One-of-a-kind heavy metallers The Lord Weird Slough Feg will next year revisit the world and characters from their 2003 album Traveller on a new EP titled Traveller Supplement 1: The Ephemeral Glades. Founding guitarist/vocalist Mike Scalzi describes below the reasoning behind shifting toward a short format as a process of “cutting off flab,” and argues most albums have a bunch of filler anyhow. I suppose there are cases to be made on either side of that, but if we’re talking about attention spans, I don’t hear too much discussion about lengthenings going on, so fair enough either way.

The band’s last record was the characteristically nuanced 2019 opus, New Organon (review here), and as it was their 10th record, I’m not inclined to think Scalzi and company owe anyone writing songs they don’t want to write at this point. If anything, a 20-minute release with, what?, four or five songs?, seems likely to let each of those tracks breathe and reach listeners in a way a full album couldn’t. Again, there are arguments to be made on either side, but sometimes EPs are little more than fleshed out singles or stopgaps between full-lengths, and that’s pretty obviously what isn’t happening here.

Time to go back and break out Traveller, I guess. Here’s this from the PR wire:

THE LORD WEIRD SLOUGH FEG Hits The Studio To Record EP Sequel To Traveller

Space pirates beware! Venerable San Francisco metal institution THE LORD WEIRD SLOUGH FEG is now in the studio with longtime producer/engineer Justin Weis to track the EP sequel to their legendary 2003 album, Traveller. The EP is set for an early 2025 via Cruz Del Sur Music.

The effort will mark the first recording with new drummer Austen Krater. Furthermore, as founding member, vocalist and guitarist Mike Scalzi explains, the follow-up to Traveller will come in the nice, tidy, compact format of an EP.

“I wanted to do an EP that was around 20 minutes of music rather than a full-length album,” he says. “I have struggled with coming up with fresh-sounding music for years. After ten albums, a lot of metal riffs really fall into a rut and I never want to do dull, filler songs to complete albums. So, I just sort of ‘cut off the flab.’ After all, most records have about five good songs (if that) on them, and then a bunch of time-consuming filler — you know, long guitar solos and boring atmospheric doom parts. Spare me. I’ll cut off the flab and give people just the juicy stuff. Hopefully, this EP delivers that: Lean and mean heavy metal without all the fluff.”

Scalzi promises that the EP will continue the Traveller story with the same characters and struggles, not to mention themes involving asteroids and vegetable spores. (“Even though it’s absurd to imagine vegetation growing on an asteroid.”)

“For some strange reason, the original Traveller game adventures often contain ecological and plant-life themes,” notes Scalzi. “It’s interesting and not traditionally the focus of sci-fi. I love it. So, we had spores on the last one. This time, we have Ephemeral Glades from the ‘Mission On Mithril Traveller’ adventure from 1980. I used this setting because I love the idea of ephemeral plant life on an ice planet that only blooms when the temperature goes above freezing. It’s a great place for a hybrid dog man to hide, but I don’t want to give away too much…”

As for the musical direction, the new songs are “weirder” than the original Traveller, although Scalzi notes the first song is a “total rocker.” The band left a lot of ideas on the cutting room floor, but through the process of elimination, they emerged with five songs. “We were happy with New Organon,” says Scalzi. “It took ages to write the songs because we ditched so many mediocre ideas along the way. We did the same with this one. I was coming up with riffs throughout the pandemic, but very few will make it onto the record — only the ones that continue to excite us, which isn’t that many, which is another reason why it’s an EP.”

Five years have passed since the aforementioned New Organon. Since then, THE LORD WEIRD SLOUGH FEG (who are rounded out by longtime bassist Adrian Maestas and second guitarist Angelo Tringali) experienced the usual highs and lows of the pandemic. The band also launched its podcast that helped keep fans engaged. When the pandemic subsided and the world opened up, Krater fell into their laps.

“He’s revitalized things musically,” enthuses Scalzi. “He’s pretty young and writes a lot of guitar parts, some of which are incorporated into new Traveller songs. We’ve been to Europe with him three times now, and various shows and festivals in the United States. We’re excited.”

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The Lord Weird Slough Feg, New Organon (2019)

The ongoing nature of the COVID-19 pandemic, the varied responses of publics and governments worldwide, and the disruption to lives and livelihoods has reached a scale that is unprecedented. Whatever the month or the month after or the future itself brings, more than one generation will bear the mark of having lived through this time, and art, artists, and those who provide the support system to help uphold them have all been affected.

