Song of the Day - Pieces of Molly - "Vultures"

Today's song of the day is called "Vultures" and it's a rip-roaring, fuzz fueled kick in the head courtesy of a New Zealand based band called Pieces of Molly. You can check out their debut on Bandcamp, but this track is from a forthcoming EP...release date unknown. We'll keep you posted once more details are available on that one, but in the meantime dig this little piece of badassery.

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Toby's Top Ten of 2015

Having been little more than a part time contributor to the mighty Heavy Planet for quite some time now, I find it a lot of fun to check back in with you good people now and again, particularly when it comes to sharing my favorite records from each passing year.  To be sure, 2015 was one of the best years for heavy music in recent memory and trying to pick and choose ten albums out of everything I dug this year was a near impossible task.  With that said, I did my best to keep up with those records that seemed to stick with me the most.  It's worth stating however that music, as with all art, is highly subjective, and because of that, you'll likely find my "best of" list differs from many of my peers…and that is of course, just fine.  In fact, it's a very good thing because it means we're all collectively shedding light on even more great music for you all to pollute your ears with if you haven't done so already.  So with all of that said, I hope you enjoy my favorite albums of 2015, maybe find something new that you hadn't heard before, and I look forward to sharing more great tunes with you in 2016 and beyond.

10) Kings Destroy - Self-Titled

I've always been of the mindset that when a band decides to "self title" an album, particularly one that isn't their debut, it hints at that album being definitive of their sound…their vision…and most importantly, what it is that they're all about.  Upon hearing the first track "Smokey Robinson" on Kings Destroy's eponymous third record, I knew that to be true in this case as well.  This isn't the first time that this Brooklyn alt-doom four piece has graced one of my year end lists, as I was a big fan of their 2013 record A Time for Hunting as well, and said as much right here.  But the growth that they've shown from that album to this one is substantial, and for that reason, Kings Destroy earned a well deserved place amongst my favorite albums of 2015.  

09) Valkyrie - Shadows

Valkyrie are a band that have been around for a decade plus in one form or another, churning out a doom-laden hybrid of classic heavy metal and psychedelic rock.  On their latest record Shadows, a flurry of dual guitar harmonies meld seamlessly with a pummeling rhythm section that carries these seven tracks through a multitude of tempos and paces.  Come for the virtuoso performances, but stay for the bone rattling heaviness.  Shadows remained on repeat for me in 2015, and while picking a favorite on this one isn't easy, go ahead and check out "Wintry Plains" for a sample.  I promise, you'll dig this shit.  

08) Weedpecker - II

I was unfamiliar with Polish desert rockers Weedpecker prior to hearing their aptly titled sophomore record II.  My God man, this album is beautiful.  Tracks like "Fat Karma" and "Nothingness" feature soothing grooves intertwined with heavy layers of fuzz and vocals that just barely manage to break through the haze.  The band deftly constrains their heaviness with flourishes of subtlety and nuance that belies the beast within and when Weedpecker truly lets loose, they are devastating.  Give a listen to "The Vibe" as the band transfixes you by way of a delicate jam and then buries you with their heavy groove.  Weedpecker's II was easily one of the best records of 2015 and this band is firmly on my radar going forward. 

07)  Refused - Freedom

Seems like I always manage to stick an album in my "best of" list that may or may not belong on a stoner/doom blog and this year that album would be the return of hardcore punk legends Refused.  Nobody…and I mean nobody…is more pissed off than these four Swedes and you'll know what I mean as soon as you fire up the album opening "Elektra" with it's frantic, yet memorable hook and pulverizing vocals.  On subsequent tracks, the band goes from the freaky funk of "Old Friends/New War" to the devastatingly heavy "Dawkins Christ", to the wickedly fun "War on the Palaces" replete with horns and a sing-a-long chorus of "let's carry the dead."  Whether you were a fan of Refused's genre defining, now classic The Shape of Punk to Come or if this is the first time you're hearing about them, I encourage you to give Freedom a listen.  This is the most fun you'll have being pissed off since that time you kicked your little brother's ass for spying on you and your lady friend back in high school.

