STATE OF THE SCENE

Last summer, Doomed & Stoned released the sequel to our first compilation, ‘Doomed & Stoned in Portland’ (2013). Both attempt to capture the characteristic styles of heavy music germinating in the soil of the Rose City. 'Doomed & Stoned in Portland II’ (2016) shifted focus from the established bands of the first comp, to the underdogs and rising stars. Our hope is to give people outside of the area a good snapshot of our mushrooming scene.

As Portland, Oregon’s diverse portfolio of achievements in sustainability, business, and the arts has gained a greater profile, more and more are moving here to partake in the eclectic, innovative spirit of the area. This migration and outside investment has led to a growing footprint, with inevitable changes to the Old Portland landscape. A few years back, Lord Dying captured the “anti-yuppie” sentiment of many native Portlanders in a hilariously subservient music video that had them bringing down those towering waterfront condominiums that tend to obscure the view of the mighty Willamette River and Mount Hood. Generations before, there was a notable anti-California sentiment, best voiced by Governor Tom McCall: “Come visit, don’t stay.” While that attitude has softened considerably, there is no mistaking the impact of gentrification on both community and culture.

In recent years, we’ve seen venues such as East End, Slabtown, and Red Room all close down. Branx/Rotture and Tiger Bar soon followed. Ash Street Saloon will by year’s end. Other venues (Bunk Bar, Katie O'Brien’s, Sandy Hut, and White Owl Social Club) seem to no longer host heavy music. We had a near scare with The Know, but it is re-opening. The Tonic Lounge went through an identity crisis, becoming Panic Room and now The Raven. Thankfully, we still have several go-tos like Analog Cafe & Theater, Dante’s, High Water Mark Lounge, Hawthorne Theater, Star Theater, Turn, Turn, Turn, Twilight Cafe & Bar, and World Famous Kenton Club, to name a few top of mind.

Perhaps the biggest challenge to the Portland heavy underground is maintaining a sense of community, which at times feels diluted by the urban sprawl that keeps bands more and more spread out and isolated. That presents real obstacles when it comes to getting to know and trust one another, not to mention collaborating on projects and making the scene more visible. Much of this fragmentation is made up for as bands encounter each other gigging across the four corners of the city. Social networking has also helped to bridge the sprawling geographic divide by facilitating new relationships.

It doesn’t help that the music and the stories of the heavy underground often go unreported. Even our stalwart Oregonian and faithful street periodicals Willamette Weekly and The Portland Mercury can miss the wealth of inspired music-making coming from the names we’ll be exploring in parts one and two of this year-in-review.

Beyond the hype and behind the scenes, this place is teeming with activity. You’ll find ambitious guitarists, bassists, and drummers jamming away in garages, people in back rooms tinkering with old amps and tubes, and upstarts playing hard in dive bars. These bands are joyously crafting their sound, patiently honing their songwriting, and pooling their money to finance a cassette release, press a 7", or maybe just rent out a hall for the night to play for friends.

Doomed & Stoned has chosen to narrow its focus on just one aspect of this subculture: the “Sabbath Sound” – bands rooted in the doom-stoner sound of the seventies, eighties, and nineties. I’m easily over my head trying to keep track of it all. Will the bubble burst in this buyer’s market? Not so long as this hunger to listen to and play heavy music continues. Portland could very well remain a hub of creativity for musicians, artists, writers, and entrepreneurs into the foreseeable future.

Local bookers Nate Carson of Nanotear, Chris Trumpower of Soundcontrol PDX, and Joey DeMartini of Mad God Booking come to mind as champions of new voices and unsigned bands. A mighty handful of Northwest record labels have added Portland acts to the roster, namely Devil’s Child Records, Eolian Empire Records, Good to Die Records, and STB Records. In addition, we have some damned fine radio shows and podcasts advocating for Portland’s music, past and present. I’m thinking of Nate Carson’s Heavy Metal Sewïng Cïrcle, Urb Thrasher’s Flower Hour, Pacific Stoner Time, The Haute Garbage Podcast, and our own Doomed & Stoned Show. Let’s not forget to acknowledge those devoted DJ’s, sound engineers, vinyl and CD makers (Cravedog, I’m looking at you!), graphic designers, t-shirt makers, and all you fine folks spreading the gospel of doom!