In continuing the Days of Rona feature, it remains pivotal to give a varied human perspective on these events and these responses. It is important to remind ourselves that whether someone is devastated or untouched, sick or well, we are all thinking, feeling people with lives we want to live again, whatever renewed shape they might take from this point onward. We all have to embrace a new normal. What will that be and how will we get there?

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: Mike Scalzi of The Lord Weird Slough Feg (San Francisco, California)

—

How have you been you dealing with this crisis as a band? As an individual? What effect has it had on your plans or creative processes?

It has been rough because we had 5 festivals scheduled for this Spring/summer, and of course they were all cancelled. Quite a let-down, but necessary of course. However, as a band we’re actually making good use of the time. We’ve created a podcast called “Slough Feg Radio” (http://sloughfeg.com/feed/). We’re up to episode #7 I believe. Since we cannot rehearse—Adrian and I meet at our rehearsal space each week (with masks, gloves, and a long distance between us!) and record a radio pod cast— we basically dj weird/eclectic music, including some of our own songs, demos, weird outtakes, etc. that we think might be interesting for people to hear, and banter and babble back and forth about the music, the band history, funny stories of what our lives are like now etc. It’s been great because it’s been well received and we have quite a few listeners, and it gives us, and the fans a feeling that the band is very much alive and active during this ‘downtime’.

We just finished an album last year, so I’m actually not really in ‘writing mode.’ Which is annoying because obviously this would be the time to write music — but we were ready to go do a bunch of live shows, so it makes it all the more annoying that we can’t. Oh well. If this lasts long enough perhaps we’ll write some more stuff, but for now we’re pretty excited about Slough Feg Radio.

How do you feel about the public response to the outbreak where you are? From the government response to the people around you, what have you seen and heard from others?

The public response has been generally good. San Francisco (where I live) was the first US city to practice shelter in place, the local and state government did a good job of getting on the case early, and as a result there has been an extremely low rate of infection and death count here. So I’ve been pretty lucky when you look at the kind of numbers other US cities are looking at. San Francisco is a city with relatively few older people, although there is much population density. New York has faced unbelievable tragedy, obviously. But even in the dire case of NYC, the local and State Governments have done an incredible job of fighting the virus.

If we had legitimate national leadership at this time, that would help considerably. But we clearly do not, so we must let the individual states do the heavy lifting and hope they can bear the burden. I think some of them are stepping up and doing a fantastic job — and I’m lucky enough to live in a state that had a pretty solid state government.

What do you think of how the music community specifically has responded? How do you feel during this time? Are you inspired? Discouraged? Bored? Any and all of it?

I’m not sure how the music community has responded, outside of the mainstream music media (because I see them on TV, internet, etc.). I suppose they’ve responded pretty well, and pretty positively. Many mainstream musicians are doing remote performances and writing songs about the pandemic, etc. As for lesser known musicians, I am not as sure what they are up to — the ones I know, including myself, seem to be producing whatever they can at the time— as stated above, I’m really enjoying out podcast radio show, and I’ve had a lot of good responses from fans, telling us our show relieves some of their boredom and frustration sitting around the house all day etc.

As for myself, I was pretty terrified at first I suppose—for myself, my family and friends. Fortunately for me, nobody I know has passed away from the virus. Very, very lucky. I do have some friends who contracted it though and went through hell. I have also been rather bored at times — I am not a person who can sit at home all the time. So since the beginning of this thing my schedule has been active — getting out on my bike and riding in the mountains almost every day. Discouraged? At first yes after those festival cancellations. Inspired? At times. I was super frustrated and feeling trapped a month ago. Now I have adapted a little, fell into a bit of a new schedule, and am somewhat hopeful for the future. You can only get so terrified, angry, etc., until you begin to adapt (hopefully).

What is the one thing you want people to know about your situation, either as a band, or personally, or anything? What is your new normal? What have you learned from this experience, about yourself, your band, or anything?

The band will survive. We’ve survived for 29 years, and we ain’t stopping now!! this is the longest Slough Feg has EVER gone without practicing. So It’s a bit maddening — but we’ll survive. Everyone is in good spirits and eagerly awaiting the day we can practice and play gigs again.