06) Freedom Hawk - Into Your Mind

How apropos that Freedom Hawk's latest record was released back in June, just as summer was rolling in for its annual three month stay full of sun, sand, and sweat.  These Virginia Beach natives, who also happened to grace my 2011 top ten list (here), have created another masterpiece of soulful, stoner jams that are perfect for rolling down the windows and cruising the strip on a blistering hot day.  Freedom Hawk somehow create jams that sound inherently relevant while also managing to conjure images of the 1970's rock n' roll glory days, yet never come off sounding intentionally "retro" or post-whatever-the-fuck.  I mean shit man, the first track "Blood Red Sky" sounds more Sabbath than Sabbath and the boys never look back from there.  Give a listen to the insanely catchy, head nod inducing, psychedelia of "Lost in Space" for a perfect example of the band's approach.  Taking the beach mentality of their hometown, these laid back surfer boys intertwine an undeniable heaviness with an easy going vibe to create an amalgam of heavy grooving, soulful crooning, and spacey noodling, and that's why Into Your Mind was one of the best of 2015.

05) Kadavar - Berlin

German trio Kadavar have consistently released stellar albums since coming on the scene back in 2010, but with their third record, the band really hit their stride.  Named after their home city, Berlin is loaded with tasty riffs, heavy handed drumming (I mean that in a good way), and groove for miles and miles.  I mean, have you heard "Last Living Dinosaur" for the love of God?  As with any successful music style, the retro-rock thing has become increasingly watered down over the past few years with more and more bands jumping on that bandwagon, but Kadavar manage to make the sounds of yesteryear new again.  More importantly, they craft songs that sound all their own.  Check out "Lord of the Sky," "Stolen Dreams," or "The Old Man" and just listen to the powerful vocals, the adept fretwork, and the thunder behind those beats.  Berlin may be a re-imagining of sounds from the past, but it sounds fresh in 2015 and was one of my favorite records of the year.  

04) Baroness - Purple

As I mentioned earlier, I was fairly diligent in keeping track of each album that struck a chord with me in 2015 so that I'd be prepared when it came time to put this list together.  One thing that made it a little difficult was the gnawing knowledge that Baroness wouldn't be releasing Purple until late December, around the time I'd be trying to rack and stack my top ten so that I could write this and get it out to all of you.  Now to be sure, Baroness have become one of a handful of bands (if not the band) that represents the face of this stoner/doom/sludge scene that we all know and love.  Some may disagree with that statement, but I'd argue the fact that they've been invited to play such unlikely places as Coachella and Bonnaroo or that they consistently appear on blogs like Pitchfork and Stereogum, shows that they've reached a level of success that seemingly equates to respect, even from those not typically associated with the heavier end of the musical spectrum.  The bottom line of what I'm trying to say is that this list was never going to be completed until I'd heard and absorbed the new Baroness record.  Given that the Savannah, Georgia band were making a comeback of sorts after a horrific 2012 bus accident that left them physically and mentally battered (and sparked a significant lineup change that saw them replace their bassist and drummer), I was even more interested to see what direction Purple (appropriately named after the color of bruises, according to vocalist/guitarist John Baizley) would take them.  As it turns out, my instinct to wait was spot on, because the new Baroness is easily one of the best albums of 2015.  While "Morningstar" opens the album with a heavy groove that'll be familiar to anyone who's ever listened to the band, it doesn't take long before new elements begin to appear, such as on the second track "Shock Me" which incorporates striking synths and as catchy a chorus as you'll ever hear from a band associated with sludge metal.  Subsequent songs like "Kerosene" and "If I Have to Wake Up (Would You Stop the Rain?)" further show an evolution for Baroness, one that sees them embracing the heaviness from which they came, but also evolving into a fully realized rock and roll band.  These aren't just a collection of riffs and beats to simply nod your head along to, but songs to deconstruct, to understand, and to experience.  Baroness are continuing their trajectory upward and onward and Purple was not only a mesmerizing comeback record for the band, but easily one of the best of 2015.     