Album Art by Thäedra Clare

When out and about, I frequently run into local photographers who cast a striking vision of our scene – people like Alyssa Herrman (Foto Phortress), Stephanie Savenkoff (Savenkoff Photography), and Colton Bills (Marrow Photography). Portland Heavy Seen, Blue Heron Video, and Doomed & Stoned continue to document live performances. I see Mike Kilgore at every single damned show I film (he’s got an archive of material dating back to the '90s), as well as the unassuming but incredibly prolific Shelby Kray (Blue Heron Video). The Slayed in Oregon television program airs live rock and metal performances each week and in 2016 produced a documentary on trash metal band The Mentors. Speaking of docs, Ryan Sutherby and Bob Hannam directed and produced an epic one of their own last year. 'The Colossus of Destiny: A Melvins Tale’ (2016) received its premiere at Psycho Las Vegas, and both Mike Kilgore and I contributed footage to this tremendous effort.

We have a number of homegrown festivals for the heavy music of Portland, most notably Ceremony of Sludge and Stumpfest (which we gave full spreads to here and here), along with Festicide and Fall Into Darkness. Hoverfest and the Portland Winter Metal Olympics have been two of my personal favs, where I cut my teeth capturing great bands like Atriarch, Danava, Disenchanter, Holy Grove, Rabbits, Sons of Huns, Witch Mountain, and Yob. This year saw the second rendition of Portland Hesh Fest, organized by Jonathan Galyon of American Icon Vintage (a promoter with Portland roots). Doomed & Stoned has been experimenting with one-dayers, like the Doomed & Stoned Summer Showcase., which brought us the stellar line-up of Stoner (one of the bands I’m most enthused about these days, featuring the founding member of Black Snake), Old Kingdom, Chronoclops, and Swamp Ritual.

Art by Thäedra Clare for the Doomed & Stoned Summer Showcase

With all that as preface, let’s get into the biggest releases from P-Town in 2016. Between part one and part two, you’ll get the depth and the breadth of the heavy scene here. One reminder before we proceed: in these days of information overload, we’re back to trading tapes (80’s children know exactly what I’m talking about). Put simply, give these bands some love, get out to shows, and share the music around! Only by supporting one another generously can the scene grow strong and united.

Ok, speech over, diatribe done. Let’s hit the highlights of the heavy underground from January to December of 2016. I’ve likely missed something, so feel free to school me in the comments. Otherwise, I’m confident you will enjoy the discoveries that follow over the next two articles.

NEW SOUNDS FROM
FAMILIAR FACES

It was an exciting year for riff-mongers and amp-worshippers in PDX! Here are some of the standard bearers that have earned recognition and respect in their hometown and points beyond. They brought us an exciting array of new music in 2016. The next installment in the series will introduce some new kids on the block (Ape Cave, SAOLA, Troll, etc.) who made a big canon ball splash during the craziest twelve months in recent memory.

ATRIARCH

For almost a decade, Atriarch has been a staple of the scene and a band that defies classification. Not that this keeps Relapse Records (who recently re-released 2014’s An Unending Pathway ) from trying: “Blending death rock, doom, black metal, punk, and psychedelic drone/noise, Atriarch immediately establish themselves as one of the most creative and compelling heavy-music bands of the 21st century.” If you’re wondering how all that meshes (or how, say, drone can be psychedelic), pop that new cassette 'We Are All Dead’ (2016 - Devout Records) into the deck and play it until the tape gets good and tangled in the wheels and snaps violently in two!

I’ve had the honor of filming Atriarch twice now and there are few bands more captivating. Lenny Smith’s fanaticism is at once frightful and magnetic. Even with my eyes concentrating intently on the lens, I felt my body being pulled into the whole performance. It’s a very physical show, but not in the way you expect. Take a look-see and try to avert your gaze from this show at the Raven.

BLACKWITCH PUDDING

When those mysteriously cloaked 500-year old Wizards of Blackwitch Pudding take the stage, the theatrics are always a treat, landing somewhere between outlandish and awesome. Their antics recall the beer-fueled fun of arena hair metal. A light show hosted on your sneakers? Oh yes, we’re doing that! Add those badass, evil vocals and we’re in business.

