Following up on their West Coast tour announcement a couple weeks back, Ohio-based heavy rock upstarts Black Moon Cult have unveiled the cover art for their impending first record, to be released in the coming months (i.e., no exact date listed yet) through Black Doomba Records. Preorders start next month for what I’m assuming is a September release, which would be loosely timed with the tour, and one assumes the band would have copies on the road to sell, and so on.

The cover art is by Mike Stuart of Thunderbird Divine, and below you’ll find that along with the announcement of the album from Black Doomba, as posted on socials. Looking forward to this one:

BLACK MOON CULT – OPHIDIAN FUTURE (THE CHILDREN OF YIG) – ART AND TITLE REVEAL!

Black Moon Cult’s debut album is entitled “Ophidian Future (The Children of Yig)” 🐍🐍🐍🐍

Kaleb Riser speaks of the album: “Ophidian Future is thematically influenced by Lovecraftian cosmic horror, ancient Chinese mythology, and the biblical story of the Garden of Eden, where God takes away the serpent’s limbs and casts him out of paradise. All of this comes together to create the story of a serpent/reptilian race/their desire to “take back the garden”

Some lyrics convey these themes: “Leave me my teeth and my tongue and my neck, the rest I will steal in time,” “Ophidian Future, Serpentine masses align, back to the garden, back to the life that was mine.”

READ ON about the art 👇

The cover art is by Mike Stuart, drummer of Thunderbird Divine, and here is Mike with a few words to explain it 🤘 “I can’t express how awesome it has been to work with the dudes in Black Moon Cult. They had a clear vision of what they wanted, yet gave me space to put my own flavor on things. Having mostly done work for my own bands, most recently Thunderbird Divine on Black Doomba Records, it was nice to step out of my comfort zone and I really appreciate them giving me a chance to be a part of their journey.”

At Black Doomba Records we feel the same, proud to be able to put out this special album by these extraordinary musicians.

Wondering what’s next? Continue following this band’s journey here. By the way, the Pre-Sale begins in August. More about that later, and more to come from Black Moon Cult.

Tour Dates:
9/10 – The Crypt – Denver, CO
9/11 – The Echoes – Albuquerque, NM
9/12 – The Blooze Bar – Phoenix, AZ
9/13 – The Bancroft – San Diego, CA
9/14 – The Tiki Bar – Costa Mesa, CA
9/15 – The Redwood – Los Angeles, CA
9/16 – Thee Parkside – San Francisco, CA

BLACK MOON CULT IS:
Kaleb Riser: Guitar/ Vocals
Kevin Lewis: Bass/ Vocals
Logan Mais: Synth/Theremin/Vocals
Jeff Vandebussche: Drums/Vocals

https://www.facebook.com/PsychedelicBlackMoonCult/
https://www.instagram.com/blackmooncult
https://open.spotify.com/artist/5D5iLfunYONp4hSAvAmn5z
https://psychedelicblackmooncult.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Secondary to the tour announcement here for emergent Ohio rockers Black Moon Cult, one notices a shuffle in their lineup that’s brought Jeff Vandebussche to the group on drums and vocals, as well as Logan Mais on theremin, synth and vocals, making them a four-piece for the first time. Guitarist/vocalist Kaleb Riser and bassist/vocalist Kevin Lewis also handle synth, so I’m not sure if the change signals some greater shift in sound from what they’ve put out to-date (their two singles are on Spotify below) or just being able to better embody the music live, but clearly they’re figuring things out on the road, and that’s the way to do it.

The September tour is mostly California dates, but it’s their first time on the West Coast (they hit parts of the Eastern Seaboard this month; I still had them as a trio for it but now am less certain about that), so happy and safe travels in the going.

Dates came down the PR wire:

Fresh off the road from their successful Midwest/East Coast tour with Black Doomba Records labelmates Megaton Communion, Black Moon Cult announces their first West Coast Tour!

