Posted in Whathaveyou on January 24th, 2024 by JJ Koczan
Look at the blue text below and you know what you’re gonna see? Yes, a whole lot of skull emojis. Like a lot. But it happens that each individual one corresponds to a demonstration of the labor of love and community that is the Maryland Doom Festival. From Abel Blood through Zekiah, Maryland Doom Fest 2024 celebrates its 10th anniversary edition with its standard sans-bullshit glut of heavy. Once more the Frederick-based event looks your square in the eye, drops for absolutely immersive days on you and asks if you’re up for it. Well, are ya?
I’m not sure what my summer travel plans are yet — this and Freak Valley have overlapped the last couple years for me — but it’s been since 2019 that I was last down there and oh I’d be so eager to show up and have the three or four people who recognize me (and thus make it feel like an absolute family experience; love love love everywhere you go down there) quietly think to themselves I’ve gotten older and fatter en route to obliterating myself with volume for about 96 hours straight. Fuck. King. A.
Oh, and I hear Thunderbird Divine have new stuff in the works and it’s amazing. So that’s a thing too.
Social media had it like this:
We are super stoked to share with you the Maryland Doom Fest 2024 rosters, schedules, and lineups!!!
#4daysofdoom
THE MARYLAND DOOM FEST 2024
✝️Thursday June 20
Cafe 611-
💀 Thunderhorse 1115-1230 💀 The Magpie 1010-1055 💀 Born of Plagues 905-950 💀 Stone Nomads 800-845 💀 Pyre Fyre 700-740 💀 Dirt Eater 600-640
Olde Mother Brewery-
💀 Spellbook 920-1000 💀 Strange Highways 820-900 💀 Bailjack 720-800 💀 Stone Brew 620-700 💀 Abel Blood 520-600
💀 Ten Ton Slug 915-1000 💀 Thousand Vision Mist 815-855 💀 Crowhunter 715-755 💀 Asthma Castle 615-655 💀 Bonded by Darkness 515-555
✝️Saturday June 22
Cafe 611-
💀 WHORES. 1150-115 💀 AGE/S 1040-1130 💀 Bloodshot 935-1020 💀 O ZORN! 830-915 💀 Double Planet 730-810 💀 Sun Years 630-710 💀 When the Deadbolt Breaks 530-610
Olde Mother Brewery-
💀 Black Water Rising 915-1000 💀 Switchblade Jesus 815-855 💀 Wyndrider 715-755 💀 Indus Valley Kings 615-655 💀 Vermillion Whiskey 515-555 💀 Doctor Smoke 415-455
✝️Sunday June 23
Cafe 611-
💀 Cirith Ungol 1200-110 💀 Mythosphere 1055-1140 💀 Conclave 955-1035 💀 Compression 855-935 💀 Sons of Arrakis 755-835 💀 Curse the Son 655-735 💀 Kulvera 555-635 💀 Old Blood 500-535 💀 Cloud Machine 405-440
Olde Mother Brewery-
💀 Thunderbird Divine 920-1000 💀 Black Manta 820-900 💀 High Noon Kahuna 720-800 💀 Unity Reggae 620-700 💀 King Bastard 520-600 💀 Zekiah 420-500
52 bands over a 4 day weekend at 2 venues across the street from one another!! #4daysofdoom
Posted in Whathaveyou on November 1st, 2023 by JJ Koczan
With headlining performances slated from a soon-to-retire Cirith Ungol, noise crushers Whores., mostly-local melodic heavy proggers Mythosphere, Switchblade Jesus, Conclave, Ten Ton Slug (from Ireland; I got to see them one time; way burly; they’ll do well in Frederick), and plenty of other returning acts and newcomers alike, the lineup for Maryland Doom Fest 2024 could hardly be more appropriate a celebration of the annual Chesapeake gathering’s 10th anniversary. Based in Frederick, the four-day ultra-consuming sensory assault of volume will once again take place at Cafe 611 and Olde Mother Brewing, and if you’ve never been, I’ll tell you outright there’s nothing quite like it.