For those who can’t see the fun close-up, the music is by no means a second choice. The latest Blackwitch Pudding record has the boys teamed up with none other than Uta Plotkin of Witch Mountain fame (oh, excuse me, Soul Wizard ). We interviewed her ahead of the release of their twofer, 'Betty Kougar/Herman The Worm Man’ (2016). Everything from the album art to the lyrics to the composition of the music has Portland wit and weirdness written all over, with “Herman The Worm Man” being one of the best hell yeah! songs of the year. I think I speak for many when I say it sure is good to hear the mischievous voice of la coquetera again. I hope Soul Wizard surprises us some more in '17.

CAMBRIAN EXPLOSION

Cambrian Explosion is the closest thing to a psychedelic trip without the magic mushrooms. As the name implies, this is an all-encompassing sonic experience, delivering some of the most enlightened, post-seventies prog rock I’ve heard (and filmed) in some time. Nori Lockhart (guitar/vocals), Ben Dorothy (drums/vocals), Derrin Twiford (keys/percussion/theremin), and Archie Heald (bass) are no newbies. Their last EP, 'The Sun’ (2013) received wide acclaim and now has a fitting sequel in 'The Moon’ (2016). The whole vibe really is out of this world.

DANAVA

2016 did not short us on surprises. Danava made overtures of returning to the recording studio, a long five years after 'Hemisphere of Shadows’ (2011) became a genre classic. Now back in the public eye, Danava teased us with two never released songs in an EP titled, 'At Midnight You Die’ (2016). It was issued as a 7" on Tee Pee Records, the same label that brought us the debut of Rose City rebel scum, R.I.P. earlier in the year.   With Greg Meleny’s outspoken Rodney Dangerfield-style denouement of “doom metal” at Psycho Las Vegas in August, it was clear the bad boys of rock 'n’ roll were back in form. One month later, they would dedicate a performance at Northwest Hesh Fest to the recently disbanded Swedish bluesers Graveyard. At Midnight You Die has Danava charging out of the gate like a band suddenly transported back to the heyday of punk rock in New York City by way of the California stoner scene.

DIE LIKE GENTLEMEN

When people hear Die Like Gentlemen for the first time, they are hung on the horns of a dilemma: are these well-dressed gents a rock band?   Wait, maybe they’re metal?   Possibly both?   Definitely both!   If you’re a fan of the Melvins, these four could well be their offspring. We have Shawn Boles’ disciplined beat, the commanding vocals of Adam Alexander, Sean Rodgers’ sweeping bass gestures, and those searing lightsaber leads so deftly wielded by axe man Matt Wieber.

Die Like Gentlemen is a hell of a band and 'The Quickening Light’ (2016) may be their best effort yet. It’s also something of a departure from the military form of 2015’s Five Easy Lies and their earlier material (some of which I filmed last January). The Quickening Light has them venturing into fantasy and courageously experimenting with new tones, textures, and compositional techniques…and it absolutely works.

DISEMBALLERINA

If ever a band represented the unbound spirit and creative ethos of Portland’s Bohemian culture, it’s Gothic chamber group Disemballerina, founded by Ayla Holland and Myles Donovan. Though I’ve not interacted much with Ayla, I have exchanged words with Myles and he’s quite the character. Among his artistic endeavors? Sneaking into Kinko’s with dead birds and making color facsimiles. One even wound up on the cover of Drunk Dad’s 'Ripper Killer’ (2014), while another dons the cover of Disemballerina’s last album. Once I got past my initial surprise, I had to admit it was a very cool concept. That’s just the way Myles rolls. He and Ayla have a knack for clever band names, too, in the gruesome but entirely amusing Disemballerina (Ayla’s other band is Wizard Hits, a play on doom metal’s obsession with wizards).

Disemballerina unites the dark spirit of metal with another one of my passions, classical music (I’m an amateur pianist who relishes the original doomer, Beethoven). And even if Vivaldi’s Four Seasons and Mozart’s Eine Kleine Nachtmusik aren’t your thing, this you will enjoy.   'Poison Gown’ (2016) is heavy in its own right (“This Is The Head of the One Who Toyed With My Honor” is a great point of entry for the newcomer). We’ve heard bands like Alice in Chains and Metallica unplugged (even with the accompaniment of violas), so when you think about it (and Disemballerina did) there’s no reason why the deep, resonating power of metal can’t be carried by alternative instruments, even harps. Yes, I said harps. Now, I don’t want to give you false expectations – this is no Apocalyptica. These are original instruments sans électricité exploring esoteric realms in forms that are neither strictly classical nor metal. Yet it effectively evokes a mood, an atmosphere, a story that casts a spell on the imagination and conjures shadows of the preternatural.