My daily schedule is basically: get up way too late (at 11 or noon!!) do whatever work I have to do (I teach a class that is now online of course) pack a bag with some food, a book, a face-mask etc. and try to get out the door by 2:30 or 3:00 on my bike, ride across the Golden Gate Bridge and into the Marin Headlands. This is truly inspiring. Another great thing about San Francisco is that you get out of the city, into areas of incredible natural beauty in less than an hour on a bicycle. I stay out in the headlands where there are parks, beaches, trails etc. until about 7 or 8 at night. I see very few people there. It’s saved my life — I would be utterly insane if I could not do this and had to stay in the house all day like many others are doing. I also work one day a week at a Brewery, serving beer and food for takeout. Gotta be careful there, but I am, and I’m grateful to have the work.

What have I learned so far from Covid 19? Well, mostly that I don’t wanna get it!! Honestly I think the most important thing I’ve learned is how important it is to stay healthy and strong as you grow older. Don’t get me wrong, I’m all for the rock ‘n roll lifestyle: drinking yourself half to death and being a parched-out wretch of a human being, sleeping in a different place every night. That stuff is great fun and has its place — mostly when you’re young. But that stuff can only go so far until it stops being fun — and especially during a health crisis. Whether you’re in good shape or not can be a matter and life and death.

But maybe this whole thing will be a big wake up call for the entire human race — reminding us of what is really important. NOT wealth and status and all that nonsense we spend our lives worrying about. That stuff ain’t gonna do shit for anyone is the face of a pandemic. Your health, activity, creativity, and the people you surround yourself with — that’s what matters in a pandemic, and in life. Period.

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[Click play above to stream ‘Headhunter’ from The Lord Weird Slough Feg’s New Organon. Album is out June 14 on Cruz Del Sur Music.]

For nigh on 30 years, The Lord Weird Slough Feg have served the greater good as classic metal’s gift to heavy rock. Or are they classic rock’s gift to heavy metal? Or metal’s gift to heavy? Plus Celtic influences? Whatever. The point is, across 10 full-lengths and a swath of other singles and splits, etc., the band have become one-of-a-kind practitioners of the metallic arts. New Organon is the San Francisco-based outfit’s first long-player in the five years since 2014’s Digital Resistance (review here) came out on Metal Blade, and it finds them reunited with Cruz del Sur Music for the first since 2009’s Ape Uprising! and 2007’s Hardworlder. It’s a solid fit, considering Slough Feg‘s traditionalist approach, and New Organon feels like a purposeful stripping down of tones and general vibe. Perhaps unsurprisingly to those familiar with Slough Feg‘s work, that suits the material well.

Across 10 tracks and a LP-prime 37 minutes, the four-piece of founding guitarist/vocalist Mike Scalzi, fellow guitarist Angelo Tringali, bassist Adrian Maestas — who takes a lead vocal on side B’s “Uncanny” — and relatively-new drummer Jeff Griffin (John Dust also plays on the album), set about renewing the faith of the denim-clad faithful while at the same time mining the lecture notes of Scalzi, a philosophy professor, for lyrical themes. From the Rousseau through Sartre, Plato through Francis Bacon, from whose work the title derives, Scalzi turns cerebral and existential query into the stuff of fist-pumping proto-thrash and heavy rock and roll. It does not seem like a coincidence that they should re-don their full moniker for the effort, having gone simply by Slough Feg since 2005’s Atavism instead of the full The Lord Weird Slough Feg, since the atmosphere in the clear but sans-frills production and the basic structure of the songs is no less directed to the band’s own roots than those of heavy metal itself. They are among the most woefully underappreciated acts in metal, too bizarre it would seem even for the most brazen of self-declared nonconformists, but all the more righteous for standing alone.

“Headhunter,” which opens, is also the longest track at just over five minutes (immediate points), and the band waste no time whatsoever in letting the listener know the order of things. Guitars intertwine in tense riffing for an early verse over tom runs and the chorus bounds through not quite paying off that tension, but driving it forward nonetheless. A post-midsection movement of starts and stops offset by NWOBHM-style lead work — not the last of it to come — leads to a more ripping-style solo and back to the verse telling tales of piles of shrunken heads and so on. It’s a rousing start to New Organon, and it leads to the brooding and likewise tense “Discourse on Equality,” on which the drums time quick stop-start thuds behind matching guitar/bass chug with a lead line sprawled over with the vocals.

