Franklin, Pennsylvania, merchants Argus make a positive first impression on their self-titled debut full-length, released via Shadow Kingdom Records. ?Devils, Devils,? the album?s catchy opener, rocks an old school doom that borders on Solitude Aeturnus? style of rougher epics without directly taking from it. The track turns out to be the record?s highlight alongside the later and longer ?The Damnation of John Faustus,? but Argus have plenty to offer between the two when it comes to twin-guitar riffs, able soloing and chunky doom grooves, played American style.

Penance fans will recall Argus frontman Brian ?Butch? Balich?s vocal contributions to that band?s later material, and as much as his voice is perfectly suited to the music here, it?s the guitars of Jason Mucio and Erik Johnson that lead the way for most of the tracks. ?Bending Time? and the chugging ?None Shall Know the Hour? show off their impressive chops and provide a forum for Balich to display his masterful mid-range. Argus tends to drag in parts, largely since there?s so much in this kind of old school doom that can?t possibly be original — it?s been done so well, for so long, by so many — but the five-piece unit makes the best of it, the rhythm section of bassist Andy Ramage and former Abdullah drummer Kevin Latchaw adding a welcome metallic crunch to the sound.

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In the church of true doom, there is a stained glass window in honor of Iron Man. Born out of a scene comparable to none other in the United States, namely Maryland and greater metro D.C. area, Iron Man stand out among the truest of the traditional doomers. Led by guitarist and senior riffmaster Alfred Morris III — who after more lineup changes than any band should have to endure is now accompanied by vocalist Joe Donnelly, bassist Louis Strachan and drummer Dex Dexter — the band this April released their first studio full-length in a decade, the appropriately titled (and recently reviewed) I Have Returned.

I Have Returned swims a magic ocean of classically melancholic doomisms, pushing a timeless sound into a receptive modern age and earning the respect of heads young and old. Released via Pittsburgh‘s Shadow Kingdom Records, the album issues 10 tracks (all available for sampling on the band’s MySpace page) of cult-worthy riffs and enough woe to last until 2019. Let’s hope we don’t have to wait that long for the next record.

After the jump, “Iron” Al Morris III graciously answers some questions about his band’s past, present and future, including the story of how they reformed in 2004 and what it was like being back in the studio to make I Have Returned. Enjoy.

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“Iron” Al Morris III is a doomer’s doomer; an original in of the congregation of The Riff. His band Iron Man, in the ranks of the original Hellhound Records greats, has seen ups, downs, further downs and expanses of time where the question, “Hey, what the hell ever happened to Iron Man?” wasn’t necessarily out of line. With just the self-released Submission EP to show for studio material (though there have been a host of live albums since 2006) in the time between 1999’s Generation Void (Brainticket) and today, Morris and Iron Man have been through lineup changes, periods of inactivity and damn near every other obstacle you can put in front of a band, remaining in spite of everything in the top names of traditional Maryland doom, which, to be fair, is a scene forgiving of intermittence among its own.

In 2009, Iron Man signed up with Pittsburgh‘s Shadow Kingdom Records to release their new album, the aptly-titled I Have Returned. Anyone who knows the band knows they got their start chopping out live sets mostly comprised of Sabbath covers, but on I Have Returned, originality takes center stage, with vocalist Joe Donnelly (once an Ozzy impersonator) providing unique companionship for Morris‘ riffing. The rhythm section of bassist Louis Strachan and drummer Dex Dexter makes this an entirely new lineup surrounding the guitarist since Generation Void, but Iron Man more than meet the tightness required by the music, sounding cohesive and natural throughout the album’s 10 tracks.

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No, it’s not Xena: Warrior Princess fan fic, though given how much of a nerd I am for just about everything Pittsburgh‘s Shadow Kingdom Records puts out, it might as well be. The young label, aside from having signed on to release the new album from way underground Maryland doom mavens Iron Man has put on one of the best and most genuine reissue stints I’ve ever come across — and I say “genuine” because the records are genuinely cool and the kind of stuff that no one would dig up just for the cash. The band is Altar of Oblivion, the album is called Sinews of Anguish, and the label checked in with this news:

A brand new Epic Heavy Metal band with Doom touches has emerged from the great Denmark. I received their Demo in 2007 and was blown away by the potential this band had. Martin (guitarist/songwriter) has a really unique riffing style that I love. The riffs are really catchy, heavy, and choppy (for lack of a better word). When you finally get used to his guitar playing you?ll find out it?s a signature sound that he developed. The combination of the Epic styled songwriting with some really subtle Doom-y sections mixed with the very young, talented, and uniquely distinct Mik on vocals puts this band to the top of the Epic Heavy/Doom metal scene. If you liked the demo at all (by the way ?Wrapped In Ruins? is again featured on this new album) the new album is definitely were you would have wanted the band to be by this time because the songwriting has exceeded the expectation. This album is a full-on conceptual, emotional trip about the pain, suffering, and horrors of war. With that in mind, expect nothing but crushing riffs filled with sorrow, despair, and with powerful vocals with so much emotion, depending on your mood might bring a tear to your eye. Altar of Oblivion are keeping the Epic Doom torch aflame that was started by the great and well respected bands like Candlemass, Solstice, Solitude Aeturnus, Revelation, Trouble, etc.

1. The Final Pledge (5:23)
2. Wrapped in Ruins (6:15)
3. Behind the Veil of Nights (7:19)
4. My Pinnacle of Power (9:12)
5. A Retreat into Delusions (6:17)
6. Casus Belli (5:35)
7. Stainless Steel (7:08)
8. Sinews of Anguish (11:08)

Check them out (keep in mind the master sounds a lot better) : http://www.myspace.com/altarofoblivion

Shadow Kingdom Records

Part of Shadow Kingdom Records‘ “Let’s See How Much Awesome Crap We Can Reissue” Project (I’m pretty sure that’s what it’s called), this unearthing of Asylum‘s The Earth is the Insane Asylum of the Universe demo couldn’t have arrived at a better time. It seems these days that more and more American retro doom bands (see The Gates of Slumber, Apostle of Solitude, etc.) are trying with varying degrees of success to sound just like these Maryland gents did back in 1985. It’s refreshing every now and then to hear the real deal.

That’s what’s on offer with this demo (doomo?); true Sabbathian doom, impeccably played and with a flair for speedier Mot?rhead-style antics shown on “Moment of Truth” and the following, newly-included “Moment of Truth II.” The band that would later become Unorthodox, just at their beginnings here, skillfully meld a “Heaven and Hell” bass line with an epic Led Zeppelin guitar riff on “Bell Witch (Red Skull),” while Dale Flood‘s vocals slur their way out with an early-metallic fuck-all that I’m quite sure made some high school principal very angry on the days Flood chose to show up. Certainly his boys room smoking couldn’t have been as out of hand as the soloing on that song.

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Tilled from the most fertile soil in the US for growing traditional doom — namely the Maryland/D.C. scene that birthed Pentagram, Wretched, The Obsessed, Iron Man, Unorthodox, Wino‘s bands, Earthride and countless others — Baltimore‘s Revelation began issuing demos in 1987 and put out three full-lengths before disbanding following …Yet So Far in 1995. A 2003 reissue of 1996’s Frozen Masque demo showed there was still interest and 2007’s Paleontology collection of early works provided a tape-hissy bugle announcing Revelation‘s return to active status.

After having the shovel strength to unearth Stone Garden and put out Pale Divine‘s much-storied first release, Crimson Tears, the up and coming Shadow Kingdom Records digs its heels into the underground to license Release, Revelation‘s first new full-length in 14 years.

And they came up with a meisterwerk of true American doom.

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