Following months of blistering sets and growing buzz across the country, Black Moon Cult is heading west for a week of mind-melting shows in support of their upcoming debut record. Known for their electrifying live performances and Fuzz fueled fusion of Psych, Heavy Rock, and Classic Prog, the band is bringing their signature sonic ritual to fans across seven cities this September!

Presented by SuperKool Booking and Black Doomba Records, the West Coast Tour kicks off in Denver and winds through the Southwest before hitting major California stops, including Los Angeles and San Francisco. (flyer by Mike Stuart)

Tour Dates:
9/10 – The Crypt – Denver, CO
9/11 – The Echoes – Albuquerque, NM
9/12 – The Blooze Bar – Phoenix, AZ
9/13 – The Bancroft – San Diego, CA
9/14 – The Tiki Bar – Costa Mesa, CA
9/15 – The Redwood – Los Angeles, CA
9/16 – Thee Parkside – San Francisco, CA

BLACK MOON CULT IS:
Kaleb Riser: Guitar/ Vocals
Kevin Lewis: Bass/ Vocals
Logan Mais: Synth/Theremin/Vocals
Jeff Vandebussche: Drums/Vocals

https://www.facebook.com/PsychedelicBlackMoonCult/
https://www.instagram.com/blackmooncult
https://open.spotify.com/artist/5D5iLfunYONp4hSAvAmn5z
https://psychedelicblackmooncult.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Heads up on Black Moon Cult‘s impending debut album, which the Ohio rockers will release through Black Doomba Records in the coming months. June will see the three-piece out and about in the Midwest and along the East Coast as they herald that record and promote the general kicking of ass in the company of Cleveland’s Megaton Communion, whose debut came out in 2024.

That album is called Red Sky Warning and you can stream it at the bottom of this post, where you’ll also find Black Moon Cult‘s single “Supernova.” I’ll hope to have more to come on their first LP as we get closer to the release. For now, shows:

BLACK MOON CULT and MEGATON COMMUNION Announce June 2025 Midwest/East Coast Tour

May 9, 2025 — Get ready for a summer of crushing riffs and unrelenting energy as Ohio Heavy Psych/ Desert rock acts (and Black Doomba Records labelmates) Black Moon Cult and Megaton Communion join forces for a highly anticipated co-headlining tour through the Midwest and East Coast this June.

Black Moon Cult, who previously released their debut single “Supernova” on Tee Pee Records, is currently promoting the release of their upcoming debut album, due out on Black Doomba Records late Summer/early Fall. Meanwhile, Megaton Communion is touring in support of their debut album, “Red Sky Warning,” which came out in November of last year.

The upcoming tour includes notable stops in Grand Rapids, Chicago, Philadelphia, and Raleigh, and will feature local support from acts such as Chokesetter, Shadow of Jupiter, Thunderbird Divine, Lie Heavy, and Bloodshot.

DATES:
6/6- Corktown Tavern – Detroit, MI
6/7- Mulligan’s- Grand Rapids, MI
6/8- Liar’s Club- Chicago, IL
6/10- Century Bar- Philadelphia, PA
6/11- T’s Kitchen- Stamford, CT
6/13- Cafe Nola- Frederick, MD
6/14- Chapel of Bones- Raleigh, NC
6/15- Al’s Bar- Lexington, KY

Black Moon Cult:
Kaleb Riser- Guitar/Synth/Vox
Kevin Lewis- Bass/Synth/Vox
Evan Scott- Drums

https://www.facebook.com/PsychedelicBlackMoonCult/
https://www.instagram.com/blackmooncult
https://open.spotify.com/artist/5D5iLfunYONp4hSAvAmn5z
https://psychedelicblackmooncult.com/

https://www.blackdoomba.com/
https://blackdoombarecords.bandcamp.com/
https://www.facebook.com/blackdoombarecords/
https://linktr.ee/BlackDoomba

Black Moon Cult, “Supernova”

Megaton Communion, Red Sky Warning (2024)

It’s about a month’s wait for the new single from Black Moon Cult, which is called “Supernova,” actually arrives on Oct. 27. If you don’t feel like sitting tight for that long and, say, now is more your speed, you’ll be interested to find out that the eight-minute track (it takes a minute or two to get going; give it time) recently featured as track number 63 on Weedian‘s Trip to Ohio compilation, and thus is streaming now. To support the upcoming issue-proper, Black Moon Cult have been tapped to tour alongside Mirror Queen in the Midwest in late-Oct./early-Nov., just as the track hits.