It is stomach-tightening, and when they finally let go a little bit and blowout consecutive solos in the back half of the track, it’s a palpable relief as, the go-where-they-want mood set, Slough Feg move into “The Apology,” with a creeping verse and a more standout hook, which perhaps is rivaled only by the title-track still to come as the strongest of the record. “Being and Nothingness” follows, and as every Slough Feg review must at some point include a Thin Lizzy reference, there’s mine, but even more striking is the initial thrust of the song’s intro, which emphasizes how well the band ties together thrash and classic heavy rock. New Organon is a dirtier-sounding album than anything Slough Feg have done in some time, and it’s meant to be. They’re digging in and inviting those who can get on board to do the same, but “Being and Nothingness” isn’t about accessibility. Cut short in its solo and giving way directly to the start of the title-track, it’s a moment meant to dangerously careen near the edge of oblivion, and it does that successfully without losing itself in the process, perhaps finding its completion in “New Organon,” with Scalzi donning Bacon’s perspective for the chorus, “The sum of my knowledge will conquer the earth/And the sons of my college will rise/And give birth.” Take that, scientific method of old!

The title-cut rounds out side A with more fervent chug and ripping soloing, squeezing in a last verse effectively amongst the fray, and turns over the proceedings to “Sword of Machiavelli” and an immediate shift in vibe. Slower and more fluid in its groove, it finds Scalzi‘s vocals more laid back and an almost garage-style feel to the drums and tape-worthy guitar. The shortest inclusion at 2:17, it soon gives way to the sharp, early-metal-style “Uncanny,” which brings Maestas into the vocalist role, which is a change that further builds on the signal sent by “Sword of Machiavelli” that the second half of the album represents a shift from the first. That holds true for the swaying strangeness of “Coming of Age in the Milky Way,” taking its title from Timothy Ferris’ 1988 book of the same name.

Near as I can tell, that’s as modern as the philosophy gets on New Organon, which is fair enough, and the more laid back sensibility that accompanies feels like a massive change from the tightened-fist of “Discourse on Equality” and “Headhunter,” turning back to the Thin Lizzyism on “Exegesis/Tragic Hooligan” with acoustic and electric guitars woven together effectively in the chorus, ahead of the fitting summary that is closer “The Cynic,” with one last megadose of soloing amid a roll-credits melody and something of a return to where Slough Feg came from on the first half of the record. Of course they end on a fading guitar ringout — how could they not? — but as ever with the band’s material, there’s more at play throughout New Organon than riffs and leads, and it’s in the less-tangible nature of what they do that one finds their personality. The sound of struggle in Scalzi‘s vocals. The quick turns of bass and drums. The willful way in which they set their own rules and then play at breaking them. The Lord Weird Slough Feg are unique even among classic metal loyalists. I don’t know if they’ll ever get their due for the quality of the work they’ve done over their time, but they’re clearly engaged in a broader conversation.

The Lord Weird Slough Feg website

The Lord Weird Slough Feg on Thee Facebooks

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Cruz del Sur Music website

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Cruz del Sur Music on Bandcamp

American traditional metal/heavy rock treasures The Lord Weird Slough Feg will issue their first LP in five years, New Organon, in June through Cruz Del Sur Music. As regards metallic righteousness, there are few of their caliber, and as they re-don their full moniker, having issued 2014’s Digital Resistance (review here) and several other outings before it as the truncated Slough Feb, one can’t help but wonder what that might mean in terms of the sound of the album itself. Certainly the fact that founding guitarist/vocalist Mike Scalzi is embracing his background in philosophy to greater degree than he has before is an interesting turn, though they’ve never exactly wanted for intellectual appeal. The life of the mind, plus riffs.

I’ll always remember what Bible of the Devil told me about Scalzi when I interviewed them in 2012. They had done some touring together, and because Slough Feg is a band with such character and because I’d never spoken to Scalzi, I asked what he was like. The answer I got was, “he suffers no fools gladly.” To sure, I’ve never had it in me to interview Scalzi since, because if I’ve ever been anything, it’s a fool. Especially on the phone.

Here’s PR wire info for the album. I already put in a request to host a track premiere, so I’m keeping my fingers crossed that comes together:

THE LORD WEIRD SLOUGH FEG Returns With First Album In Five Years, ‘New Organon’

“I didn’t want to just ‘put out another album,’” begins SLOUGH FEG vocalist/guitarist Mike Scalzi. “I remember telling people that I didn’t want to do another album just to do another album, like so often happens. So, we wrote a lot of songs and only picked the best ones.”