I mean that. Maryland Doom Fest goes harder than the average festival. A day might start at 1PM and not end until 2AM. And now more than ever, as the fest has grown with the two venues running alongside each other, the bill is packed. I think this year was 50 bands? Well, they’ve got 52 for 2024, and while next June is a while out, there’s a tradition to uphold of Halloween announcements, and festival honcho JB Matson (Bloodshot, War Injun, Outside Truth, etc.) pays tribute to his regulars — Shadow Witch, Bailjack, Thunderbird Divine, Thousand Vision Mist (congratulations to Danny Kenyon of Thousand Vision Mist on recently kicking cancer’s ass), among others here — while also giving showcase to outfits like Pyre Fyre, O Zorn! (whose very moniker heralds weirdness), WyndRider and more.
Congrats to Matson and all at Maryland Doom Fest on their 10th anniversary. To do something of this scope once is a lot. To do it across 10 years, well, aside from being fucking crazy, it’s also deeply admirable.
The aforementioned announcement — brief as ever; the poster lands heavy enough to cover any lack of verbiage — follows, courtesy of socials. Ticket link is there too:
WE ARE EXTREMELY PLEASED TO PRESENT TO YOU, THE MARYLAND DOOM FEST 2024 LINEUP!!!!! THIS WILL BE OUR 10 YEAR ANNIVERSARY CELEBRATION!! (#128128#)(#129304#)(#128128#)
52 bands over a 4 day weekend at 2 venues across the street from one another!! #4daysofdoom
Posted in Reviews on December 25th, 2020 by JJ Koczan
The end of the week for the Quarterly Review is a special time, even if this particular QR will continue into next Monday and Tuesday. Also apparently today is Xmas? Okay. Whatever, I’ve got writing to do. I hope you’re safe and not, say, traveling out of state to see family against the urging of the CDC. That would be incredibly irresponsible, etc. etc. that’s what I’m doing. Don’t get me started.
However you celebrate or don’t, be safe. Music will help.
Quarterly Review #41-50:
Celestial Season, The Secret Teachings
Like many of the original death-doom set, Dutch masters Celestial Season gave up the style during their original run, departing toward heavy rock after 1995’s Solar Lovers. At an hour’s run spread across 13 tracks including ambient guitar and violin/cello interludes, The Secret Teachings has no time for such flighty fare. Reunited with original vocalist Stefan Ruiters and bassist Lucas van Slegtenhorst, the band return in grand fashion for their first full-length in 20 years, and songs like “Long Forlorn Tears” and “Salt of the Earth” conjure all the expert-grade morose plod one could possibly ask, as each side of the 2LP begins with its own intro and sets its own mood, from the almost-hopeful wistfulness of opener/longest track (immediate points) “The Secret Teachings of All Ages” at the start to the birdsong-laced “Beneath the Temple Mount” that leads the way into “A Veil of Silence” and “Red Water” at the finish, the latter a Type O Negative cover that fits well after the crescendo of the song before it.
The gift Wren make to post-metal is that even in their quietest stretches, they maintain tension. And sure, the Londoners’ second LP, Groundswells — also stylized all-caps: GROUNDSWELLS — has in “Murmur” its “Stones From the Sky” moment as all works of the genre seemingly must, but the six-cut/44-minute follow-up to 2017’s Auburn Rule (discussed here) casts a scope less about pretense or ambition than largesse and heft, and that serves it well, be it in the shorter “Crossed Out Species” or longer pieces like the opener “Chrome” and the penultimate “Subterranean Messiah,” which injects some melodic vocals into the proceedings and airy string-inclusive prog amid all the surrounding crush. All well and good, but it’s hard to deny the sheer assault of the doomed apex in closer “The Throes,” and you’ll pardon me if I don’t try. Ambience through volume, catharsis through volume, volume all things.
