Posted in Questionnaire on December 29th, 2022 by JJ Koczan
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: Nathan Carson of Witch Mountain & Nanotear Booking
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How do you define what you do and how did you come to do it?
In the broad sense, I’m a creator, a producer, a communicator, and a connector. How did I become a booking agent, internationally touring drummer, FM radio DJ, music journalist, and published author? Baby steps. Thousands of them.
Describe your first musical memory.
In the mid-seventies, my aunt Vicky was the 17-year old bombshell lead singer of a regionally successful Midwest rock group called The Hot Ice Band. They sounded a bit like Jefferson Airplane, and had a development deal with a big label that put out their single “Fly Away.” My parents took me to see them in concert at a college show with a couple thousand people in attendance when I was three years old. All I remember is that it was very loud, and I hated it. But I kept the 7” and have always enjoyed that.
Describe your best musical memory to date.
I have enough of those to fill a book, and I plan to. Honestly, though, Witch Mountain played two shows last weekend, and the chemistry and communication we have developed over the years is exactly what I would hope for. It feels amazing to play with my friends in front of an audience who appreciate what we do.
When was a time when a firmly held belief was tested?
There have been a few times when I upheld an obligation to a friend or client, even though a better opportunity had come along for me. In the moment, I didn’t question it. I just stuck with the plan because I didn’t want to back out on anyone who might be relying on me. In the long run, I’ve come to regret a few of those, because some of those opportunities didn’t come again. I’m not saying I would ever leave someone in the lurch, but I think there could have been a graceful way to have my cake without burning anyone in the process. Live and learn.
Where do you feel artistic progression leads?
From what I’ve seen, it’s an infinite road that only ends with death. Very few creators retire from making art. They might retire from the cumbersome commercial aspects, but I can’t think of anyone who made great art and then just decided to watch bad TV for the rest of their life.
How do you define success?
I grew up in a mobile home in the backwoods of rural Oregon. My parents impressed on us from a young age that all that matters is being happy, without fucking anyone else over. I feel incredibly successful simply because I spend the majority of my time on the things I care about and want to work on. Sure, I am driven by praise and accomplishment and I do enjoy any recognition. But I’ve already met or exceeded most of my life goals, which were not terribly unrealistic to start with.
What is something you have seen that you wish you hadn’t?
Korn opening for Ozzy in ’95.
Describe something you haven’t created yet that you’d like to create.
I have started my novel. It’s not done yet. And it’s taking longer than I’d hoped. But I aim to make it good.
What do you believe is the most essential function of art?
Inspiration. For the creator, and the recipient.
Something non-musical that you’re looking forward to?
I’ve got five good friends coming over tomorrow to play a long afternoon game of vintage 2nd Edition Talisman Fantasy Board Game (with all the expansion sets). We’ll see who truly wields the Crown Of Command this time!
Posted in Features on August 22nd, 2022 by JJ Koczan
Early
Ah, the last day. If last night had been the end, I wouldn’t have been able to complain, but if you’re going to do a thing, do it, so Psycho ends on Sunday. And tonight is Mercyful Fate after High on Fire and Paradise Lost, then Monolord closing out the proceedings. And Witch Mountain with Uta Plotkin and Billy Anderson before that. That would be enough, but that’s not it either. Mothership play Famous Foods later. And I can’t help but imagine them leading the entire room in an Animal House-style food fight. Not saying I think it will happen — they’re a smarter band than that — but it would make sense.
This fest is social-ready in a way that things weren’t a few years ago. There’s stuff just strewn about to take your picture next for TikTok or Instagramming, and from the pool mosh to the black metal up in that airplane hangar of an Event Center, the crowd participation in hype before and during and after is very much factored in. Various algorithms will bring up these pictures in ‘memories’ for years to come. I know this because all my old memories are band photos. Kid stuff too now, which I’ll admit gets me sometimes.
But it goes to show the depth of consideration put into something like this. Someone had to design, render and manufacture that big playing card cartoon character by the Poker Tournament, and it’s not a cheap cardboard cutout, either. Shit lights up. Where’s it gonna go until next year? Would they even reuse it, or is it one and done because next year will need a new design?
