate enough to catch them, they were air-tight musically, varied in the vocal arrangements and executed their set on a foundation of strong, waiting to be noticed songwriting. I know it kicks ass, but I’m eager to find out how The World Unseen catches on with listeners once it’s out, as I’m sure the band is as well.
Wasted Theory
Like Foghound before them (and several others), Delaware’s Wasted Theory brought a sampling of their next outing, which is set to be recorded this fall, reportedly, for a 2017 release. I was talking the other night to guitarist/vocalist Larry Jackson, Jr., about the next Wasted Theory and he asked what I’d want to hear on it. Basically what I’d be looking for is a step forward from 2014’s Death and Taxes (review here). I’d want to hear that the band — Jackson, guitarist Dave McMahon, bassist Rob Michael and drummer Brendan Burns — was pushing itself in terms of melody and songcraft. Hard to judge from one live airing, but they seemed to be headed in that direction, bringing a more aggressive edge to some of the Southern groove that on the last album was such a huge part of their take. They still had a definite update-the-’70s classic heavy rock vibe, and Jackson‘s gravely vocals added burl as ever, but that progression that one might hope to hear in their sound came through at Cafe 611. They still have to record the next LP, but hopefully it follows suit when it arrives.
King Giant
I’ve seen dark Virginian rockers King Giant a handful of times now — three or four, maybe, most recently at the aforementioned Vultures of Volume II (review here) — and their sheer have-their-shit-together factor remains hugely impressive. Dudes know exactly what they want their songs to do, where they want to put that Todd Ingram solo, what the verse is moving toward, etc. Vocalist Dave Hammerly had two mics setup with various kinds of compression, and the double-guitar five-piece proceeded to do their thing, which is to offer up grooving slabs of moody Southern heavy, bordering on metal in their attitude but really more about atmosphere than aggression, or at least about toying with that balance. “Requiem for a Drunkard” from 2015’s Black Ocean Waves (review here) was a high point sonically if a particularly downer vibe, but really, King Giant are in league with the safer bets you might make when it comes to quality of craft and performance in their style. It’s not always what I’m looking for stylistically, but for as much as King Giant put into their band, it’s impossible not to respect them.
Karma to Burn
Kind of hard to believe it’s been nearly five years since the last time I saw Karma to Burn. Night and day. With the lineup of founding guitarist Will Mecum, bassist Eric Clutter and drummer Evan Devine the West Virginian instrumental powerhouse were in nothing but top form for their set. One might expect them to be on after having just done a month on the road with The Obsessed across the US, but propelled by Devine‘s crash, they rode Mecum‘s riffing with an energy I’ve never seen from them. The most recent cut they played was “57” from 2014’s Arch Stanton (review here) — though I thought I heard part of “62” as well — and of course their signature piece, “20” from 1999’s Wild Wonderful Purgatory was aired to a particularly fervent response. They were the only band of the weekend so far as I saw who elicited anything close to moshing, and it was well-earned. Just a killer show, front to back, and while I know Karma to Burn has a history of burning through rhythm sections, what Clutter and Devine bring to the band alongside Mecum isn’t to be understated. True power trio form, continually without compromise or bullshit.
Mos Generator
“We’ve been here since eight o’clock,” said Mos Generator frontman Tony Reed, “and I’m drunk.” To be fair, it was long past eight by the time the Port Orchard, Washington, heavy rockers took the stage for their headlining/fest-closing set. My fingers were crossed they’d have copies of their new album, Abyssinia (review forthcoming), but no dice. Bought a shirt instead. Their set launched at a furious clip and did not relent, drummer Jon Garrett stepping up to righteously follow what Evan Devine brought to Karma to Burn as bassist Sean Booth served to anchor the material and bolster the impact of Reed‘s guitar. “Lonely One Kenobi” was an early highlight, followed by “There’s No Return from Nowhere” from the new record and “Breaker” and the title-track from 2014’s Electric Mountain Majesty (review here), Reed, of whom I’ll make no bones about being a fan, letting his vocals soar for the latter while completely owning the stage and bringing the room along with him. Hard not to smile watching him on stage — someone so obviously born to do what he’s doing who then set about working really, really hard at it for decades — and he kept the intensity of performance going until the house lights came up as they played “This is the Gift of Nature.” The room had thinned out somewhat by then, as it will, but after a full hour of go-go-go, there was zero slowdown whatsoever. Some bands just want to rock and roll, and Mos Generator do so with a pure reverence for the form that few would dare attempt to match. They were absolutely on fire.