03) Wildlights - Self-Titled

The duo known as Wildlights is the side project of ASG vocalist/guitarist Jason Shi and Thunderlip drummer Johnny Collins.  Now I'll admit, I'm not familiar with Thunderlip, but I dig ASG (their album Blood Drive was my favorite record of 2013), so when I heard about this one, I was immediately onboard.  Upon first firing up this self-titled debut, the similarities between this band and Shi's main gig were astounding (due in no small part I'm sure, to his distinct vocals) and it isn't immediately obvious why these songs didn't end up being on an ASG record.  Regardless, Wildlights pack ample amounts of melody and punch into these 12 tracks and I'd wager that if you aren't sold right away after hearing "Anchors" and "Rebel Smiles," then this record simply isn't for you, because that opening salvo is a perfect example of what you'll hear throughout this incredible album.  I'm always amazed when I listen to a two-piece band, at how much sound can come from only two musicians and that applies here as well.  Wildlights was by far the biggest surprise for me in 2015 as they came out of nowhere (at least for me) to knock me on my ass and I've returned again and again throughout the year to repeatedly get pummeled.      

02) Skraeckoedlan - Sagor

Unlike the previous album, which totally took me by surprise, this is one that I had been anticipating for quite some time, particularly since the debut from this Swedish band was my favorite album way back in 2011.  Four years is quite awhile between records, so my expectations were high for Sagor, which translates to "Tales" in English.  Now I've often wondered how and why Skraeckoedlan aren't a bigger name on the underground, heavy rock circuit…perhaps it's their name, which is impossible to say (and even harder to spell), or maybe it's because they sing almost exclusively in their native tongue.  Whatever the reason may be, I want you to know that if you're reading Heavy Planet, then you need to be listening to this band.  From the opening instrumental "Prolog" which flows into the massive sounds of "Gigantos" to the beautiful female guest vocals that coalesce seamlessly into the bands complex rhythms and chord progressions on "El Monstro," Sagor is an aural journey worth taking.  Listen after listen will have you uncovering yet another layer of sound, something you will have missed on previous spins of the record, and what becomes clear is that nuance and delicateness can be traits of music that is so overwhelmingly and astoundingly heavy.  Skraeckoedlan have created a followup more than worthy of their debut and it's obvious that they used every bit of those four years between albums to create what was most certainly one of the best records of 2015.        

01) We Hunt Buffalo - Living Ghosts

 

Truth be told, any one of my top four albums could have landed here, but Vancouver's We Hunt Buffalo take the top honors this year because quite simply, I played their record more than any other…I just couldn't get enough of Living Ghosts.  Whether it was the bluesy stomp of "Back to the River" or the stampeding drums and caterwauling screams of "Prairie Oyster," this album seemed to hit on everything that I love about heavy music.  Songs like "Fear" and "The Barrens" are weighty, not just musically, but lyrically as well and I found myself contemplating their meanings as I nodded along to their intense rhythms.  And perhaps its that deeper meaning that seemed to permeate this record that kept me returning over and over again.  Late in the album's run time, We Hunt Buffalo take a bit of a psychedelic turn with "Looking Glass" and a theme sort of appears from the haze…a theme that perhaps runs throughout the entire album…"all we are is living ghosts…waiting our turn to fly…my body is a gracious host…that one day will wave goodbye."  Goosebumps for days…album of the year.

NOTE 1: I had no idea prior to putting this list together that We Hunt Buffalo's record was also the album of the year based on reader hits to this site, but I'm happy to know I'm in good company with my selection.  Cheers all!

NOTE 2: I did not include compilations in my list, and instead focused on albums created by a single artist.  If I had decided to include compilations, the re-imagining of Jimi Hendrix' Electric Ladyland entitled Electric Ladyland [Redux] which was masterfully pulled together by Magnetic Eye Records would have certainly found a place on this list. If you haven't already done so, I encourage you to check it out.