A video chat with the kid proves restorative. His grandmother brought him home from Connecticut and he looked pretty wiped out from his weekend. I get that. I won’t see him tomorrow, but will be there Tuesday when he wakes up at some maddeningly early time. My flight leaves Vegas at noon tomorrow, gets into Newark at 8:30. Remember I said I’d get through half the day today without fretting about getting to the airport? Seems that was a bit of wishful thinking. So it goes.
Head upstairs as I finish coffee, just to sit in quiet for a minute. I could go back to bed. Don’t. Instead go back downstairs to where Famous Foods is doing Chessboxing with the Gza. No sign of the Genius, but it’s Mike from Elder and Buddy from Greenbeard right now and it seems like a good game, at least going by the overhead camera on the side. This is one of those things that makes sense because it’s Psycho.
I’m sorry, I think that picture is the funniest shit I’ve seen since I got here. Crazy rock and roll bacchanal, right? And I find the chess tournament. Welcome to the story of me at a party.
Not so terribly later
Man, Psychlona know how to ride a groove. This was the last show of their West Coast tour. Gotta be an interesting thing, coming over to play this fest for multiple sets in the heels of your best album yet. Tomorrow they fly back to the UK. That’s gotta feel like an accomplishment, right?
They finished their set with “Warped” from that new album, one more all-lined-up-and-go outbound groove, not just tight but all even in a way that makes it that much easier to get on board whenever. Like they took off a long time ago and you just walked in but it’s still cool and no worries on catching up, they’re still ready for you. I feel like I saw that happen a couple times during their set, folks wandering in and whatnot, though Psychlona, first band of the day in here, noon start, pulled a good crowd. They’re heavy rock for heavy rockers but I feel like there’s more identity starting to come out in their sound over the last two albums. I’ve seen them twice this summer now, here and Germany, so I’m a total fucking expert, mind you. Totally have every clue what I’m talking about.
Does it count as a confession or complaint that I’m exhausted? Either way, I know it’s not rock and roll. But I got chased off the floor spot I was sitting at in Dawg House, and that felt like a spiritual wound I didn’t need, so I apologize.
I saw the tail end of Mint Field’s set, kind of mellow atmospheric indie but they had a little space-kraut psych thing going at the end, a little bit of fuzz worked in with the programmed backbeat and fluid instrumentation between the duo. Lots of melody, kind of breezy but not checked out mentally. Vibe, in other words. Lord Buffalo are also a vibe band, spacious, heavy Americana, brooding rock and an underlying swell of blues doom — not doom the genre, but more like the apocalypse. I’d never seen them before, and I hope to again. Heavy Western is a hard sell at a Vegas sports bar, but the sound in Dawg House has been really good, and that goes for Lord Buffalo as well.
Today isn’t quite the same crunch for me as yesterday.
This is a good thing, however you want to look at it. More time to appreciate a set, offset by that last-day restlessness, knowing that each show is another step back toward real life. Tonight’s sleep is going to be the worst, because in my heart of hearts I’m ready to be home. That’s nothing against Psycho Las Vegas or any of the bands I’ve seen or will see before my night is up, I’m just good to go. I was tired when I came here. So yeah, give me a relaxed Psycho adventure. In a bit I’ll watch Witch Mountain and then head to the Event Center for Paradise Lost. Won’t be iced tea on the patio, but it’s not three bands in an hour either.
Not that I would expect any of them to ever see it, but shout to the door crew at Dawg House anyway, who’ve been nothing but kind and welcoming in a way that has been appreciated. I told them as much before I came in for what I think will be this last time.
Later. Who cares?
We have perhaps arrived at a moment of spiritual rejuvenation sought. I find myself low stress, sitting in back, not in VIP but around there, having just watched Witch Mountain and Katatonia in succession, a one-two brought on more by happenstance than anything. Witch Mountain finished on time, but Katatonia had started late and went late, so for leaving Dawg House on the quick after Witch Mountain were done, I got to catch at least a decent enough portion of Katatonia’s set to make me feel like I saw them.
That’s a win, damnit.