Such was the approach for SLOUGH FEG’s long-awaited tenth studio album, New Organon, which will see the light of day via Cruz Del Sur Music on June 14 in European territories and June 21 in North America. New Organon also marks the recording debut of drummer Jeff Griffin (who split studio duties with John Dust) and joins Scalzi and longtime members Angelo Tringali (guitar) and Adrian Maestas (bass).

New Organon is another definitive statement from one of America’s most enduring and unique true metal bands, whose penchant for THIN LIZZY-inspired guitar harmonies and Scalzi’s timeless storytelling has turned albums such as 2005’s Atavism, 2007’s Hardworlder and 2010’s The Animal Spirits into proto-metal bedrocks.

Since the release of 2014’s Digital Resistance, SLOUGH FEG did three touring jaunts through Europe in addition to some shorter American runs, not to mention the release of the New Organon seven-inch, which was issued last year. Scalzi freely admits that real life has gotten in the way of SLOUGH FEG making a new LP. That, and his desire to make sure the band still sounds fresh after nine studio albums. “A lot of stuff ended up on the cutting room floor,” he says. “There were some songs we tried to work out for months but ended up dropping because they bored us. We have to be excited about new songs or there’s no point in recording them. We dropped several songs I came up with and some that the other guys came up with, too. It’s tough, but sometimes you have to be honest with yourself and the people in your band and move on when an idea is not working. So, we came up with a lot of song ideas and only kept the ones that sounded exciting for months.”

In true SLOUGH FEG tradition, there is a strong theme running throughout New Organon, which was inspired by the 1620 book published by Francis Bacon of the same name. “It presents a new version of the scientific method, as originally presented by Aristotle 2,000 years earlier,” notes Scalzi, who is also a philosophy professor at a college in California. “According to Bacon and others, the science method had remained stagnant for this long period, through the middle ages and renaissance, and needed a refresher. ‘Organon’ refers to a scientific ‘instrument’ or more literally, ‘organ.’ So, it represents a new method for scientific revolution. The songs are all basically about philosophy—from my lecture notes! It starts out talking about primitive tribal society like shamanism as the first philosophers and then proceeds though the pre-Socratics era and then Plato, Aristotle, medieval catholic theology, enlightenment and then existentialist philosophy — mostly in chronological order.”

Fans of the band’s early output when they went under the extended name of THE LORD WEIRD SLOUGH FEG will no doubt be enthused for what’s in store on New Organon. The album has a more natural, if not “rustic” feel to it, recalling the band’s halcyon Twilight Of The Idols and Down Among The Deadmen era. “Very simply, the songs are more heavy, rough and produced rawer than the last album or two,” says Scalzi. “The themes are not about technology, but about ancient philosophy and science. It’s just more metal, but in a very primitive way — but that’s sort of our specialty anyway.”

Around the release date of New Organon, SLOUGH FEG will be trekking across the United States with labelmates SANHEDRIN. “We’ll be doing ten shows on the east coast in late May/early June, right about the time when the album comes out, including New York, Boston, Baltimore and Pittsburgh,” says Scalzi. “In early August, SANHEDRIN is going to come out we’ll do another run with them up and down the west coast.”

Track Listing:
1 Headhunter
2 Discourse on Equality
3 The Apology
4 Being and Nothingness
5 New Organon
6 Sword of Machiavelli
7 Uncanny
8 Coming of Age in the Milky Way
9 Exegesis/Tragic Hooligan
10 The Cynic

SLOUGH FEG/SANHEDRIN Tour Dates:
May 30 – Baltimore, MD, Metro Gallery
May 31- Brooklyn, NY, Saint Vitus
June 1- Montreal, QC, Bar LeRitz
June 2 – Ottawa, ON, Mavericks
June 3 – Toronto, ON, Velvet Underground
June 4 – Pittsburgh, PA, Spirit
June 5 – Detroit, MI, Sanctuary
June 6 – Cleveland, OH, Now That’s Class
June 7 – Philadelphia, PA, Kung Fu Necktie
June 8 – Boston, MA, Middle East

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Slough Feg, Digital Resistance (2014)

Maybe that’s just how long a Slough Feg record takes to absorb, but it’s kind of surprising to think it’s been three years since the perennial San Fran-based NWOBHM-via-Celtic-folk-via-classic-rock-via-you-don’t-know-what-the-hell-to-call-it-so-just-call-it-progressive outfit released Digital Resistance (review here). That album was their ninth as well as their debut release for Metal Blade Records, and along with the news that the Mike Scalzi-led troupe either will begin or have begun this month to record their 10th long-player, to be titled The New Organon, comes word that said offering will be issued via Cruz del Sur, with whom the band was previously signed for three highlight LPs between 2005 and 2009.