The song is a full front-to-back procession though, builds some cosmic energy before it blows off the gas and dust cloud and starts making helium from hydrogen and all that. I’m kind of assuming there will be an album next year, but I realize in re-reading the info below that it doesn’t actually say that anywhere. So it goes. It’ll be here when it’s here. The song’s here now.

“And so say we all, ‘Tap into America!'” (polite applause and clinking glasses ensue):

From heavy-psych rockers BLACK MOON CULT, comes the pummeling new single “SUPERNOVA!” An exercise in progressive space rock, “SUPERNOVA” features hypnotizing, fuzz-laden stoner riffage, corrosive psychedelic vocal stylings and synth work that calls back to the glory days of ’70s prog rock. For fans of Truckfighters and Fu Manchu, “SUPERNOVA” drops October 27th in collaboration with Tee Pee Records.

Mirror Queen tour with Black Moon Cult Oct/Nov 2023

New York City’s hard rocking psych-proggers Mirror Queen are embarking across the Midwest this fall with Black Moon Cult. Led by a talented young guitarist in up-and-comer Kaleb Riser, the Toledo trio will have just issued the digital single “Supernova” via Tee Pee, whilst MQ are taking a break from mixing a new album to continue slinging songs from last year’s “Inviolate” LP.

10.29 Howard’s Club Bowling Green OH
10.30 Buzzbin Akron OH
10.31 Dead City/Halo Live Sandusky OH
11.01 Black Circle Brewing Indianapolis IN
11.02 Livewire Lounge Chicago IL
11.03 McAlpine Meadery Beach City OH
11.04 The Mothership Mansfield OH

Black Moon Cult:
Kaleb Riser- Guitar/Synth/Vox
Kevin Lewis- Bass/Synth/Vox
Evan Scott- Drums

https://www.facebook.com/PsychedelicBlackMoonCult/
https://www.instagram.com/blackmooncult
https://open.spotify.com/artist/5D5iLfunYONp4hSAvAmn5z
https://psychedelicblackmooncult.com/

https://www.facebook.com/teepeerecords/
https://instagram.com/teepeerecords/
https://teepeerecords.bandcamp.com/
http://teepeerecords.com/

Black Moon Cult, “Supernova”

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: M.A. Snyder of Hope Hole

—

How do you define what you do and how did you come to do it?

I scratch the creative itch that bothers me. If I don’t, I start to go crazy, get depressed. I’ve been writing heavy music since I started playing guitar and bass in my early teens. Slugged it out in dive bars with original rock and metal bands throughout the 1990s, into the early 2000s. Took some time off in my 30s to go to college and start a family. But now I’m 45, and feel more inspired than ever. Especially grateful for the ease and accessibility of home recording equipment, which makes my musical pursuits a much more independent task.

Describe your first musical memory.

I think the first time music really struck me was when listening to the Beach Boys as a little kid. It was fun and catchy, had me jumping around. My parents had some Beach Boys and Jan & Dean records I really loved as a young kid.

Describe your best musical memory to date.

An old band of mine, Evolotto, way back in probably the late ’90s was opening for GWAR in our hometown of Toledo, Ohio. Dave Brockie, their singer, came up to little old me before the show to tell me he liked my shirt. It was a Hellacopters t-shirt I’d bought the night before at a show of theirs, that depicted a bunch a cartoon gore and violence. Sure wish I still had that shirt!

When was a time when a firmly held belief was tested?