With strength of performance to fall back on and progressive realization in their songwriting, Little Rock, Arkansas’ Sumokem would seem to come of age on their third long-player, Prajnaparadha, answering the flourish of 2017’s The Guardian of Yosemite (discussed here) with an even more confident stylistic sprawl and an abiding patience that extends even to the album’s most intense moments. Not at all a minor undertaking in dynamic or its run of five long songs following the intro “Prologue,” Prajnaparadha manages not to be dizzying mostly because of the grace with which it’s crafted, tied together by ace guitar work and a propensity for soaring in order to complement and sometimes willfully contrast the tonal weight. When the growls show up in “Fakir” and carry into “Khizer,” Sumokem seem to push the record to its final level, and making that journey with them is richly satisfying.
Psychedelia comes poison-tipped with brooding post-grunge atmospheres as Oginalii‘s Pendulum swings this way and that between “Scapegoat” and “Black Hole” and “Pillars” and “Veils” across its too short 24 minutes. The Nashvillainous four-piece explore an inner darkness perfect for these long months of forced-introspection, and though calling something pandemic-appropriate has become a tired compliment to give, the underlying rhythmic restlessness of “Scapegoat” and the crying out overtop, the fuzzy burst of “Veils” and the interweaving drums and guitar noise behind the recited semi-sung poetry of “Pillars” serve the soundtrack cause nonetheless, to say nothing of the two-minute minimalist echoing stretch of “Black Hole” or the oh-okay-it’s-indie-post-rock-but-oh-wait-what-the-hell-now-it’s-furious closer “Stripped the Screw.” Anger suits Oginalii as it comes through here, not in tired chestbeating but in spacious craft that manages to sound intense even in its languid reach. Pretty fucking cool, if you ask me.
Toronto’s Völur offer their third album, Death Cult, in cooperation with Prophecy Productions, and it comes in four string-laced tracks that waste little time in pushing genre limits, bringing folk influences in among doom, blackened metallurgy and more ethereal touches. Arrangements of violin, viola, cello, double-bass, keys, and the shared vocals of Laura Bates and Lucas Gadke (the latter also of Blood Ceremony) give a suitably arthouse feel to the proceedings rounded out by the drums and percussion of Justin Ruppel, and it’s far from unearned as the four songs play out across 37 minutes, “Dead Moon” veering into lumbering death-doom in its apex ahead of the jazz-into-choral-into-drone-into-freer-jazz-into-progressive-black-metal of the 11-minute “Freyjan Death Cult,” subsequent closer “Reverend Queen” leaving behind the chaos in its last few minutes for an epilogue of mournful strings and drums; a dirge both unrepentantly beautiful and still in keeping with the atmospheric weight throughout. Bands like this — rare — make other bands better.
Bursting with enough energy to make one miss live music, Wedge‘s third album, Like No Tomorrow, transcends vintage-ism in its production if not its overall mindset, bringing clarity to Deep Purple organ-tics on opener “Computer” while keeping the lyrics purposefully modern. Bass leads the way in “Playing a Role” and the spirit is boogie fuzz until the jam hits and, yeah, they make it easy to go along for the ride. “Blood Red Wine” has arena-rock melody down pat while centerpiece and likely side A closer “Across the Water” at last lets itself go to that place, following the guitar until the surge that brings in “Queen of the Night” indulges purer proto-metal impulses, still accomplished in its harmonized chorus amid the charge. Is that the guitar solo in “U’n’I” panning left to right I hear? I certainly hope so. The shortest cut on Like No Tomorrow feels like it’s in a hurry to leave behind a verse, and sets up the surprisingly modestly paced “At the Speed of Life,” which is lent a cinematic feel by the organ and layered choral vocals that bolsters yet another strong hook, while the nine-minute “Soldier” is bluesier but still sounds like it could be the live incarnation of any of these tracks depending on where a given jam takes Wedge on any given night. Here’s hoping, anyhow.
About a year and a half after issuing Otherworldly (review here), their third album under the moniker Witch Hazel, the dukes of York, PA, are back with a new name and a refreshed sound. As SpellBook, vocalist Nate Tyson, guitarist Andy Craven, bassist Seibert Lowe and drummer Nicholas Zinn push through two vinyl sides of classic heavy f’n metal, less concerned with doom than they were but still saving a bit of roll for the longer centerpiece “Not Long for This World” and the airy, dramatic closer “Dead Detectives.” Elsewhere, “Black Shadow” brings a horns-at-the-ready chorus, “Motorcade” reminds that the power of Judas Priest was always in the basslines (that’s right, I said it), and “Ominous Skies” brims with the vitality of the new band that SpellBook are, even as it benefits from the confidence born of these players’ prior experience together.