Too strange for the bigger imprint to know what to do with? Possible. Or possible it was just a one record deal. In any case, it was four years from 2010’s The Animal Spirits (review here), which was released by Profound Lore, to Digital Resistance, so even if The New Organon doesn’t show up until 2018, that would at least be on pace. Good food takes time, even if you don’t realize time has passed.

From the PR wire:

SLOUGH FEG Rejoins CRUZ DEL SUR MUSIC

San Francisco true metal troubadours SLOUGH FEG have rejoined Italy’s Cruz Del Sur Music, the label behind the band’s heralded “Atavism” (2005), “Hardworlder” (2007) and “Ape Uprising!” (2009) albums.

Comments vocalist/guitarist Mike Scalzi: “We are happy to announce that we are back with Cruz Del Sur Music and will begin recording a new album in July! We believe that a smaller ’boutique’ label such as Cruz Del Sur is appropriate for our sound, fanbase and work ethic, and look forward to working with Enrico [Leccese] and company again.”

“I am extremely excited to have SLOUGH FEG back on Cruz Del Sur!” says Leccese. “It is always nice when bands you like track you down. It’s even more special when it’s someone you’ve worked with for about ten years and established a friendly relationship. It’s a recognition that we were doing something right in the past. I can’t wait to hear the new album and share it with the metal world.”

Continues Scalzi: “The new album will be called ‘The New Organon’, and the songs are somewhat of a return to the heavier side of our sound: more rustic, heavy, churning, medieval/Celtic and proggy sounding riffs, as opposed to the more ’70s rock sounds of more recent albums. But don’t worry: there will be a couple of rockers as well! We will also have some newer, experimental songwriting styles, mixing heavy rock and metal with the melodic sounds of ’50s and ’60s pop. Imagine DEL SHANNON singing for BLUE CHEER! After all, it wouldn’t be a SLOUGH FEG album without some bizarre surprises!

So, journey we more into the vaults of the Voi-vaudevillian…the Epic-cure for all Epicurean Angst and Ennui. The Celtic cacophony continues!”

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Slough Feg, Live at Muskelrock 2016

07.15.15 — 10:10PM Pacific — Wed. night — Hotel California (yes, really)

It occurred to me this evening that I’ve had about two and a half hours of “free time” on this trip and I’ve spent it all record shopping. That’s not a complaint, but I’ve had people offer to meet up and stuff and I haven’t quite had the time I anticipated for such things between work obligations and writing at night. Again, I’m not complaining. I’ve worked for a company for less than two months that’s willing to fly my ass quite literally across a continent and trust me to represent them to the best of my admittedly limited ability at a meeting of potential clients and professional cohorts. I’m remarkably fortunate to be here. I’m also very, very tired.

Still, when it came to it, and I had that little bit of time to spare today, I jumped in the first cab that I saw with its light on and told the dude to make for Aquarius Records. It was payday and I had an itch that only another round of record shopping was going to scratch. I probably could have gone back to Amoeba Music and found more stuff in that giant space, but the smaller, curated vibe of Aquarius was just my speed this evening.

I took my time, thumbed through the CD racks of the San Francisco section, the rock/pop, the metal sections both new and used, eyed up some stuff in the boxes under the used section — two albums by Mammoth Volume there, but I have them already — and reminded myself that between yesterday and today, this has kind of become my celebration of returning to the working world, so yeah, I splurged a bit. I picked up a thing or two that on some other days I might have let go, decided to let it ride and be what it is. The fact that it was also payday might have been a factor. That’s a question for hindsight and I don’t have the proper distance to evaluate.