I carry a couple of big regrets from the year past. One was missing Scott Reagers hop back into the saddle of Saint Vitus. The other? Missing out on one of Disemballerina’s candlelight rituals. With any luck, 2017 will bring new opportunities and smarter choices. Until then, Poison Gown is something different for more adventurous listeners to dive into.

EIGHT BELLS

Landless is among the very best albums to grace 2016. An effective genre blender, one might best describe Eight Bells as progressive-blackened-esoteric…oh forget it. I’m done with labels! New Year’s Resolution (well, it should be, anyway). Their approach is at once frenetic and beautiful, building an atmosphere with snowy tremolos and natural harmonics that’s oh so easy to get swept away and lost in. Eight Bells has come a long way since we featured them in our Doomed & Stoned in Portland compilation three years ago. As with many other fine releases from the Rose City, Billy Anderson had a hand in helping Melynda Jackson (guitar/vocals), Haley Westeiner (bass), Rae Amitay (drums), and Chris Van Huffel (additional percussion) communicate the record’s vision with such clarity. The ambience is positively ghostly.

GRAVES AT SEA

Nathan, Nick, Sketchy, and Bryan really brought the mother lode in 2016, with their ambitious double album, ‘The Curse That Is’ (2016 - Relapse Records). Most of us have gotten to know Graves At Sea through shorter collections of songs, be it demo, split, or EP. I don’t think it occurred to me that the Portland-by-way-of-Phoenix-and-Oakland sludgers were indeed gifting us with their full-length debut.

Some on my team found the album a little too taxing to review within that coveted timeframe the labels push for, during which there are records to be sold and tours to be promoted. It didn’t help that I was reading hyperbolic soundbites like, “The grand wizards of blackened doom are fucking back and knocking out the teeth of the weak hearted with every riff…and every minute of it is fucking classic.” Really? Every moment? All hype aside, I needed more time with this one. You know, to really soak it in. Some albums are late bloomers that wreck you over the course of months, even years.

That said, there were moments that distinguished this album from the first spin. We’ve not heard the fiddle take a prominent role before in Graves At Sea (unless my memory fails me) and I think it adds tremendous value to the new songs. Its first appearance comes in the closing minutes of “Dead Eyes,” then it opens “The Ashes Make Her Beautiful” and carries the shortest number of the record, “Luna Lupus Venator.” The fiddle is not only very metal, it’s the instrument of the common man, carrying the folk songs of generations from house to street corner. This touch of reality really heightened my esteem for The Curse That Is.

“This Mental Sentence” is the real gem of the lot, executing the unique Graves at Sea sound brilliantly. That familiar rhythmic progression joins a fascinating renaissance-style motif that contrasts so effectively with Nathan’s vocals (which I’ve always found terrifying in live performances, with or without the help of a beard). As always, his lyrics are fiercely honest: “Existence has become a monotonous routine…to deviate from the plan is never encouraged.” It’s bitter, but strangely comforting medicine for the damaged soul.

HOLY GROVE

The big story out of Portland in 2016, as far as I’m concerned, was the eagerly awaited debut LP by Holy Grove. For well-nigh three years, I have been documenting the band at dive bars, big stages, and festivals. It’s not hard to pinpoint the magic of Holy Grove, be it Trent Jacob’s electric stoner riffs, Greg Emley’s groovy bass work (and hair), and Andrea Vidal’s fiery vocal prowess, which embodies all the feistiness of Grace Slick or (even better) the raspy singing and infectious verve of Janis Joplin.

My first Holy Grove encounter took place at Ceremony of Sludge in 2014. I immediately fell in love with everything about them, not the least of which was the heart-racing excitement their music sparked. From then on, I desperately wanted the world to hear their sound. I raved about Holy Grove every chance I got, like that annoying friend who wants to turn you on soooo bad to that one album, book, or movie.

When their demo came out, ears started perking, and more still with the release of the Joonior Studio sessions. It was only a matter of time until we’d get to hear what magic Holy Grove was cooking up at Type Foundry Studio with Billy Anderson. After shopping the record around, Holy Grove landed a brilliant deal with Heavy Psych Sounds that included a European tour with Gozu, which kicked off with a Day I opening slot at Psycho Las Vegas. What a way to make an entrance! The icing on the cake? That gorgeous cover by Portland artist Adam Burke.