Kudos to L.A.’s Old Blood for at least making the classification part easy when it comes to their debut album, conveniently titled Acid Doom, though that category hardly accounts for, say, the piano stretch of second cut “Bridge to Nowhere,” or the heavy rock theatricality in “Heavy Water” or the horn sounds of “Slothgod” a few songs later, but I suppose one has to start somewhere, and ‘acid doom’ is fair enough when it comes to accounting for the sleekery in the vocals of Lynx, the weight of the riffs of C. Gunner, the roll of bassist Octopus and drummer Diesel and the classic-style organ work of J.F. Stone. But if Old Blood want to unfurl something deceptively complex and stylistically intricate on their debut, that’s certainly cool as far as I’m concerned. Production is a strong presence throughout in a way that pulls a bit from what the impact of the songs might be on stage (remember stages?), but the songwriting is there, and Lynx‘s voice is a noteworthy presence of its own. I’m not sure where they’ll end up sound-wise, but at the same time, Acid Doom comes across like nothing else in the batch of 70 records I’m doing for this Quarterly Review, and that in itself I find admirable.
Just because you know the big riff is going to kick in about a minute into opening track “Under the Influence of the Fool” on Jahbulong‘s tarot-inflected stoner doom four-songer Eclectic Poison Tones doesn’t make it any less satisfying when it happens. The deep-rolling three-piece from Verona make their full-length debut with the 45-minute offering through Go Down Records, and the lurching continues in “The Tower of the Broken Bones” and “The Eclipse of the Empress,” which is the only cut under 10 minutes long but still keeps the slow-motion Sabbath rolling into the 15-minute closer “The Eremite Tired Out (Sweed Dreams)” (sic), which plays off some loud/quiet changes fluidly without interrupting the nod that’s so central to the entirety of the album. Look. These guys know the gods they’re worshiping — Sleep, Black Sabbath, Electric Wizard maybe, etc. — and they’re not trying to get away with saying they invented any of this. If you can’t get down with 45 minutes of slower-than-slow grooves, maybe you’re in the wrong microgenre. For me, it’s the lack of pretense that makes it.
Heavy Trip. Four songs. Two sides. Three dudes. Instrumental. Accurately named. Yeah, you’ve heard this story before, but screw it. They start out nice and spacious on “Hand of Shroom” and they finish with high-speed boogie in the 13-minute “Treespinner,” and all in between Heavy Trip make it nothing less than a joy to go along wherever it is they’re headed. The Vancouver three-piece make earlier Earthless something of an elephant in the room as regards influences, but the unhurried groove in second cut “Lunar Throne” is a distinguishing factor, and even as “Mind Leaf” incorporates a bit more shove, it does so with enough righteousness to carry through. As a debut, Heavy Trip‘s Heavy Trip might come across more San Diego than Vancouver, but screw it. Dudes got jams like Xmas hams, and the chemistry they bring in holding listener attention with tempo changes throughout here speaks to a progressive edge burgeoning in their sound.
Posted in Whathaveyou on August 6th, 2020 by JJ Koczan
L.A. is a strange town, man. Old Blood, in following up their 2016 self-titled debut and introducing their new vocalist, are laying claim to the tag of Acid Doom. Is it acid? Yeah. There’s some psych in there. I hear it. Is it doom? Probably not in the way you’re thinking, and that’s kind of why I find it intriguing. The movement in the songs, at least from what I’ve heard so far, isn’t necessarily weighted down by tone in the way one might think of doom as being, but there’s no question there’s a groove happening in conversation with the heavy underground in these tracks. And they’ve got that slick Los Angeles production that to my East Coast ears just sounds bizarre on heavy music. But hell, maybe Old Blood can call their next LP What the Hell is Going on Here? and really cover all their bases.