Not the least because Witch Mountain were incredible. I took pictures, very grateful to have the little barricade there for a photo pit, then moved to a good spot in the middle and just kind of dug in. I have fond memories of seeing Witch Mountain live. Having Uta Plotkin on vocals, who shouted out current singer Kayla Dixon, and Billy Anderson on bass didn’t hurt — it was a 25th bandiversary special celebration; and it indeed was pretty fucking special. Save perhaps for the universal exception that is Stinking Lizaveta, I’d say it was my set of the trip at least to this point. Kings Destroy doing “Smokey Robinson” belongs on that list too, if we’re making a list. But Rob Wrong is an unsung hero of doom riffs, and Nate Carson revels in the plod of his drums with an enjoyment that’s infectious. This was clearly something that meant more to the band than just being on stage in front of people at a cool festival, though sometimes that works too, I guess.
Alas, my magic email’s magic would seem to have worn out; I was denied access to the photo pit for the main stage. Said to the guy I wasn’t trying to make his day harder, I was just there to do what the fest brought me here to do, dude went back and checked and that was that. Okay. I took some pictures from the crowd then went up to sit on a real chair in the VIP section and soothe my unduly battered ego.
For what it’s worth, and I know it’s not much, I’ve shot Paradise Lost before. And High on Fire twice this summer on soil foreign and domestic, not to mention last time I was at this fest and shot them. Mercyful Fate I’ll probably never get the chance to shoot again, but I’ve lived this long without I’m sure I can keep going. The world has enough mediocre photos of King Diamond that I do not worry about mine being missed. I know I’m not like a pro photographer out there taking pictures of bands for the festival and I’m not trying to tell anyone otherwise. But I thought this was what I was brought here to do.
The fleeing nature of joy is what makes it worth trying to hold onto. That’s my last word on it. I’ll try again for Monolord at Rose Ballroom.
Earth spins.
It’s 8:34PM. Bet you thought I was going to say “later.”
Paradise Lost got cut short, maybe, but they played a Paradise Lost show before that, so fair enough. I spent most of their set up and in the back and that was fine if for some weird vocal echoey stuff, but if I’d wanted perfect sound I’d have stood by the soundboard. Most of all I wanted a chair.
I have consistently dug Paradise Lost’s work over the last 15 years solid, minimum, and had an appreciation for their early stuff before that, so I am not about to complain about watching them play. They and Katatonia both put in what seemed like a festival set by practitioners of the form. It’s engaging the room for its size, meeting the whole crowd and not just the people 10 feet in front of the stage. Pro shop, in other words.
High on Fire, on the other hand, do not care where you stand. They are happy to run you over regardless. Kind of surprised they’ve never done a live album here, since they’re pretty much the house band. And they’re playing right before Mercyful Fate, so clearly there’s love there in both sides. High on Fire Live at Psycho Las Vegas would make sense. I mean, it does, pretty much every year.
This was my third time seeing them this summer. Coady Willis wasn’t even a question in drums. Completely took for granted that all parts were going to be well and thoroughly nailed, and they were. I know High on Fire has had a few thinkpieces written about them because, whoa-oa, Nutty Matt Pike is nutty!, but this band dominates heavy like no one else I’ve ever seen. And that’s nothing against the thinkpieces, either. Those are conversations that need to be happening if heavy music is ever going to grow outside its very white, very dude optics. I’m sure Matt Pike reads some fucked up shit. Fine. I’m not cold-calling voters for a senate campaign. I’m trying to enjoy being pummeled by riffs. If I thought dude was a nazi I’d say so.
Later
High on Fire delivered what was promised, and there was an hour break before Mercyful Fate at the Event Center. I didn’t move. I had a chair, a little table, up in back. I put my head down, didn’t quite sleep, but rested my eyes for a while. When I looked back up, the room was fuller than I’ve seen it, though admittedly I haven’t spent a ton of time in there. And the King held court, first wearing a kind of ram’s horns headress to climb up the stairs to his own riser on the bi-level stage, topped as it was by a neon upside down cross. You would not call it subtle. Classic, yes. They played a new song too.