—
As I write this, I’m on the road in a rental car, headed back north. I start my new job tomorrow. The Patient Mrs., who was visiting family elsewhere in the state, came and picked me up in a rental car and is currently driving me and Postman Dan, who came along for the trip, north. As there’s been no word from the mechanic that the car got towed to, I’ll have to drive back to Frederick on Friday to pick it up. Serves me right for something, I’m sure. Unanswered emails, perhaps.
Before I cut out, I want to thank JB Matson and Mark Cruikshank for having me on board as a sponsor and for having me down to cover Maryland Doom Fest 2016. I know these reviews have been somewhat fraught in their context, but Matson and Cruikshank put on a hell of a show over these three days, and should be commended both for the efforts and the results yielded. I can only hope they keep it going and hope they’ll have me involved again next year.
If they do, I think next time I might just fly in. But I always say that.
Posted in Whathaveyou on June 22nd, 2016 by JJ Koczan
After an initial foray into Maryland doom with the release of Iron Man frontman Dee Calhoun‘s solo record earlier this month, Italian imprint Argonauta Records has announced another pickup from that crabbiest of states — newcomer outfit Mangog. The group, which features bassist Bert Hall, also of Beelzefuzz and formerly of Revelation, and drummer Mike Rix, formerly of Iron Man, will make their full-length debut through the label early next year with the ominously-titled Mangog Awakens, a follow-up for their initial EP, Daydreams Within Nightmares.
Looking forward to getting a glimpse of these guys live at Maryland Doom Fest this weekend. The label sent the following background info along with word of the signing:
ARGONAUTA RECORDS – NEW SIGNING: MANGOG
Beyond proud to announce that US doomsters MANGOG are now part of our family!
Mangog is a doom metal band based out of Baltimore, Maryland. Formed by bassist Bert Hall Jr. (Revelation and Against Nature), Drummer Stephen Branagan (Revelation, Against Nature and Yet So Far), Major Company’s Bassist Darby Cox and Final Answer’s Vocalist Myke Wells. In February of 2015 Drummer Mike Rix (formally of doom legends IRON MAN) replaced Steve Branagan.
After a year of REVELATION and AGAINST NATURE being on hiatus, bassist Bert Hall Jr. (now on guitar and vocals) assembled a lineup to form a dark alliance founded on the copious use of punishingly heavy riffs, odd ball time signatures (13/8 anyone?) and dystopian lyrics. The band entered the studio in March 2015 and recorded their debut EP titled “Daydreams Within Nightmares”. One year later in 2016 the band completed recording its first full length CD “Mangog Awakens”, and was signed to Argonauta Records.
The band says: “Mangog would like to thank Gero for singing us to Argonauta Records, he has fastly become our fifth band member in a sense and we look forward to his expertise and guidance in our future collaboration with this great label.”
The album MANGOG AWAKENS will be released in CD/DD by early 2017.
MANGOG are: Myke Wells – Vocals Bert Hall Jr. – Guitars/Vocals Darby Cox – Bass Mike Rix – Drums
The beating heart of Maryland doom lies in Frederick. It’s not the traditional “Doom Capitol” — that being D.C. or at least Baltimore — but it’s where the style lives on and flourishes today, and it’s from whence the newcomer four-piece Mangog hail, their style steeped in the lurching traditions, downer riffing and sonic heft for which the Maryland scene is so rightly revered. The band features in its lineup former Revelation and current Righteous Bloom bassist Bert Hall — here on guitar and vocals — and ex-Iron Man drummer Mike Rix alongside vocalist/intermittent guitarist Myke Wells (who co-directed the video) and bassist Darby Cox (also of Major Company and Hall‘s experimental hip-hop outfit, Negro Childe), and “Ab Intra” is the first audio they’ve made public from a forthcoming demo, and one finds its eight-minute roll (reportedly they’re playing it slower now, thus further elongating) working in regionalist form as what should be a welcome introduction to the converted awaiting their arrival.