Doesn’t necessarily relate to music, but I often feel, living in what’s become the red state of Ohio, that if you’re not some hyper-patriotic, pro-police, Trump supporting white nationalist, that you don’t really care about the state of our country. Especially throughout the Trump presidency, I’ve had what used to be very close and meaningful relations with my brothers ripped to shreds over political differences. But I can’t just stay silent when people I love get hoodwinked by slick Q-Anon conspiracies and FOX News lies.

Where do you feel artistic progression leads?

Artistic progression leads to a broader palette, a larger vocabulary with which to express oneself. If you only ever learn the pentatonic scale, you’ll won’t be able to competently speak in say, the harmonic minor scale. It’s like, what else are you going to do? Why not at least try to educate yourself in whatever art you’re using to express yourself?

How do you define success?

I would say happiness = success. Doing what makes you happy means you’re succeeding at life. I have to go to work Monday through Friday at a nursing home to deliver physical therapy to people who need it. This doesn’t make me a success, however. I’m succeeding at life when I come home, spend time with my family, playing guitar, writing and recording music. Bonus points when I get positive feedback from critics I admire in the doom/stoner/sludge/psych world!

What is something you have seen that you wish you hadn’t?

I’ve seen myself at some really low points in life, because of poor choices I made over the course of many years in the pursuit of oblivion. But I don’t wish that I hadn’t seen myself in these places. While I wouldn’t wish my life mistakes on others, I do understand the value of having lived through some really difficult times to shape the hard-fought, confident worldview that I have now.

Describe something you haven’t created yet that you’d like to create.

I want to create an album that lands a Top Ten spot on the Doom Charts. I want to leave some kind of inspiring impression on the landscape of doom/stoner/sludge/psych. I’ve got the next two Hope Hole albums written, and they definitely represent an evolution in my understanding of the genre. My musical partner in doom, my stepbrother Mike Mullholand, just has to finish his parts before we can release the next album…

What do you believe is the most essential function of art?

Art keeps the artist from succumbing to a life of meaninglessness and depression. Art is sanity for the artist. Art is inspiration for others.

Something non-musical that you’re looking forward to?

I’m looking forward to nursing school, to become an RN. After 15 years, the profession of physical therapy has become a drain on my soul. I’m looking ahead to being in a profession that I’ll confidently be able to endure well into retirement age, which will be nursing.

https://www.facebook.com/Hope-Hole-107896578194403
https://hopehole.bandcamp.com/

Hope Hole, Death Can Change (2021)

[Click play above to stream ‘Hard Times’ from Five Horse Johnson’s Jake Leg Boogie, out June 30 on Small Stone Records.]

The world in which Jake Leg Boogie takes place is one of grit, sneak-around-the-back-door blues, cheap hooch and the kind of swagger that can only result from the imbibing thereof. Issued via Small Stone, it is the eighth album from Toledo, Ohio’s Five Horse Johnson and the first since 2013’s The Taking of Black Heart (review here), and though that world might feel like a pipedream compared to some of the grim realities of modern existence, there are few acts who can sell the idea as well as the five-piece. They reunite here with original drummer Tim Gahagan, and after 22 years, their love of heavy rock and blues continues to be the core aspect that defines their work. With the rough-edged vocals of Eric Oblander out front, the riffing of Brad Coffin (also vocals) and Phil Dürr defining the course and the righteous classic rockery of bassist Steve Smith in the rhythm section alongside Gahagan‘s swing and push, Five Horse Johnson are as they should be throughout the 39-minute 10-tracker: Kicking ass, taking names, and fostering no regrets in the process.

Through cuts like “Magic Man,” “Little Lonely” and “Daddy was a Gun,” they weave tales of sleaze and professional-grade troublemaking, starting off with the Southern-style ruckus of the hook of the opening title-track, which is among the shorter songs at 2:40 but gets down to business almost immediately with a bouncing riff, room for a harp solo from Oblander and what sounds like a bit of slide on the guitar. One way or another, Five Horse Johnson are up to no good, and that sounds just about right. “Magic Man” brings together ’70s rock and blues in a fluid push that continues to build momentum from the opener, setting its place in Springfield, Missouri, and no doubt referring to a real-life incident involving some “bad company” that’s probably best not inquired after.