I knew I wanted the closing chapter of my adventure to be Monolord at the Rose Ballroom. I left myself enough time en route for a pitstop upstairs — bathroom, drink water, eat bar, shoes back on, go — on the way, and it occurred to me that I was actually sure of where I was going for perhaps the first time in the last four days. I finally got it. I turned left coming out of the hotel hallway into the casino, then hung a right into the not-mall, and made my way down to the end then up the elevator to the third floor. Monolord were pretty much set up by the time I got there.
And you know, in the end, I’m a simple creature. I’ve never been a huge Mercyful Fate fan — nothing against them; that’s an important band I’m lucky to have seen — but I sure was happy to hear Monolord break into “I’ll Be Damned.” The crowd got a big boost I guess as Mercyful Fate wrapped up, but I was largely oblivious, completely exhausted, taking lousy pictures with the wrong ISO and getting ready to call it a night. No, I didn’t stay the whole time. I’m only one person. But I was glad to have gone, and as I look around the hotel room at all the shit I need to throw in my suitcase upon waking up in about six hours, showering and getting the hell out of town (hopefully; I feel like you never know with flying these days), I’m glad I came. Psycho very obviously didn’t need to let me be here, but I appreciate that they did anyway.
And again, thank you for reading. I’m going to bed.
Posted in Whathaveyou on June 6th, 2022 by JJ Koczan
This August, when Portland, Oregon’s Witch Mountain take the stage at Psycho Las Vegas 2022, they’ll be rounding out a series of three shows with the special 25th anniversary lineup of vocalist Uta Plotkin and bassist Billy Anderson (yes, that one; he’s recorded Witch Mountain all along) alongside founding guitarist and drummer, respectively, Rob Wrong and Nathan Carson.
Not gonna discount having Anderson on bass — and neither should you, lest you get yourself back to that second Blessing the Hogs record — but these will be the first shows Witch Mountain have done with Plotkin up front since she announced in 2014 she was leaving the band. Revamping their lineup at the time led Carson and Wrong to bring in vocalist Kayla Dixon and bassist Justin Brown, and they’ve gone steady as such ever since. The band likewise makes sure to mention that the Dixon/Brown lineup is permanent, and this isn’t so much a grand shift in plan so much as a step aside.
Witch Mountain‘s self-titled LP (review here) was released in 2018, and Mobile of Angels (review here) — the band’s final Plotkin-vocalized release — preceded in 2014.
Photo below is by the esteemed James Rexroad, who makes even your local public library look badass. Dates and info follow:
Witch Mountain – 25th Anniversary Shows
The musical partnership of Rob Wrong (guitars) and Nate Carson (drums) began in 1997 with the founding of Portland, Oregon’s first doom metal band. While the permanent lineup still includes vocalist Kayla Dixon and bassist Justin Brown—both had other commitments in the summer of 2022—with Brown fighting forest fires, and Dixon touring overseas with her other band.
In celebration of WM’s 25th anniversary, vocalist Uta Plotkin returns to perform three special reunion sets, singing songs she wrote with the band from 2008-2014. The band’s long time “engine-ear” Billy Anderson will play bass on these exclusive dates in Corvallis (Carson and Plotkin’s hometown), Portland (the band’s forever home base), and the Psycho Las Vegas music festival.
These three shows are the only chance to see this reunion. Stay doomed! PS – Ticket links in the comments \wm/
Posted in Whathaveyou on December 28th, 2021 by JJ Koczan
Tenth one, huh? And final? Why, I remember when the first Ceremony of Sludge was announced, put together at the ambitious behest of members of Lamprey, who played, and Captain Couch Records. Well, even with the lost year in 2021 — they got to sneak one in for March 2020 before lockdowns happened — doing anything like putting together a festival 10 times, even an intentionally small one, is an accomplishment of which to be proud. I wish them nothing but the best in February, and I hope that this is actually able to happen as scheduled.
There are no bands shared between the first and last lineups for Ceremony of Sludge — and here I should say that the usual never-say-never applies here as with most things concerning rock and/or roll — though that would be fun. There are veterans though in Witch Mountain, Glasghote, and Mane of the Cur, and I think Lord Dying might’ve played at some point too, as well as members of A//tar in other bands. And while we’re talking about it, these bands rule. I’d be well into seeing Breath and ILS and Maximum Mad. Ceremony of Sludge always knew what was good in Portland, not the least because it was a part of making it happen.