The haul? Here it is, once more alphabetically:

Aarni, Bathos
Across Tundras, Old World Wanderer
Bedemon, Child of Darkness
Carlton Melton, Out to Sea
Children of Doom, Ride over the Green Valley
Elder, Spires Burn/Release
Elder, Lore
Evil Acidhead, In the Name of all that is Unholy
Holy Serpent, Holy Serpent
Pyramido, Sand
Pyramido, Saga
Slough Feg, Made in Poland
The Warlocks, The Warlocks
White Hills, So You Are… so You’ll Be

Once again, all CDs. I know it’s not as cool as vinyl, but fuck it. If any of you vinyl hounds want to sell me your CD collection, let me know. I’ll buy that shit. I’ll be the last dude on earth buying CDs for all I care. Whatever. They’re still making them for the most part, so yeah, I’ll still buy them.

The find of the bunch is probably that self-titled EP by The Warlocks, which came out in 2000 on Bomp! Records and was their debut. It was used and cheap, so that was cool. Two of the bunch I already own, but the Across Tundras was also about $5 and the Bedemon is the newer Relapse Records version, so I figured what the hell. True, I was here last year and stopped by the shop when I was out on tour with the Kings Destroy guys — SF resident Jim Pitts included, while I’m thinking of good people I haven’t had the chance to see — but it’s not something I do every day. I pick up things here and there, mostly online at this point, so to actually be in a store and have the chance to browse and enjoy the process, I wanted to do precisely that.

I know Carlton Melton are local to NorCal, so I grabbed that seeing it on the counter by the register, and Evil Acidhead was one of the staff recommendations — if you ever go to Aquarius Records, pay attention; these people know what they’re talking about — and since I knew it’s a reissue of old recordings by John McBain (Monster Magnet, Wellwater Conspiracy) it seemed like one to grab. Both of those Elder discs I have on vinyl, but I wanted the CDs, and while it would make the most sense to go to Armageddon Shop one of the apparently multiple times of a week I drive past Providence on I-95 and pick them up there, I haven’t actually managed to make that happen. Seeing an opportunity, I took it.

Slough Feg‘s 2011 live record, Made in Poland, was used, so that was a no-brainer, and I ran into both Pyramido albums — their first, Sand, used and a buck, their third, 2013’s Saga, new — on opposite sides of the store and picked them up almost independently of each other, hesitating but ultimately nabbing the recently-reviewed self-titled from Holy Serpent because, fuck it, it’s a RidingEasy release and I don’t see that every day in a store. The White Hills was used and I grabbed it thinking of their set at Roadburn this year and how underappreciated they are generally — not that my buying a disc makes up for that, but you know what I mean.

Two purchases I went into completely blind: the Aarni and Children of Doom. Aarni is a one-man Finnish outfit for whom Bathos served as a debut full-length in 2004, and knowing nothing about it, I saw the cover was all mushrooms and that it was on the Firedoom Music label — actually it’s the first release on the label; catalog number FDOOM001 — so I assumed I would be getting something Finnish, strange and doomed, and sure enough that’s how it’s played out so far. French trio Children of Doom‘s self-released 2009 debut EP, Ride over the Green Valley, won me over both for its cover art and for the written-out description of the album, which rightly compared its tones to namesake act Saint Vitus. I hear a bit of Ice Dragon‘s swaggering fuckall in there as well. No complaints. The band’s debut LP, Doom, Be Doomed, ör Fuck Off, came out in 2011, but if Aquarius had it, it wasn’t in my line of sight.

Back to the hotel after to start writing and get my head around the day. I ate the same thing I had for dinner last night — flautas from the taqueria across the street — while checking email to try and keep up on that. As one might expect, it didn’t really work. Still, at least if I have to be behind on absolutely everything, at least I managed to pick up some good records in the process.

I fly out tomorrow night late on a redeye to Boston that gets in Friday morning. The only way to travel. Maybe it’ll also be five hours delayed and turn into a morning flight. Haven’t slept at an airport in a while anyway.

Children of Doom, “Hangover”

Aquarius Records website

Aquarius Records on Thee Facebooks

Aquarius Records on Twitter

Can’t say it’s much of a surprise, but the lineup for Hoverfest 2015 looks pretty awesome. The second installment of the annual fest brought together by Hovercraft Amps, Cravedog and Nanotear is set for an all-dayer Aug. 8 in Portland, Oregon, and like last year, the lineup of acts is made up mostly of locals — there are a few to choose from in Portland these days — and to go with all that hometown spirit, they’ll bring in San Francisco kings of weirdo trad metal Slough Feg to headline.