HUNGERS

My first encounter with Hungers was in the basement of the Wisp House in Salem, Oregon, a residential home that was hospitable to heavy music until the city shut it down with zoning restrictions. Hungers played a set with Shrine of the Serpent and I sat on the cold, hard basement floor capturing it all.

More recently, I filmed the band at The Raven performing songs from the new album Ascesis, right on the tail end of a rewarding album release tour (van breakdowns not withstanding). On that occasion they shared the stage again with Shrine of the Serpent, joined by Sól and Atriarch. The guys are a little self-conscious about their visage on film and would much rather you focus on the music without them distracting from it. This is probably why they prefer to go by initials, rather than full names: A.M. (guitar/vox), N.H. (drums), and K.L. (guitar). While I have some friendly disagreement with their insistent modesty, I do heartily testify that the new record is an animal – one of their best productions to date.

Ascesis is an unrelenting rager, with a tight, driving beat that brings a nice discipline to the compositions, which otherwise would risk being ripped to shreds by those menacing, blackened vocals. A storm of tremolos pepper the listener with a sense of dread and with every song that Hungers feeds us, it feels like we are living in the moment, experiencing something monumental. Ascesis stirs emotions of driving along in the dark, foggy midnight, travelling further and further along forested Oregon roads that lead across the pass, eyes streaming with tears as the driver swears off his allegiance to this world.

My flight of fantasy may not be far from the sentiment of the album’s namesake, which alludes to cutting oneself off from the trivialities and attachments of the world, stripping down to the bare, naked essentials to find purity of the soul. This is Hungers’ third record and I’ve never heard the band more together than this. They’re focused, with a raging fire in their bellies, ready to take matters by the throat. Check out “Eyes of the Sea” if you still require convincing, and don’t you dare shuffle your playlist before listening to the closing track, that 13 minute terror called “The Hallowing.” Ascesis is a cathartic release.

OLD KINGDOM

Another PDX hard hitter that have yet to get its due, riffing now for seven years, is Old Kingdom. If I could describe Old Kingdom in one word, it would be SMASH! Like Thor’s mighty hammer, Old Kingdom ventures forth showing no fear, dealing out songs that purr like a suped up big block firing across a roadless desert. Last summer, Old Kingdom played the Doomed & Stoned Summer Showcase at World Famous Kenton Club and we got to see some of that sweat and spleen in action.

Coming from the Helmet, Unsane, Melvins, and Tad Doyle school of heavy music, Old Kingdom’s sound is gloriously fuzzy, the playing is tight, and their anger is unbridled. That balance of control and capriciousness makes Old Kingdom an exciting act to watch. Oh, did I mention they’re equipped with some fearsome amps and stacks to match?

Having previously contributed their signature hit “Too Many Eyes” to our 2013 comp, Jonathan Andersen, Aaron Powell, and Adam Jelsing issued their second recording, Magic Closet in 2016. The new EP gives us an even greater sense of the trio’s potential, though like many fine Portland bands (Holy Grove comes to mind) seeing them live is an exhilarating experience that’s quite challenging to capture in the studio.

RED FANG

Sometimes you fear that a band will run out of ideas. What more can a High on Fire, Baroness, or Mastodon say without sounding formulaic and redundant? Yet these bands continue to express endless and interesting variations of their style in album after album. With 'Only Ghosts’ (2016 - Relapse Records), we can safely add Red Fang to that elite list of creators.

For a decade-plus, Aaron, John, David, and Maurice have become diplomats for Portland’s laid back culture, which might look something like this: party hard on Friday with a couple cases of beer; walk out your hangover at a few rummage sales on Saturday, then head for the hills; watch Kung-Fu reruns on Sunday while smoking a bowl and tinkering with some odd contraption; back to work on Monday.

While nothing quite matches the inventiveness and humor of their self-titled debut and the masterly 'Murder the Mountains’ (2011), it doesn’t take long to get into Only Ghosts…not long at all. In full disclosure, I was prepared to hate it; but I’ll be goddamned if that first track didn’t grab hold of me in seconds with a characteristically Red Fang take on some familiar guitar tropes. That kind of innovation is important to me, especially as a band hits the ten-year mark and produces more and more records (which, if we’re honest, quite often results in diminishing returns). I listen to so many new records each year and you have no idea how bored and jaded I get hearing the same thing over and over and over. Do it well, do it differently, or hit the road, Jack.