Sometimes the PR wire takes you to weird terrain. To wit:
OLD BLOOD: Acid Doom (releasing Aug 28)
Los Angeles psychedelic rock / doom metal unit OLD BLOOD is releasing their second full-length studio album Acid Doom on August 28, via Metal Assault Records (US) and DHU Records (Europe). This is the long-awaited follow-up to the band’s stellar self-titled 2016 debut LP, and also marks the first album featuring vocalist Lynx, who joined the band in 2019.
Limited-edition colored vinyl, digipak CDs, merch bundles, and digital album download are now available for pre-order via oldbloodgroup.bandcamp.com. Lead singles “Veinscraper” and “Orbit” as well as their respective music videos are available for public consumption, and instant free downloads of the two tracks are included with every album pre-order.
Most bands put out a self-titled release at some point during their careers, but in essence, OLD BLOOD is getting to do it twice. Acid Doom is the term coined by Old Blood to define their identity, and rightly so, as this band has certainly forged its own, even in their relatively short existence thus far. It is only apt for Old Blood to follow their self-titled debut with an album of this name, and more so because with Lynx at the helm, Acid Doom defines Old Blood in its current incarnation. Produced, mixed and mastered by Rev. Tom Chandler in Glendale, California, the album is epic and massive in every sense of those words, and is sure to mesmerize hardcore fans and first-timers alike.
Acid Doom track listing: 1. Lake Bottom 2. Bridge to Nowhere 3. Veinscraper 4. Heavy Water 5. Formosa Lodge 6. Slothgod 7. Orbit 8. Pentahead 9. 429
OLD BLOOD is: Lynx (vocals) Octopus (bass) C. Gunner (guitar) Diesel (drums) J.F. Stone (keyboard)
Posted in Whathaveyou on November 14th, 2016 by JJ Koczan
So I guess we’re pretty much ready to roll on Maryland Doom Fest 2017, right? We’ve had the lineup announced, we’ve got the schedule now. Might be another couple weeks getting t-shirts together — and hoodies; should’ve gotten a hoodie this year, which admittedly is something that occurs to one way less at the end of June than in mid-November — but then I’d say we’re about good to go. No need to wait until next summer on it. Let’s do this thing.
Maybe that’s just me being excited at the prospect of that Friday night lineup, which seems particularly strong front to back — not to take away from any of the other days, but you know I dig me some Lo-Pan — but either way, if Maryland Doom Fest‘s now-three-year tenure has been marked by anything it’s a lack of bullshit. A fervent get-down-to-business-and-kick-as-doing-it mentality. It’s perhaps the most “Maryland doom” aspect to the whole event. Maryland Doom Fest 2017 is clearly no different. Here we are more than half a year from the event kicking off and I know what time I need to be there on Thursday to watch Spillage start the pre-party. This is information I’m glad to have.
If your calendar isn’t marked yet, you might want to get on that:
The Maryland Doom Fest 2017
June 23, 2017 – June 25, 2017
Cafe 611
611 N Market St, Frederick, Maryland 21701
SATURDAY JUNE 24 • The Skull 1245 – 150 • Bang! 1140 – 1235 • Wo Fat 1050 – 1130 • The Well 1000 – 1040 • The Watchers 910 – 950 • Hollow Leg 825 – 900 • Iron Man 740 – 815 • Dark Music Theory 655 – 730 • War Injun 610 – 645 • Thonian Horde 525 – 600 • Witches of God 440 – 515 • Black Tar Prophet 355 – 430 • Conclave 305 – 345
SUNDAY JUNE 25 • Headliner 1140 – 1245 • The Atomic Bitchwax 1045 -1130 • Serpents of Secrecy 955 – 1035 • Lightning Born 905 – 945 • Lifetime Shitlist 815 – 855 • Akris 730 – 805 • Burn Thee Insects 645 – 720 • Faith In Jane 600 – 635 • Cavern 515 – 550 • Old Blood 430 – 505 • Horehound 345 – 420