Slough Feg will sit atop a mighty Portlander grouping, varied between the doomly ways of Witch Mountain, who make a return appearance, a return as well for the ’70s heavy of Danava, Lord Dying‘s don’t-tell-anybody-it’s-death-metal-because-we-like-playing-with-stoner-bands genrebending, Sons of Huns on the heels of their new album, While Sleeping Stay Awake, a second showing from Holy Grove, and first-timers Zirakzigil and Mane of the Cur to lead things off. Sounds like a good time to me.

Last year, Billy Anderson was brought on to work the mixer, and whether or not he’ll make another appearance has yet to be revealed, but the preliminaries are out. With presumably more to come, here they are:

Cravedog Presents HOVERFEST 2015

Cravedog, Hovercraft Amps, and Nanotear Booking have teamed up to bring the second annual HOVERFEST on Saturday 8.8.15 in Portland, OR

The rocks starts at noon and rolls til sundown. Once again set in the alley behind Cravedog with the gorgeous sunset view of the Fremont Bridge. 611 N. Tillamook Street

This year will be 21+ so the whole alley is a beer garden.

Rock, metal, and doom all day long from:

SLOUGH FEG
WITCH MOUNTAIN
DANAVA
LORD DYING
SONS OF HUNS
HOLY GROVE
ZIRAKZIGIL
MANE OF THE CUR

Tickets go on sale Friday 6.19 at 10am PST.
www.brownpapertickets.com

https://www.facebook.com/events/1106747122671942/
www.cravedog.com
www.hovercraftamps.com
www.nanotear.com

It seems worth pointing out that, at 25 years old, new Slough Feg drummer Addison Filipczyk was likely born around the same time the band was first getting together and putting out early demo material in 1990. One could blather about the San Francisco troupe’s metal longevity, but frankly, if you don’t get it, the point’s lost. Former drummer Harry Cantwell played with the band following the release of Hardworlder in 2007 and could most recently be heard on last year’s Digital Resistance (review here), Slough Feg‘s ninth full-length and debut on Metal Blade Records.

What Filipczyk‘s contributions might bring to the band remains to be seen since he hasn’t yet played his first show with them — April 16 in San Fran; info’s below — but there’s reportedly a European tour currently being booked for May and June, so it doesn’t seem like it’ll be that long until we find out. As Scalzi notes, he’s down for upholding the prime directive, and that’s always a good start.

To the PR wire, friends:

Metal Blade Recording Artist Slough Feg Announce New Drummer

Now Booking European Tour Dates For May/June 2015

Slough Feg is proud to announce the arrival of new drummer, Addison Filipczyk. Filipczyk, 25, will have big shoes to fill following in the wake of Harry Cantwell’s departure, but after several months of rehearsal the group is confident that they are in capable hands and feet.

Bassist Adrian Maestas comments, “After trying out drummers for a few months we think we’ve found the right guy. Welcome aboard, Addison!”

Singer/Guitarist Mike Scalzi gave only a short list of the new Drummer’s vital statistics:
-Loyal Slough Feg fan since 2007
-Sharp wit / keen philosophical / linguistic intellect
-Corrective lenses necessary when drumming / viewing oversized metal chicks’ asses
-Huge heavy metal fan, with tastes ranging from early Maiden and Priest to Budgie and Beethoven
-Corporate spirit with liberal incentives towards Slough Feg’s prime directive

Guitarist Angelo Tringali couldn’t be reached for comment, but his answering machine informed us that he was out in search of “a different lime and whiskey cola.”

Addison will make his debut with Slough Feg on April 16th, 2015, at the Eagle S.F. in San Francisco. ONWARD!!!

“Digital Resistance” was recorded with Justin Weis (who produced the album with vocalist/guitarist Mike Scalzi) at Trakworx in South San Francisco from January-October 2013 and marks the band’s first new studio album since 2010’s “The Animal Spirits.” Order your copy at metalblade.com/sloughfeg. The album is available digitally, on CD, and on vinyl. The opaque purple vinyl with grey haze is still available in limited quantities at indiemerch.com/metalbladerecords.

http://www.sloughfeg.com
https://www.facebook.com/sloughfegofficial
http://www.metalblade.com/us/artists/slough-feg

Slough Feg, “Digital Resistance”