Only Ghosts does indeed resurrect the spirit of those coveted early LPs, with pleasant variations that will keep a seasoned listener engaged in their favorite Pabst-drinking rascals. Of course, a fun music video never hurts the situation and Red Fang gives us a dandy in “Shadows.” By a long series of farcical circumstances, I have yet to see a single Red Fang show live. Not one! So close, so far, so mellow…

R.I.P.

Perhaps the most talked about export last year from PDX was R.I.P.. I caught these villainous looking dudes at a kind of Saturday market in the fall of 2015, held in one of the local VFW lodges. An odd venue for underground art and metal, but what the hell, you know? Let’s add USNEA and Hound The Wolves to the bill, while we’re at it. At least R.I.P. remembered their fog machine and I had my camera poised to capture the unknown. With a scythe-cum-mic and chest hair rivaling Tom Sellek, frontman Fuzz gave a sinister cry. I realized then that R.I.P. could be nothing less than the real thing. I defy you to listen to “Brave in the Grave” and not throw up devil’s horns.

Their demo songs were enthusiastically shared on social media and a beautiful vinyl release on Tee Pee Records soon followed, bearing possibly the most iconic album cover of the year (an oil painting by Adam Burke).   Angel Martinez’s guitar picking will remind you of some strange Halloween ritual, while Jon Mullet and Willie D’s rhythm section proffers a NWOBHM vibe. One thing, however, stands out distinctively: the vocals. I’m sure I’m not the only one who’s reminded of Ozzy when Fuzz gets good and revved up. Give 'In The Wind’ (2016) a spin, and don’t forget your switchblade and chains. This is street doom, baby…and it’s the real deal. In a word: wicked!

Doomed & Stoned is proud to present the R.I.P. vinyl release party on Sunday, February 12th, 2017 at High Water Mark Lounge, featuring Witch Ripper from Seattle and an exciting band we’ll be covering soon, Demon’s Bell. Event details here.

SONS OF HUNS

No sooner had the year begun than Sons of Huns were treated to a surprise, the 7" 'Kiss The Goat’ (2016 - Gigantic Brewing Company/It’s Gonna Be Huge Records), which came just six months after the release of their second album, 'While Sleeping, Stay Awake’ (2015 - RidingEasy Records). The band is fronted by a southern gentleman and honest to goodness shredder named Pete Hughes of Danava.

Pete was to join Danava on the road once again in 2016, but not before he and bandmates Ryan Northrop and Aaron Powell dropped the new EP, which just so happened to coincide with a knock-you-off-your-britches black Doppelbock beer from Gigantic Brewing called (you guessed it) Kiss the Goat. If it’s anything like that sassy opening jam, I’ve got to get me a big ol’ frosty mug full. For those who relished the take-no prisoners riff razing of the previous three albums (and their last 7"), this disc will make a swell addition to your turntable. By the way, I’ve had a chance to film Sons of Huns on at least three occasions (including brilliant openers for Saint Vitus and Truckfighters) and can say their live shows absolutely do not disappoint.

SPACE GOD RITUAL

Lovecraftian occult doom! How can you say no, right?   You can’t – and if Cthulhu has anything to say about it, you won’t!   Longtime riff-tinkerers, tube-twisters, and horror fanatics Brendan Butler and Alexander Olaf have created one Frankenstein of a project that continues to mold the monstrosity one album at a time. Truly, there is nothing that sounds quite as demented as the voice declaring, “You now live in utter madness!” Space God Ritual belong to an elite group of weirdos, which I would put in the company of Kansas City’s Merlin, North Carolina’s Bloody Hammers, and Detroit’s Acid Witch, to name a few horror rock acts off hand.

Space God Ritual’s fourth record has been compared to Pentagram, Candlemass, Cirith Ungol, and King Diamond, but 'Tentagram’ (2016) stands well on its own merits without any external points of reference. In Tentagram the boys have taken a notion to create another superb concept album. Lovers of Lovecraft’s universe, down to the very prose he employs, will have a ton to geek out about. Nice to see Brendan branch out into album art, as well. The album cover is well suited to the temperature of these songs.

TSEPESCH

Last year saw the shuttering of one of the most frightful bands I’ve ever witnessed live – not owing to costumes, make-up, pentagrams, or evocative imagery of the devil, but by the sheer magnitude of the music itself. There are a few films of Tsepesch on my YouTube channel, but nothing can ever translate the power of the live experience. The unassuming lighting of candles and incense, the rising build-up of feedback, the ritualistic passing of the horn full of mead (which audience members were encouraged to share in). It was more than a show. Tsepesch invited you along for the ride. The final cassette houses their most apocalyptic work to date: 'A Curse For The Living, A Blessing For The Dead’ (2016). I will sorely miss these guys.