For Consideration: Electric Ladyland [Redux] by Various Artists courtesy of Magnetic Eye Records

   

EP Review: 'Antique' by Lighteater

Lighteater are a post-rock ensemble out of Brooklyn, NY who dabble in the dichotomy of delicate intricacy and devastating brutality.  Antique, their debut EP, is a four song affair that weaves the graceful tapestries and crushing riffs created by guitarists Dominic Bartolini and Nate Derr with the steadfast precision of bassist Chris Kunitz and drummer Ryan Luby.  Give a listen to tracks like "10oz" or "Quiver" as the band transitions from meditative hypnosis to jarring cacophony instantaneously.  Vocals aren't even a consideration as Lighteater are content to let the music do their talking.  Listening to Antique is the aural equivalent of floating along in a calming sea, only to be pummeled by an unexpected tidal wave.  Realizing that may not be something you'd readily sign up to experience, in this case I'd suggest you wear your swim shorts and strap on a life vest, because this combination of grace and ferocity is a worthy endeavor.

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EP Review: 'A Penchant for Hell on Earth' by John Lancaster

Is there such a thing as intuition or are such occurrences simply a matter of coincidence?  John Lancaster’s latest solo offering, A Penchant for Hell on Earth had me pondering this conundrum upon receiving the EP in the mail a few days ago.  You see, just recently I had the urge to resurrect my “Flashback Friday” column where I highlight a band from yesteryear, and my inspiration for doing so was none other than Lancaster’s former band Chum.  So there I was rummaging through my music collection in search of Chum’s tragically underrated (or perhaps I should say unnoticed), 1996 debut album Dead to the World, having no idea that the band’s singer would be sending me a copy of his latest solo record within a matter of days.  Now that’s either some really spooky shit or its one hell of a coincidence.  Whichever it may be…cosmic, musical connection or just a simple concurrence of events…I’m excited to be sharing new material from John Lancaster in place of that previously planned nostalgia piece.  I think you’re gonna dig it.

Now there's a good chance that you've never heard of Chum, so to give you a little background, they were an early 90's West Virginia outfit that played down tuned, heavy grooves with a melodic, soulful croon (courtesy of Lancaster of course) laid right over the top.  To give you a musical mile marker of where they were coming from, I've often thought that Lo Pan must be big Chum fans.  On this solo effort, Lancaster doesn't stray too far from that same formula, layering massive guitars amidst an atmospheric backdrop, which can be heard immediately on the EP’s intro track wherein the singer lays the groundwork for a theme that carries throughout these six songs…“it’s a labor of love for someone."   

Fellow guitarist Mac Walker, also formerly of Chum, joins Lancaster on the galloping “Long Gone,” which is the first real example of the sonic landscape you’ll be traversing here with its bouncing rhythm, Patton-esque vocals, and haunting reminder that “before you know it, this life is long gone…forgotten.”  But it’s “Jerusalem Syndrome” where Lancaster and his supporting cast, rounded out by bassist Barry Smith and drummer Josh Adkins, marry their militaristic precision (think Godflesh) with utterly soulful vocal work (King’s X is an obvious influence) and showcase their bowel rumbling, yet remarkably melodic heaviness.  

“Penny Drops” features a bouncing groove that flows into an ethereal, spacey chorus and culminates with an intense breakdown that’ll have your head bouncing like its 1996.  And “Water Under the Burning Bridge” takes the momentum and runs with it, opening with palm muted, staccato guitar riffs and then building towards one of Lancaster’s more aggressive vocal outbursts to be heard on this collection.  The EP’s coda is a companion piece to its intro track, appropriately titled “A Penchant for Hell on Earth Pt. 2” and essentially combines every element described previously into a cohesive closer that features multiple time signatures while driving home what I believe to be the running theme of this EP, which is the fleetingness of time…“cut along the line, it’s all the same…bury it alive, it’s all the same.”  Nearly 20 years after the release of Chum’s Dead to the World, John Lancaster continues to create music that is devastatingly heavy in both sound and emotion and that’s no coincidence my friends.  You need to check this out.