Formed late in 2014, Mangog hit the studio in April with producer Drew Mazurek to track their debut demo, and they’ll make their first stage appearance at the end of this month at the Maryland Doom Festival in — where else? — Frederick, at Cafe 611, performing at the final day of the fest on June 28. If their pedigree isn’t enough to pique interest for those making the pilgrimage to the inaugural three-dayer, then “Ab Intra” should get the job done, with its eerie intro and subsequent theatrical flourish — no, I’m not just talking about Hall‘s fuzzy hat — and moody sensibility. Not sure on an exact release date for the demo. Presumably it would be in-hand for the Maryland Doom Fest, but one never really knows how that kind of thing is going to work out. In any case, worth keeping an eye on, and you can do precisely that (mostly with the video below.
Enjoy:
Mangog, “Ab Intra” official video
We premiered the first song from our demo, “Ab Intra”, recorded and produced by the great Drew Mazurek (Gwar, Revelation, Jawbox)! We hope you’ll enjoy our video for “Ab Intra”, directed and filmed by our very own Myke Wells and Jonathan Carroll of X9 Records!
Come see our debut at the Maryland Doom Festival! Tickets are only sold online! Get ya doom on!
The Maryland Doom Festival June 26-28 Cafe 611 611 N. Market Street Frederick, Maryland 21701
Posted in Whathaveyou on March 4th, 2015 by JJ Koczan
It turns out Pull had to them-out (get it?) of the first-ever Maryland Doom Fest, but they’ve been replaced by reunited riffers Nagato, who got back together last year after a cessation of activity in 2012. Thick on vibe, they’ll add progressive atmospherics and gorgeous tone to the lineup of the fest, which takes place from June 26-28 at Cafe 611 in Frederick, Maryland. I’ve only been fortunate enough to see the four-piece once, at Stoner Hands of Doom XI in 2011 (review here), for which they also played on a Sunday, but that set left enough an impression that four years later I keep hoping I’ll hear some news about them putting out a record sooner or later.
They might get there. I know the members of Nagato are involved in a few other projects as well, so maybe their playing Maryland Doom Fest is enough for the moment. They’ve joined a killer lineup, for which the final schedule has just been announced.
And just so we have it all in one place, alphabetically, here’s the full lineup as of now (there are still a couple months to go, things can change) for the inaugural Maryland Doom Fest: Apostle of Solitude, Balam, Banned from H.E.L.L., Foehammer, Foghound, Into the Void, Iron Man, Lord, Mangog, Mind’s Eye, Nagato, Outside Truth, Primer Grey, Project Armageddon, Season of Arrows, Serpent Witch, Sixty Watt Shaman, Slaves B.C., Spirit Caravan, The Skull, Unorthodox, Valkyrie, Weed is Weed.
Poster by Audrey Mantel and running order follow, along with Nagato‘s return show last August:
The Maryland Doom Fest 1
June 26 – 28, 2015 Cafe 611, Frederick, MD
A weekend of doom metal in its purest form.
FRIDAY The Skull 1225-130 Sixty Watt Shaman 1115-1210 Unorthodox 1005-11 Weed Is Weed 855-950 Into The Void 755-840 Banned From H.E.L.L. 655-740 Primer Grey 6-640
SATURDAY Spirit Caravan 1215-130 Apostle of Solitude 1105-1200 Outside Truth 1010-1050 Valkyrie 910-955 Project Armageddon 815-855 Foghound 720-8 Balam 630-705 Slaves B.C. 540-615 Season of Arrows 445-525
SUNDAY Iron Man 1045-1215 Foehammmer 945-1030 Lord 845-930 Mind’s Eye 745-830 Nagato 650-730 Serpent Witch 655-735 Mangog 6-640