WITCH MOUNTAIN

Witch Mountain is one of Portland’s original doom-blues bands, dating way the fuck back to the late 90’s, when founding members Rob Wrong (guitar) and Nate Carson (drums) were playing clubs with an obscure band from Eugene called Yob. Witch Mountain achieved international acclaim with the addition of bluesy singer Uta Plotkin. After Uta’s resignation in 2014, the band was determined to go on, holding auditions with all the possibility that they could go back to being a three-piece again. They struck gold with the discovery of Kayla Dixon, who was plucked from obscurity with a powerful voice and all the attitude and theatrics to match. Kayla proved her chops on the road covering the Witch Mountain standards with fiest, but the world was itching to hear what the band would sound like with an original Kayla number. We got our answer this summer with the release of the double single, 'Burn You Down’ (2016).

Last week, I received my copy of the 7" and couldn’t be more thrilled. It was pressed by a local Portland operation and features a cover by yours truly, taken at Witch Mountain’s homecoming show at Star Theater, following their first tour with the new line-up. In “Burn You Down” we have all the magic you could ask for vocally, another brilliant collaboration with producer Billy Anderson, whose chemistry with female vocalists by now is legendary. The record also includes a Kayla-style interpretation of 'Hare’s Stare’ from 2011’s South of Salem.

I got to audit both songs in Nate’s living room after an interview. Hearing those siren-banshee vocals for the first time was chilling. If there were any doubts about what Kayla has to contribute to the Witch Mountain sound, this recording should lay all of that firmly to rest – at least it did for me. If you’re a Witch Mountain fan, you will enjoy my sit-down with Nate, which includes a walk-through of his record collection.

The new release led up to a Fall tour with The Skull and Saint Vitus, but not before kicking things off with this livewire of a show on Day III of Psycho Las Vegas (with Kayla giving, I do believe, her first public performances of “Burn You Down”).

YOUNG HUNTER

Ah, now we come to one of the real surprises of 2016. I wrote my review of this record during a power outage in Guarulhos, Brazil (long story). Young Hunter, a transplant to Portland from Arizona led by Benjamin Blake, delivered one of the most enchanting records of the year.

The photograph of the amp covered in ivy in the middle of the Oregon woods captures the sentiment of the album perfectly, which is both heavy and mysterious. Should you have occasion to see this troupe live, don’t pass it by. You’ll be in for one special night, as you’ll see in this tour kick-off show I filmed back in April. Every single song on this record is a classic, in my book. I dare you to listen to “Nothing Shakes The Void” or “This War” and not feel the needle prick your heart.

Doomed & Stoned’s Winter Showcase will feature Young Hunter, along with Disenchanter, Die Like Gentlemen, Ancient Warlocks, and Year of the Cobra, on Friday, January 20th, 2016 at Ash Street Saloon. Details here.

NOW ON VINYL

DISENCHANTER

It was a huge year for Disenchanter, as well, who continue to expand their fan base on the road, traveling north and south along the I-5, reaching out toward the desert sands, and playing fests left and right (including a very moving finish to Psycho Las Vegas). People are really digging their back-to-basics sound. Disenchanter is led by the skillful playing and earnest storytelling of Sabine Stangenberg, who is backed by the earnest clockwork of Joey DeMartini’s bass play and a new drummer, Douglas Jennings Barrett (of Stone Elk). Perhaps the biggest highlight of the year for Disenchanter is the gorgeous double vinyl release of 'Strange Creations’ (2015) with new art by Sabine Stangenberg, along with a pressing of the band’s popular EPs – both on DHU Records.

MAMMOTH SALMON

Hard-giggin’ heavyweights Mammoth Salmon have been through a lot of hardship and line-up changes in recent years, yet it hasn’t slowed down this rocketship. With the release of 'Last Vestige of Humanity’ (2015) on Devil’s Child Records, the band’s traction outside the Portland market has definitely taken hold. Last year also saw the completion of the new Mammoth Salmon line-up with Matt Howl on bass and Chad Walter on drums. Matt, who also does some amazing graphic design and video production, put together a wonderful promo for Doomed & Stoned Festival, as well.