Congrats on 10 editions and a job well done. Maybe this is it, maybe not, but if it is, all the more reason to celebrate.
Lineup follows:
CEREMONY OF SLUDGE X – Feb. 25 & 26
This is the end, friends: the tenth and FINAL Ceremony Of Sludge! It’s been a blast celebrating Portland’s (and beyond) heaviest bands with you all this past decade – we hope you’ll join us one last time.
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: Nathan Carson of Witch Mountain & Nanotear Booking (Portland, Oregon)
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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?
Witch Mountain was in a fortunate position, at first, because we were in a writing phase between tours with no deadlines or responsibilities. But as time went on and the pandemic accelerated we were eventually forced to cancel our June headlining tour. We have more live plans for later in 2020, and of course they’re all in potential jeopardy now. At least we are still able to write remotely, and will probably resume jamming in person once it feels safe to do so.
Personally, we’re all hanging on, but most of us are laid off or out of work. Kayla had a musical canceled that she’d been prepping for months. Justin’s effects pedal company Mr Black is on life support. Rob has been engineering studio sessions and working other side gigs (he’s got more mouths to feed than the rest of us). For me — a tour booking agent by day – -my entire industry has come crashing down. I lost an entire season of income that is likely to stretch into a year of inactivity. The future is a gigantic question mark when it comes to how live music will resuscitate, and when.
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?
Portland is a great place to live overall. The majority of people here want clean air, clean water, and have progressive values. So even though we are sandwiched between two states with some of the larger outbreaks in the country, we’ve done a great job of slowing the spread here.
Nevertheless, there are plenty of people in the grocery stores not wearing masks, and people driving like maniacs on the roads. It’s sad that trusting science has become a partisan issue, or that people who believe a fetus has a soul seem willing to sacrifice the weak and elderly in order to prop up Wall Street and the corporate economy.
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’ve seen some great livestreams, which is not something I was particularly interested in before. Of course I do have a 65” 4k tv with high speed internet, 5.1 sound, and a thumping subwoofer. So that’s helping my enjoyment of watching concerts from home quite a bit.
I’ve been able to use this time to catch up on household and archival projects that seemed like they’d never get done based on my past lifestyle. My aim is to use this time as wisely and effectively as possible. The ultimate goal right now is to write the novel-length sequel to my book Starr Creek that I’ve been planning for years. Even if I had decided to save my money and take six months off from work to write the book, my booking clients couldn’t have just put their bands and tours on hold. But now that we’re all forced to stay home, I will have the luxury of writing full time during daylight hours, instead of just on evenings and weekends. I definitely aim to walk away from this situation with something to show for it.
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?
I just feel very fortunate to play music with such thoughtful, rational people. No one in Witch Mountain is looking to take unnecessary risks. No one in our band is concerned with conspiracy theories or bucking scientific advice. We love making music, and we’ve had a long term vision from the start. That’s why the band is still around after twenty-three years.
This will all pass and then we’ll find out what that new normal is. In the interim, we are passing files over the internet, slowly working on new material, designing and shipping out merch–like the WM logo face mask that we launched the last time Bandcamp waived fees for a day, etc.
Otherwise, we are taking this one day at a time, slow and steady, just like our music.
Posted in Whathaveyou on February 27th, 2020 by JJ Koczan
Witch Mountain released their latest single last Fall, and last I heard, they were going to set about writing new material to follow-up on 2018’s self-titled LP (review here). It seems that will show up later this year in the form of an EP, and they drop hints at more autumnal touring for 2020 as well — you might recall they were out with C.O.C. around the release of “Priceless Pain,” which you can stream below — that timing makes sense. Frankly, they’re one of those bands who, when it comes to new stuff from them, I’ll take it how it comes. If there’s trust to be earned in that regard, they’ve long since earned it.