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LP Review: Wasted Theory - Death and Taxes

Listen up…I DO NOT speak for my fellow Heavy Planet brethren when I say this…but there are times when I get tired of all the post-this, proto-that, 25-minute bullshit songs that get passed off as "epic" nowadays.  I realize I'm probably very much in the minority on this within our little community, but sometimes God dammit…I just wanna ROCK!  Now if you can dig on that, then I suggest very strongly you get yourself someplace devoid of assholes and buzz-kills, set your speakers to LOUD, and give the latest from Delaware's Wasted Theory a go.

From the blazing first riff of album opener "Dead is Dead" to the final strains of "Black Widow Liquor Run," Death and Taxes is an album chock-full of shit kicking groove and dirty, Southern swagger.  Guaranteed, you'll be wrecking your neck to the bouncy stop/start rhythm from vocalist/guitarist Larry Jackson Jr as he strains his whiskey drenched pipes with "I wanna get high…high as the sun…up in the sky" during "Hellfire Ritual."  And kudos to bassist Jonathan Charles for being able to keep up with drummer Brendan Burns, who by my estimation, is one of the hardest hitting skinsmen on the circuit today.  Don't believe me?  Check out the thunderous pummel of "Tire Iron (The Stone Giant)" and prepare to board up the windows.

Now I don't know if it has anything to do with the addition of new guitarist Dave McMahon, or if the band has simply gelled since 2013's Godspeed, but the musical growth and improvement in songwriting from that release to this one are notably substantial to my ears.  Of course this isn't surprising since I made a similar observation about Wasted Theory in my recap of their live performance at this year's Moving the Earth Festival (HERE).  The band's maturation is evident throughout the eight tracks found on Death and Taxes, from the dare-I-say catchy riff of "Hexes" to the feedback drenched, slow build of "Celestial Voodoo Lounge."  Or check out the stoner stomp of "Absinthe Queen," which culminates in a badass, bluesy guitar solo that'll leave you simply nodding your head in approval.

If you'd rather sample before diving in head first, start with the aforementioned "Hellfire Ritual" and then check out "Black Widow Liquor Run."  Both tracks showcase the band's heaviness by way of their dual guitars, rock solid rhythm section, and some seriously deviant lyrical content (which I understand comes courtesy of Burns).  Here's a little snippet..."the devil's watching every move that I make…I'm spittin' fire like a mountain of snakes."

The bottom line is this…life is short and as the album title implies, there are really only two certainties.  So when you're burned out from wasting precious time on tunes that are long winded, meandering, and tedious, throw on some Wasted Theory and get down to brass tacks, musically speaking.  Because you know…sometimes it's okay to just want to rock.

For fans of: Alabama Thunderpussy, Corrosion of Conformity, Orange Goblin

Pair with: Ice cold fucking PBR

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Heavy Planet's Initiation in the Order of the Owl

In the midst of an east coast tour with fellow Atlantans Volume IV, on the eve of a headlining slot on this year's Eye of the Stoned Goat Festival, and with a new EP release just over the horizon, it's safe to say the guys in Order of the Owl are pretty busy.  But that didn't stop guitarist Casey Yarbrough from taking time out to talk a little shop with Heavy Planet.  Read on to get acquainted with the six string wizard as he discusses his band's formation, his hometown scene, and most importantly new music from Order of the Owl.   

Heavy Planet: So I know that [bassist/vocalist] Brent [Anderson] was originally in Zoroaster and Casey, you've been involved with a number of other bands (Halmos, Demonaut, etc.), so how did the two of you originally come together to start Order of the Owl?

Casey Yarbrough: When Brent parted ways with Zoroaster, he got together with long time friend Corey Pallon to start OotO. Corey knew I had been wanting to get out of the more punk, dissonant, rock and get into something heavier. We jammed together and it stuck well. First song we did was "Class War." 