For a lot of what Jake Leg Boogie will do stylistically, the ground is already set. Five Horse Johnson aren’t a band known for nuance so much as getting drunk and still blowing everyone else off the stage, but the stomp and attitude they bring to the material here as “Cryin’ Shame” rears its riff back and lurches it forward again aren’t to be understated, and neither is the quality of songcraft that lies beneath them. Like both “Jake Leg Boogie” and “Magic Man” before it, “Cryin’ Shame” complements its boozery with a righteously and unabashedly welcoming chorus, and even as the opening salvo shifts into the slower-strummed, more-subdued “Ropes and Chains” — acoustics and electrics seeming to run side by side — Five Horse Johnson refresh their audience with an engaging verse/hook interplay before turning just past three minutes into a more boogie-laden instrumental finish to provide transition into the uptempo side A finale, “Hard Times.”

Thus far, the band has worked quickly and efficiently in offering true-to-their-nature heavy blues rock, but “Hard Times” is a standout for its craftsmanship and for the classically motoring riff at its center. It is very, very American. Chevys, whiskey spelled with the extra ‘e’, consciously ogling a lady standing right next to her dude — it’s all right there. “Hard Times” pushes through its four minutes so sure of itself and its place that one almost has trouble believing the lyrics, which of course are about hard times, but as it ends the first half of Jake Leg Boogie, it also marks the shift into the ultra-effective midsection of the album, which continues its up-jumped shuffle with “Smoke Show” before moving into the longest inclusion here, “Little Lonely.”

It’s worth nothing that “longest” in this context means 4:53. No matter where Five Horse Johnson head on Jake Leg Boogie, they don’t lose sight of the album’s core mission in delivering sans-frills heavy blues. After the scorching leads on “Smoke Show,” “Little Lonely” draws back on the pace somewhat but makes up for it with a sing-along chorus and sleek groove, setting up the faster return of “Overload,” which offers more primo harp from Oblander, and the semi-finale of “Daddy was a Gun” — thereby making the speaker of the song a “son of a gun,” if it’s not obvious. Perhaps the clearest blues preach on offer, “Daddy was a Gun” also speaks to the closeness between Five Horse Johnson and Clutch, with whom Oblander has guested on tour and whose drummer Jean-Paul Gaster sat in on the last Five Horse record.

Still, they retain the consistency of their approach as they move toward the end of the record, which comes with the turn of the appropriately-named “Last Song,” a surprisingly quiet and sentimental short bookend to “Jake Leg Boogie” — the opener and the closer are the only cuts under the three-minute mark — that departs from some of the swagger in favor of an airier atmosphere, still soaked by Southern humidity but with an on-the-porch blues noodling guitar line and a tambourine as its only percussion, it’s a definite change nonetheless, and after all the brash crotchal thrust they’ve brought to bear across Jake Leg Boogie, they end on a note of understatement, as though to reaffirm we-didn’t-mean-no-harm sensibility that’s behind a string of nine liquor store robberies represented by the preceding tracks. “Boys will be boys,” said the cops.

More than two decades on, Five Horse Johnson have little to prove, and Jake Leg Boogie is accordingly less about taking over the world than about the band doing what they’ve always done well in affecting a controlled but still boozy tumult. With the return of Gahagan on drums, and consistency in presentation from working with longtime producer Al Sutton at Rustbelt Studios and cover artist Mark Dancey, the band are very much in form, and the world they create for and through these songs is as inviting as it is raucous.

Five Horse Johnson on Thee Facebooks

Five Horse Johnson website

Small Stone Records on Bandcamp

Small Stone Records on Thee Facebooks

Small Stone Records website

Some bands, you just know they’re out to make trouble. That’s been Five Horse Johnson‘s game all along. The Midwestern heavy blues rock outfit haven’t had a record out since 2013’s The Taking of Black Heart (review here), and though four years isn’t the longest stretch in the world, it’s certainly been long enough. Jake Leg Boogie is set to hit June 30 via Small Stone, and with preorders up and a new song streaming now, it’s bound to land with some fervent anticipation. I’m not gonna say I’ve heard it yet or anything — actually, I guess I’ll say that I have because I wrote the bio on which the press release below is based — but it smokes. Dudes are long-since established as ace songwriters but they still sound they just bang out tunes for the hell of it to play in dive bars while they get loaded. Call it the best of both worlds.