They’ll be on the Eastern Seaboard around their appearance at Maryland Doom Fest 2020 in Frederick this June, and if you’re wondering why Heavy Temple and Gozu are listed at the Brooklyn show and no other bands are it’s because I transcribed the dates from the poster myself and someone already sent me an invite to go to the show. So there. Happened like five minutes ago. I’m sure whoever is playing Shrunken Head is also killer, but I have no idea who that might be at this present time. [Edit: it’s Pale Grey Lore, so yes, killer as suspected.]
Here’s word from the band and those dates:
We are psyched to announce a limited headlining tour surrounding our appearance at Maryland Doom Fest in June. All tickets should be on sale right now.
Two of the classic Witch Mountain albums – Cauldron of the Wild (2012), and Mobile of Angels (2014) – have been unavailable on digital platforms for quite a while.
But as of today, both are back via our favorite site Bandcamp.
2020 sees the band writing new music in guitarist Rob’s Wrong Way Recording studio, and preparing to hit the road for a series of tours in the US and Europe, where fans will get another heavy dose of the band’s patented and ever-unfurling traditional American doom/blues.
Please help us spread the word… and we’ll see you on the road! \wm/
Witch Mountain live: 06.12 Chicago IL Sleeping Village 06.13 Columbus OH Shrunken Head 06.14 Buffalo NY Mohawk 06.15 Toronto ON Hard Luck 06.16 Ottawa ON House of Targ 06.17 Montreal QC L’Esco 06.18 Boston MA Great Scott 06.19 Brooklyn NY Saint Vitus Bar w/ Heavy Temple & Gozu 06.20 Maryland Doom Fest 2020 06.21 Pittsburgh PA Brillobox
Witch Mountain is: Kayla Dixon: vocals Rob Wrong: guitar Justin Brown: bass Nathan Carson: drums
Posted in Whathaveyou on October 31st, 2019 by JJ Koczan
In the immortal words of one Peter Steele: Happy Halloween, baby. Those playing along at home know that today means one thing to the realms of doom, and it’s that it’s time for Maryland Doom Fest to unveil next year’s lineup. Maryland Doom Fest 2020 has some significant shoes to fill in following up this year’s, which of course was held in June in Frederick, Maryland, and they’ve lined up a full four-dayer onslaught to make a go of it.
Headlining sets from Cirith Ungol, Blood Ceremony, Speedealer and Mondo Generator, with direct killage from The Skull, Victor Griffin‘s Death Row Assembly (this will be incredible, especially there), Witch Mountain and Sorcerer, the fest is pretty much blowing its own prior reach out of the water. I’ll especially look forward to Arduini/Balich and hope that this performance accompanies a new album, but return appearances from The Age of Truth, Bailjack, Earthride (yes!), Shadow Witch, Spiral Grave, Knoxxville and Helgamite will be awesome as well, and I’ve no doubt the likes of Vessel of Light, Galactic Cross (with Dave Sherman of Earthride), Yatra, Black Lung, Plainride, Cavern, Molasses Barge, Admiral Browning, Black Road, Poobah, Omen Stones and Crystal Spiders will be made to feel welcome into the MDDF family vibe, at least those who aren’t already a part of it. I guess particularly in the case of Admiral Browning, it’s more like family reunion.
Keeping with the festival’s no-dragged-out-staggered-announcements spirit, I’ll be up front about this: it’s gonna be a good ‘un. You should do whatever you need to do to make it happen.
The Maryland Doom Fest celebrates its 6th anniversary next June and today brings you its confirmed roster of over 50 of today’s heaviest bands to hit its stages in 2020.
Maryland Doom Fest brings both U.S. and international artists from all over the map into Frederick, MD for a full four days of mayhem, featuring the legendary Cirith Ungol and Blood Ceremony, to Speedealer and Mondo Generator set to headline the four nights of top shelf doom metal and heavy underground sounds! This year includes more than fifty bands to cover every dark and dank corner of metal subgenres across every inch of the stage from start to finish each night.
A few words from JB Matson, founder and organizer of The Maryland Doom Fest:
“I simply could not be more excited about the fifty-plus band roster for the Maryland Doom Fest’s 6th annual show in 2020!! This will be a splendid #4daysofdoom!!!”
We invite all to become part of the family at the Maryland Doom Fest 2020 weekend events! Please support the Doom and Heavy Music scene and come share in this epic event with us. We will see you at #4daysofdoom!!
THE MARYLAND DOOM FEST 2020
CIRITH UNGOL + BLOOD CEREMONY + SPEEDEALER + MONDO GENERATOR
THE SKULL + SORCERER + DEATH ROW ASSEMBLY + WITCH MOUNTAIN
Ol’ Time Moonshine + Arduini/Balich + Dirt Eater + Switchblade Jesus Doperider + Condenados + Cultic + Yatra + Bailjack + Poobah Earthride + Black Lung + Jake The Hawk + Black Road + Warmask Admiral Browning + Sourpuss + Molasses Barge + Thunderbird Divine Dust Prophet + Wolftooth + Vessel Of Light + Wrath Of Typhon + Spiral Grave Plainride + Mangog + Cavern + Galactic Cross + Shadow Witch + Burgan Akris + Plague Wielder + The Age Of Truth + Knoxxville + The Astral Void Serpents Of Secrecy + Omen Stones + Crystal Spiders + Helgamite VRSA + Conclave + Et Mors + Strange Highways + Alms + Dyerwulf
Posted in Whathaveyou on September 23rd, 2019 by JJ Koczan
A new Witch Mountain single is only welcome news, as far as I’m concerned. The Portland, Oregon, doomers took the stage at this past weekend’s Northwest Hesh Fest playing among likewise heavyweights like Acid King, Red Fang, Nebula, Poison Idea, Big Business, and a bunch of others, and to mark the occasion, they’ve unveiled “Priceless Pain,” which is the first studio recording they’ve had since their self-titled LP (review here) last year, which, you know, not at all a long silent stretch or anything, but still, as I say, welcome. Of particular interest is the fact that guitarist Rob Wrong — late of The Skull — also recorded his own guitar parts at his Wrong Way Recording. Wonder if he’ll just do his own stuff or bring in other bands. With as much as Witch Mountain have done with Billy Anderson, I have to imagine there’s been some measure of tutelage there, even if by osmosis.
They’ve got a lyric video up for the new track now, and as you can hear, the guitar sounds beastly. Also Kayla Dixon‘s vocals. I love it when Witch Mountain get screamy.
And oh yeah, last night the band started their Fall tour supporting C.O.C., which is both a good gig to get and a good gig to see. I’d go to that show, and I’ve already seen C.O.C. twice this year.
Guitar tracking at Wrong Way Recording by Rob Wrong Drum tracking at Pinebox Studio by Dave Fulton Vocal tracking and final mix by at Everything Hz by Billy Anderson Mastering at Trakworx by Justin Weis
WITCH MOUNTAIN – Fall USA 2019 Tour Sun 09/22 Cincinnati, OH – Riverfront Live* Mon 09/23 Detroit, MI – St Andrew’s Music Hall* Wed 09/25 Peoria, IL – Monarch Music Hall* Thu 09/26 Ringle, WI – Q&Z Expo Center* Fri 09/27 Joliet, IL – The Forge* Sat 09/28 Iowa City, IA – Wildwood* Sun 09/29 St Louis, MO – Fubar Mon 09/30 Memphis, TN – Growler’s* Tue 10/01 Dallas, TX – Canton Hall* Wed 10/02 Corpus Christi, TX – House of Rock* Thu 10/03 Austin, TX – Hotel Vegas Fri 10/04 Lubbock, TX – Jakes Sports Cafe* Sat 10/05 Tulsa, OK – Cain’s Ballroom* Sun 10/06 Albuquerque, NM – Sister Mon 10/07 Flagstaff, AZ – The Green Room* Wed 10/09 Fresno, CA – Strummer’s* Thu 10/10 Sacramento, CA – Holy Diver* Fri 10/11 Pomona, CA – The Glass House* Sat 10/12 Arcata, CA – Rampart Skate Park * = w/Corrosion of Conformity
Witch Mountain is: Kayla Dixon: vocals Rob Wrong: guitar Justin Brown: bass Nathan Carson: drums