HP: It’s been a couple of years since the release of In the Noon of the After Day.  When can we expect a new album? 

CY: [It's been] just a bit over a year and a half from its release. With the departure of Corey Pallon it threw off our progress, but Joe has picked up well and we just recorded a 4 song EP.

HP: Is there any chance the new record will be put out on a label or will you be going the independent route again for this one?

CY: [That's] still TBD at this point. 

HP: Do you have a name for the new album yet?

CY: [It's called] The Wolves of True Diamond Hate.

HP: Now you mentioned Corey Pallon who played drums on the first record and I was reading that the reason for him not being able to continue with the band had to do with some unfortunate health concerns.  How has it been transitioning to a new drummer?  

CY: It's been really good. Joe [Sweat] has brought an element to the band that was unexpected, and we have made some real progress.

HP: How did you come up with Joe as Corey’s replacement?

CY: Corey wanted to pick his replacement since he had a lot to do with the band's existence. He picked Joe Sweat and we couldn't be happier.

HP: Are there any differences in Joe’s playing style or perhaps other nuances that he brings to the band that are different from what Corey brought to the table?

CY: Corey had an improv and jazz kind of vibe that he added. The songs meandered a little more and that was fine and good. Joe has brought to the table a steadier and slightly faster vibe. Songs are tighter and we are liking the direction a lot.

HP: Speaking of differences in sound, how does the new material compare to what we heard on In the Noon of the After Day?  What can we expect to hear in the new material?

CY: [The] new stuff is faster.  Joe is adding more vocals, and it's just as heavy. You'll hear it soon enough.

HP: You’re out on tour right now with another Atlanta band, Volume IV and while it seems like little old Savannah gets all the credit for being the burgeoning heavy rock scene in your state, Atlanta doesn’t seem to be doing so badly itself.  Can you talk a little bit about the heavy music scene right now in your city?  Any bands we should be on the lookout for that we may not know about just yet?

CY: Atlanta has a hell of a lot of great bands coming out of it. To name a few...Drop Out, Demonaut, Mangled, Sadistic Ritual, Palaces, Pretty Please, Crawl, Ron Mexico, and so many more that I can't even name them all! 

HP: So can we expect to hear some new material on these current tour dates and at Eye of the Stoned Goat? 

CY: You'll hear the whole EP!

HP: Casey, you’ve been involved in the past with Sourvein as well, is that right?  Are you still playing with those guys? 

CY: My Sourvein days were very limited. But you will hear my guitar work on their new split with Graves at Sea. 

HP: Any other projects we should be keeping an eye on?

CY: [I'm] just really focused on OotO progress.

And you can hear that focus on the band's 2012 debut In the Noon of the After Day, which is available via Order of the Owl's Bandcamp page.  And keep an eye out for the new EP The Wolves of True Diamond Hate, which will be available very soon.

Heavy Planet would like to thank Casey Yarbrough for taking the time to answer our questions.  Be sure to check out Order of the Owl at the following dates:

May 02, 2014 - Buffalo, NY - The Lair w/ Volume IV

May 03, 2014 - Brooklyn, NY - The Acheron w/ Volume IV

May 04, 2014 - Worcester, MA - Ralph's Rock Diner, Eye of the Stoned Goat

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Moving the Earth Festival

The Windup Space
Baltimore, Maryland USA
March 22, 2014

Last weekend the second annual Moving the Earth Festival took place at The Windup Space in Baltimore, Maryland.  Heavy Planet was on hand for night one of this two day affair, and we got to soak in the grooves and get sloppy with some of the finest riff slingers the East coast has to offer.  In the words of festival organizer, Sixty Watt Shaman/Foghound drummer, and all around cool guy Chuck Dukehart III, the event was created to be a "celebration of all things heavy."  Based on the ringing in my ears, the pounding in my temples, and the puddle of drool on my pillow the following morning, I'm fairly certain his vision was realized.  