With the hope that I’ll have more to come before the album’s actually out, here’s the announcement off the PR wire and the stream of the title-track:

FIVE HORSE JOHNSON: Toledo Blues Riffers To Release Jake Leg Boogie This June Via Small Stone; New Track Streaming + Preorders Available

When FIVE HORSE JOHNSON formed back in 1995, referring to themselves as a “blues band,” a few brows might well have been furrowed. But this is a band that has always understood that the blues isn’t a formula – it’s a way of looking at the world. Their take on the “blooze” is as a dirty, sensual thing, enhanced with a healthy dose of humor.

Now some two decades and seven albums into their career – with eighth Jake Leg Boogie, set to drop late this June on Small Stone – FIVE HORSE JOHNSON has dug out a niche of their own, a genuine love and respect for traditional blues and classic rock leading them to likewise become one of the most loved and respected bands in the heavy rock underground. Always a freight train live, they’ve toured the US (with Clutch and Halfway To Gone) and Europe extensively (including the festival circuit), gathering fans, friends, and drinking partners all over the Western World.

Jake Leg Boogie sees FIVE HORSE JOHNSON going back to its recording roots. Original drummer Tim Gahagan has rejoined, and the results are powerful. Brad Coffin’s guitar has never sounded heavier, his voice never stronger. Eric Oblander’s harp, meanwhile, is as sharp as a tailfin, and his gravelly vocal delivery a growling, howlin’ counterpoint to Coffin’s gruff style. Steve Smith’s bass is a strong backbone, while Phil Dürr’s guitar complements that of Coffin, adding extra edge for good measure. From the slow, bluesy stomp of the title-track, to the dirge vibe of “Daddy Was A Gun” – a story of some weird goings-on in a strange parish – Jake Leg Boogie is pure old-school FIVE HORSE JOHNSON, recorded live, everyone in the same room, with as little overdubbing as possible. Accordingly, it feels lively and loud in the MC5-come-Hendrix vibe of “Hard Times,” the hard-rocking “Magic Man” (a tale of depravity set in the town of Springfield, Missouri), and the near-Texan boogie of “Smoke Show.”

Elaborates Oblander of the release, “Having original drummer Tim back in the band made writing Jake Leg Boogie so much damn fun. It feels like we’re back to Fat Black Pussycat form. This time around we channeled a little more Hendrix and Funkadelic as much as the usual bluesy Aerosmith insanity. All the songs are a bit more stripped down, and have a deep-pocket groove thanks in part to Tim locking it down. Brad had a lot to do with the overall creation of this record. He came up with the concept for the title, and sings more than half the songs this time around. We can’t wait to hit the road with thing and flex these new songs live!”

Jake Leg Boogie was recorded at Rustbelt Studios, with longtime producer Al Sutton (Big Chief, Novadriver, Halfway To Gone, Detroit Cobras) at the production helm, with a definitive nod to Dave Cobb (All Them Witches, Rival Sons). Artwork was provided by noted graphic artist and FIVE HORSE JOHNSON -collaborator Mark Dancey, keeping with a tradition established on 1999’s Fat Black Pussycat.

Jake Leg Boogie will see release via Small Stone Recordings June 30th on CD, limited LP, and digital formats. For preorders, visit the Small Stone Bandcamp page at THIS LOCATION where you can also sample the opening title track.

Jake Leg Boogie Track Listing:
1. Jake Leg Boogie
2. Magic Man
3. Cryin’ Shame
4. Ropes And Chains
5. Hard Times
6. Smoke Show
7. Little Lonely
8. Overload
9. Daddy Was A Gun
10. Last Song

FIVE HORSE JOHNSON is not a band that makes apologies, and compromise is not an option. The truth is, this is hard, heavy, dirty blues rock ‘n’ roll for people who like the sound of an engine roaring or the feeling obtained by following a cold beer with a shot of good whiskey. FIVE HORSE JOHNSON will gladly kick your ass, and then wait for you to say thank you and ask for another. Which you will.

Five Horse Johnson is:
Eric Oblander: vox & harp
Brad Coffin: vox & guitar
Steve Smith: bass
Phil Dürr: guitar
Tim Gahagan: drums & percussion

http://www.facebook.com/Five-Horse-Johnson-official-band-page
http://www.fivehorsejohnson.com
http://www.smallstone.com
http://www.facebook.com/smallstonerecords

Five Horse Johnson, Jake Leg Boogie (2017)

By the time I was on Route 80 headed back east, I had assembled one of my finest record-shopping hauls to date. I said at the time it was no coincidence I was making a stopover in Toledo on my way out to Days of the Doomed III. Hitting Ramalama Records I regarded as an imperative. Flat, Black and Circular in Lansing, Michigan, was another, and adding Kalamazoo’s Green Light Records to the return voyage after the fest was like a bonus round of flipping through stacks that made the long ride to follow that much closer to tolerable.

All told, it was four separate hauls that made it back in the one full stack above. I haven’t had the chance yet to listen to everything — it last year’s acquisitions are anything to go by, it’s going to take a while — but I’ve had the full pile on my desk for the better part of two weeks now and it’s been a blast to make my way through, one album to the next to the next and so on.

Since I had so much fun buying this stuff, I thought I’d take an opportunity to nerd out and give a rundown of what I ended up with, where and how. Some of this has been reviewed, some not so much, but from Acid Witch to Whaler, it all seemed relevant one way or another. Screw it, I just like talking about buying albums.

As always, click any picture to enlarge. Let’s do this thing:

Ramalama Records — Toledo, OH

My basic plan for Ramalama was to pick up new albums and recent releases. More new stuff than used. Their used section is actually pretty good, for rock and metal both, but I had some CDs I wanted to buy of stuff that had been given to me digitally for review — have I mentioned yet today how much I think that’s horseshit? — and I knew doing it while supporting a place like Ramalama would take some of the sting out. Grabbing the Uncle Acid (review here) and Church of Misery (review here) was kind of a given, and along with the new Kylesa — I’ve been wanting to give a revisit since it was reviewed — and Anciients‘ Heart of Oak, which I meant to review so hard but was never able to make it happen, I picked up both of the Spitting Fire live albums by High on Fire — which could’ve been one CD so easily it’s almost funny and makes me wonder if there’s some contractual reasoning behind splitting them up — Circle by Amorphis (for whom I’m forever a nerd), and Voivod‘s Target Earth, which seems to be proving a point in how forward the guitars are though I’m not sure what that point might be. Out of the used section, I also managed to find two bootlegs: Demos 84 & 85 from Celtic Frost, which I’m pretty sure is just a crappy rip of Morbid Tales with some early live tracks added, and Clutch, Live 2002 Tour, which seemed like it was all one show until “A Shogun Named Marcus” came on, was twice as loud, and at least six years before 2002. Still cool to get live versions of “Cattle Car” and “Walpole Man” (here  listed as “Warpole”), which were reworked into different songs by the time Blast Tyrant came out, as well as a live version of the Jethro Tull cover “Cross Eyed Mary.” No complaints.