In part two of 'Portland: A Year in Heavy Music,’ we’ll take a look at some of the most exciting new bands of 2016, plus glance at what’s on the horizon for the heavy underground in 2017! Stay tuned. While you’re waiting, get to know players in the scene through our compilations Doomed & Stoned in Portland and Doomed & Stoned in Portland II.

This week we’re in for a VERY good time on The Doomed & Stoned Podcast, as I countdown my favorite cuts from the top 25 albums that made April’s DOOM CHART.

Originally broadcast April 10th on Grip of Delusion Radio (we air live every Sunday at 3 pm PST / 6 pm EST), this episode I’m spinning music by Aleph Null, Ancient Warlocks, Beastmaker, Black Rainbows, Blood Ceremony, BUS, Church of Misery, Curse The Son, Deadsmoke, Dunbarrow, Elephant Tree, Graves At Sea, Green Yeti, Greenleaf, Goya, Holy Grove, Hollow Leg, Horehound, Horn of the Rhino (who sadly announced they are splitsville), King Buffalo, Merlin, R.I.P., Son of a Witch, Spiritual Beggars, Valley of the Sun, Witchthroat Serpent, Wo Fat, Youngblood Supercult, and lots more!

Thank you for listening and supporting the bands! OH! And you can now listen to the podcast on Soundcloud.

If you’re interested in helping us out as we grow our vision of “telling the stories of the heavy underground, reported by the underground, for the underground,” grab a Doomed & Stoned T-shirt to show your love here and explore our free quarterly scene-by-scene compilation series here.

And bands, we love hearing from you, so keep writing - and thank you for your patience. The crew is a little thin at the moment, so it’s taking me longer to read all the mail. Love you all and let’s keep the underground dark ‘n’ dirty, low 'n’ slow, Doomed & Stoned vibe going strong the world 'round!

Billy Goate (Editor in Chief)

What a great pairing!  Graves At Sea and Sourvein.  And I love the name of the split, because it describes the content so perfectly: Caustic. Here’s your chance to hear the split in full on Seventh Rule Records, by way of Metal Hammer. Both bands, by the way, are playing Maryland Deathfest for the first time this month.  

Marcel van der Haar is our Doomed & Stoned contributor from The Netherlands.  Ironically, he did not have a ticket to Roadburn Festival 2014 originally and I did (managed to get lucky and purchase a four-day pass with camping before they all sold out). The only problem? Turned out I couldn’t afford the cost of airfare from Portland to Amsterdam, so when reality set in, I offered to sell Marcel my ticket (he was ecstatic). And boy did he ever make good use of it!  Following is Marcel’s diary from Day I of this iconic and eclectic festival, which attracts thousands to the small Dutch town of Tilburg each year.  Note: the pics are his, but the vids are sourced from various Roadburn attendees. -BillyGoat-

08:00   Got up to prepare my stuff, like packing my bag, preparing sandwiches, and everything else on my mental checklist. 

10:30   Left the house and scooted off in my car towards Hilvarenbeek de Beekse Bergen to the Roadburn campgrounds. The ride took only a bit more than an hour (it’s about 110 km. from my place).

11:45  Arrived at the Roadburn campsite where I set up my tent and unpacked. Didn't have enough tent pins, so I used all four headrests from my car to keep my new home away from home in place.

14:30  I took the shuttle bus from the campgrounds to the venue 013. Once arrived at the 013, it was already really crowded, yet there was a really nice atmosphere. In front of 013 were the stands with vinyl and merchandise from the bands. Looked around for any people I knew, and went to get my wrist band for all four days. The venue wasn't open yet, so I walked about and checked the bars around the corner from the venue, where I ran into a few friends from Australia, whom I know only from Facebook.

15:00  After having a drink together the lot of us went towards the venue and then went our separate ways (so many bands to see!). I went to the Main Stage to see Sourvein! The venue was pretty filling quickly, but not full yet. Sourvein put down a great gig!!!

                               via Earsplit Records and Revolver

16:00 Halfway through, I went to the Green Room next to the Main Stage to see Brutus. However, the Green Room was packed, and the people were even standing outside the entrance to get even a peak at the show—or at least to hear it.  Listened to a few songs, and went back to the Main Stage to Sourvein. From what I’ve heard, Brutus put down a killer gig, as well. After Sourvein, I walked around and chatted with many people.