Passage Between

Moving their set from the scheduled start time of 8:00 to 7:15 in order to make room in the lineup for fellow Baltimore locals Asthma Castle (who were originally scheduled to play on Sunday), didn't seem to bother Passage Between…other than maybe they just screamed a little louder.  Brewing with sheer intensity, the trio served as a mighty appetizer for the early arrivers as they wrapped sludgy rhythms in raw throated roars that were certain to turn the heads of a few innocent passersby strolling down Baltimore's North Avenue.  Throat shredding duties were shared by guitarist Cole Crick and bassist Cameron Smith as drummer Joseph Bradshaw worked over the drum kit, which was to be used by all of the evening's performers.  A brief, yet brutal introduction of what was yet to come; Passage Between did their goddamned best to make the festival's namesake a reality.
 

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Asthma Castle

The stage at The Windup Space is not a large one, and after witnessing a three piece lay waste to it, the five members of Asthma Castle looked rather…err…cozy.  Sludgy fuzz emanated from the dual guitar attack of Justin Ethem and Cameron Smith (pulling double duty after having played bass with Passage Between), as bassist Jeff Davis and drummer Adam Jarvis (also Misery Index and Pig Destroyer) held down a rhythm that was as solid as a brick shithouse.  Vocalist Matthew Yukna pleaded to the heavens with a hoarse howl as the band segued in and out of stoner rock grooves, suffocating doom and relentless hardcore passages.  Safe to say that necks in the crowd were beginning to noodle and Moving the Earth was hitting its stride.

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Supervoid

I'm a big fan of Pittsburgh's Supervoid, having placed their recent LP Filaments at number two on my "best of 2013" list, so I was plenty fired up to catch their set at Moving the Earth.  The cosmic fuzz found on that album carried over perfectly to the stage of The Windup Space on songs like "Ladders," "War Elephant," and "Ride the Snake" and the band even took this opportunity to introduce a couple of new tracks which fit right in alongside the old ones.  The first of these, "Gallows" was a showcase for guitarists Dave Warren and Joe Madia, who manage to interweave their riffs, solos and other such elements with prog-like proficiency throughout Supervoid's textural soundscapes.  Between generous pulls of PBR, vocalist Brian Urban explained that the second new one, titled "Against Sunrise," is "about zombies and shit" before flaunting his impressive vocal range, which manages to evoke everything from Mike Patton to Randy Blythe.  Bassist John Braymer navigated a pedal board every bit as impressive as any of those used by the multitude of guitarists on the evening's bill while drummer Greg Kemper kept the backbone of this intricate beast intact.  Supervoid are a band who are stretching the boundaries of what "stoner rock" can be and that was evident during their set at Moving the Earth.  If you get the opportunity to check them out, you'd do well to take advantage.

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Black Manta

This festival had been billed as “the return of Sixty Watt Shaman,” but to be fair, they weren’t the only reunited legends on tap for the evening.  Carrying the “Doom Capital” flag from the genre’s halcyon days, it was evident as soon as Black Manta took the stage that these dudes have like…seen things, man.  Lead vocalist Skull stalked the front of the stage as he glared at the Moving the Earth crowd, his eyes wide with crazy, one fist thrust high in the air, and the other strangling his microphone.  Meanwhile bassist Walter White stood his ground at stage right, thumping away at the fuzzed out tones of the band’s self-described “bomb rock” while guitarist Hillel Halloway grooved out to the left.  Drummer Tommy Carr flailed away at the community drum kit, seemingly doing his part to make sure there would be nothing left of the thing by festival’s end.  For those old enough to remember when Black Manta stood alongside the likes of Earthride, Unorthodox, and Internal Void atop the underground doom scene of the mid-Atlantic, nostalgia reigned supreme during “Days of Yore” from the band’s now classic EP Fuck Them All but Six.  But it was the nodding approval and cheers from the younger contingent that proved the timelessness of these tunes.  Welcome back Black Manta…it’s been too long.