Flat, Black and Circular — Lansing, MI

The Heads’ 1995 debut, Relaxing With… might have been the find of the whole trip. It was released in a limited run 18 years ago (since reissued), but most importantly, the record itself fucking smokes. Killer heavy psych/space rock that even sounds ahead of its time for how it sounds dated. You can’t really see it in the pic above, but at the bottom of the mini-stack is a tin-box version of Dragging Down the Enforcer by Eyehategod offshoot Outlaw Order. I never bought it when it came out and figured if I was ever going to get a copy, this would be the one to get. The Stone Age Complications EP by Queens of the Stone Age and Also Rising by SubArachnoid Space felt like good finds, and I grabbed another Amorphis just in case I wanted to listen on the way home, Iron Monkey and Slough Feg just because I didn’t have them yet and for a heavy ’70s fix, the self-titled Granicus and the second Warhorse album, Red Sea. Hoping for a funk fix, I snagged Fire by Ohio Players, and it’s decent but skirts a line with disco that takes away some of the weight in the rhythm section. Needless to say, I have a copy of Roots by Curtis Mayfield currently on order and am anxiously attending its arrival. Flat, Black and Circular has yet to disappoint in the three or four times I’ve been fortunate enough to peruse its wares, and it was another one I was looking forward to hitting up. There’s always some treasure waiting.

Days of the Doomed III — Cudahy, WI

It might not look like so much, but the thing about it was that a lot of the bands playing the Days of the Doomed fest, I already had their stuff. I had hoped Beelzefuzz would have copies on hand of their forthcoming debut long-player, but no such luck. Still, I managed to do pretty well with what was available. Getting a copy of 2013’s Somnium Excessum directly from Dream Death was an experience that only underscored how lucky I felt to see the band live — they’d only had the vinyl at Roadburn when I asked bassist Rich Freund — and the reissue of The Gates of Slumber‘s 2004 debut, The Awakening, fell easily under the must-buy category. I also happened into a Thirst for Misery demo from Michigan classic metal/heavy rockers The Swill that stood out even before I put it on for its cover photo of a hoodie-wearing stormtrooper hoisting a can of PBR, and was glad to be given a copy of Sleestak‘s new Book of Hours EP, which I’ll be reviewing at some point in the coming weeks. Put those together with the gorgeous layout of Whaler‘s Deep Six and The Gates of Slumber‘s Scion-sponsored Stormcrow EP (which was free), and it was two days’ worth in quantity and quality. That Whaler record is a killer.

Green Light Music and Video — Kalamazoo, MI

The trip out of Wisconsin began sometime around 8:30AM. It was Sunday, and I had 700-plus miles to drive, but how many times a year do I get to pass through Kalamazoo? Right, once. So a stop seemed warranted, and when I walked into Green Light Music and Video and they were playing Queens of the Stone Age‘s Rated R, I knew I was in the right place. They had some choice vinyl and a few snazzy looking turntables, the kind of promo posters I didn’t know record labels still made, and a slew of old stickers — Roadsaw, Core, etc. — that let me know their affiliation to heavy rock was nothing new. An Acid Witch reissue, some Uriah Heep and Nick Cave were decent enough to happen upon — the Uriah Heep especially — and since it was on Man’s Ruin, I got Laced Candy by The Gaza Strippers, though it turned out to be a double. My favorite of the bunch, however, was Live at Colonia Dignidad by Finland’s Opium Warlords. I bought it because the description on the back cover promised a host of contradictions, including, “A celebration of psychosexual isolation” and “Quality time for a suicidal inner-space astrodoomonaut.” Turns out Opium Warlords is a solo-project for Sami “Albert Witchfinder” Hynninen (ex-Reverend Bizarre), and in what I can only assume is deliberate contrast to the whites and pinks of the album art, the music itself is experimental drone-doom, at times vicious and near-unlistenable, at other times minimal and atmospheric. It didn’t make for great driving music, but I dug it anyway, and Green Light made a fitting epilogue to a weekend of CD-buying excess I don’t anticipate being able to match for some time.

Ye olde Googlymaps lists the drive from Wisconsin to my humble river valley at a little over 15 hours with the stop-off in Michigan. I won’t say these records were much comfort to me when I lost over an hour sitting at a dead stop for bridge construction before getting 100 miles eastbound into Pennsylvania, but if anything was going to aid so helpless a situation, they probably would’ve done it.

Thanks for reading and indulging the indulgence.

Ramalama Records

Flat, Black and Circular

Green Light Music & Video