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Wasted Theory

The American flag draped over one of Wasted Theory’s amplifiers just seemed to enhance the dirty, southern swagger buried in the Delaware band’s heavy grooves.  Vocalist/guitarist Larry Jackson Jr. strained every vein in his neck as he pushed his gravelly voice right to the edge.  Meanwhile, he and guitarist Dave McMahon, who just joined the band a few months back, traded licks like sparring partners as Wasted Theory plowed through a set of all new material from their upcoming full length Death and Taxes (due May 2014).  Not to be outdone, Jonathan Charles rumbled the guts of everyone in attendance with his four string, while drummer Brendan Burns twirled his sticks, held them over his head in an upside down cross, and generally beat the shit out of the skins for the entirety of the band’s 40 minute set.  I caught Wasted Theory just under a year ago when they came through Washington DC and to take nothing away from that performance, I am amazed at how much they’ve grown.  After what I saw in Baltimore last weekend, I can’t wait to get my hands on that new record. 
  

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Kingsnake

Quite simply, Philadelphia’s Kingsnake get better every time I see them.  With one foot planted firmly in rhythm and blues and the other resting on a stratum of stoner rock, the band displays a smooth confidence onstage and if it weren’t for the reunion of the legendary Sixty Watt Shaman to follow, they would have made worthy headliners for the Moving the Earth Festival.  The dual guitars of Brian Merritt and Bill Jenkins combined heaviness with improvisation, and when Jenkins added his gruff, whiskey drenched vocals, songs like “Fang of the Cobra” from the band’s excellent 2013 LP One Eyed King of the Blind sounded both monumental and boogielicious.  The rhythm section of Matt Kahn on bass and Matt Farnan on drums was fluid…almost jazz-like…and when the band broke into the sing-a-long chorus of “Mountain Girl” it felt like The Windup Space had been magically transformed into a 1970’s arena rock show.  It’s obvious at this point that Kingsnake are on their way up.
    

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Sixty Watt Shaman  

Finally, after so much buildup and anticipation, it was time to put any rumors, expectations, and past memories to rest…it was time to revive the legendary Sixty Watt Shaman.  After more than a decade apart, vocalist/guitarist Dan Soren, bassist Reverend Jim Forrester and drummer Chuck Dukehart III were joined by new guitarist Todd Ingram as they brought their southern fried, stoner rock back to the stage.  The band collectively disposed of any lingering anxieties by diving right into “Cactus Mexicali” from their 1998 debut Ultra Electric and as they transitioned into “Southern Gentleman” (also from Ultra Electric), you could almost see the rust fall away and the confidence begin to grow.

Reverend Jim Forrester seemed to enjoy every second of the band’s set as he roamed the stage like a raving maniac, thumping out the rhythm to a suite of songs from Sixty Watt’s classic Seed of Decades album.  By contrast, Todd Ingram stoically stood his ground as he seemingly concentrated on winning over the Sixty Watt faithful by nailing each and every lead, riff, and rhythm.  Right behind them, Chuck Dukehart III gave the Moving the Earth drum kit its final bout of punishment for the evening, occasionally looking over his shoulder to sing backing vocals on songs like “Fear Death by Water,” or to crack jokes about the band’s fog machine…”hey look, I’m on fire.”  And when he wasn’t playing rhythm guitar, Dan Soren occasionally picked up a tambourine as he wailed into his microphone, or mined the depths of his signature baritone.  The band was tight, the crowd was electric, and by the time Sixty Watt closed out their set with the epic “Red Colony,” it was pretty damn evident that this revival was complete.

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Sixty Watt Shaman Setlist:

Cactus Mexicali

Southern Gentleman

Seed of Decades

Fear Death by Water

Poor Robert Henry

New Trip

Stone’s Throw Away

Whiskey Neck

Pull the Strings

Red Colony

Check out more pictures from the show below:

Passage Between:

Asthma Castle:

Supervoid:

Black Manta:

Wasted Theory: 

Kingsnake:

Sixty Watt Shaman: