It always amazes me how many really great metal bands we have here in Pittsburgh that so many people around the world never have heard about before. Yes, bands such as Lady Beast, Heartless, Deathwhite, and Complete Failure have released well-received and crushing records on a worldwide level, but there is so much more underneath the surface.

This is not a story about Pittsburgh. Instead, I use my hometown as an example of how a city can have a treasure trove of good metal bands that people don’t know about, but it happens everywhere. Take, for example, Vancouver-based crushers Erosion that boasts members of noteworthy groups such as Baptists, 3 Inches of Blood, Tobeatic, and Hard Rippers, a band that’s been around for several years now, but outside their native stomping grounds, they haven’t made much headway. That should change with the release of their molten debut full-length “Maximum Suffering” on the recently revived Hydra Head, a label I have missed with all missed with all my heart and soul during their absence. This record is hard to classify, as there are elements of noise, punk, metal, sludge, you name it, as they combine every element they can find to make this raucous shit. The band—vocalist Jamie Hooper, guitarists Nick Yacyshyn and Rick O’Dell, bassist Andrew Drury, and drummer Danny Marshall—brings the noise and vitriol for the rest of humankind and dumps it into this thunderous 13-track assault.

“Maximum Suffering” is the longest track on the record at 5:40, and it arrives bleeding in before the bludgeoning occurs. Guitars scrape as the riffs rumble hard, and wild growls hammer your face. Sinewy guitars take it from there, as the pace gallops, the song fades for a second, and then drums storm again to the finish. “Everything Is Fucked,” which is true, starts the barnstorming, as the songs fly by in a hurry. This is steamrolling chaos that bruises and delivers hellish growls. “Need for Death” is sludgy, heavy, and crushing, a short blast that levels you. “Human Error” is pummeling as the guitars corrode, with the pace speeding up before a chunky, deranged dose of thrashing, going out with noise hanging in the air. “Serpent Lust” is speedy and violent, with Hooper wailing, “You had it all, but now it’s gone!” The track keeps going for the throat, delivering a monstrous finish and moving into “The Crone” that has a smothering groove with gurgling growls and huge blasts. “Deep in Hell” is crunchy and ugly, as its intensity builds and threatens. The guitars go off and burn, while the track comes to a clubbing close.

“We Have Failed Us,” which we have, is speedy and clobbering, going full on to decimate everything in front of it. The guitars steamroll, with the track getting even more vicious, as Hooper howls, “We! Have! Failed! Us!” “Scorched Earth” is both punishing and cavernous, as the vocals come in roared growls, the riffs shift, and the back end of the track is a total ass kicking. “Black Waves” charges up, as the guitars take on a black metal sheen in spots, and then we’re headed into a blinding mashing, where you’re forced to duck wild haymakers. “Storm of Steel” has a punk feel to it, getting melodic and sludgy as it goes on, with Hooper’s throaty growls digging away. The track has a super heavy underbelly, with the final moments blasting out. “Dusted” is a quick one, delivering murky bass, slow grinding, gross vocals, and a smudgy finish. “Consumed” closes shop, immediately going lightning fast and smashing fingers, with the vocals getting ultra-violent. The track goes into sweltering doom, with the vocals charring, the band slowly mauling, and the record burning out.

Maybe people didn’t know much about Erosion before now, but let’s smarten you up. “Maximum Suffering” is a record that fits nicely in Hydra Head’s pleasingly noisy catalog and also offers an ample beating for anyone who has been lulled to sleep. This band isn’t about to embrace and coddle you. You’re part of the problem, and they’re here to eliminate you.

For more on the band, go here: https://www.facebook.com/EROSION-518582734847757/

To buy the album, go here: https://hydrahead.merchtable.com

For more on the label, go here: http://www.hydrahead.com/

I cannot imagine what the past week was like for women in America. I mean, fuck, it’s not like women ever get a fair shake in this country, and in so many others, while they’re expected to accept less at just about every turn despite how hard they work. And when they try to have a voice, when they try to say no, when they attempt to work their way up the ladder, they’re just stomped back to earth by someone whose abuse of power enables them to do that without consequences.

Last week’s joke of an FBI investigation of a man up for the Supreme Court who likely will have a lot of say and decide about women’s rights in the future was jammed through, against people’s will, which is tragically poetic. Yet another woman who faced abuse had her story doubted and mocked by some of the most powerful men (and, actually, a woman) in the world. As a run-of-the-mill white cis male, it infuriated me, and I saw how it burned inside of women everywhere. It made it all the more fitting that we take a look at “Scourge of Woman,” the debut full-length from industrial-death-noise duo To End It All. This union of Joy Von Spain and Maasaki Masao, who also work together in the band Eye of Nix, put together nine terrifying tracks that sound like Von Spain’s spiritual bloodletting, as her words are delivered with a ferocity and power that’s impossible to avoid. This music is the voice of women abandoned, and she and Masao aren’t going to sit idly by and watch it happen.

“Lure” opens the record, and it’s immediately a call to action, as Von Spin speaks over the din to “be ablaze, conflagrate, cauterize,” as she coldly calls out these words before riffs strike, and her voice turns to savage growls. Doomy guitars lurch while shrieks and drone mop up, and we end in a pit of chaos. “No Hero’s Death” lets noise lurch as Von Spin songs over top, setting the tone of somber punishment, a horrible death and castration where the madness ends in a capella calls. “Beast Filth” has sounds buried in war, while death and destruction lurk, noises zap as if from another dimension, and the track takes on the tone of metallic machines at battle for survival, voiced through death growls, rhythmic screams, and absolute horror. “Mouths Searching for the Breast” has noise chugging and landing blows, as Von Spain’s operatic vocals strike and then hang over the scene like a ghoul seeking decayed souls.

“Instinctual Force” is a quicker track with sounds eroding and ringing out, stinging the flesh and leaving bruising. “Cages Bleed Shiver and Shake” is a vinyl-only track that unloads industrial heat, with inhuman machinations, and Von Spain screaming, “You’re just a waste of time.” Growls and pained wails follow, noises twist and crunch, and machine-like pressure is pushing down, almost as if you’re stuck underneath a massive hydraulic press. “Future Aborted” has beats echoing amid mechanical yawns, while Von Spain sings over the fury, “Hand effect, bound, mouths symbol, gagged.” Guitars charge up, while the heat rises before everything fades. “In Cases of Rape and Incest” cuts right to the heart, as noise quivers, and Von Spain’s deep singing goes right for the guts. “I sinned, I violated my own mother,” she calls, and she changes out mother for sister and daughter as she repeats the line, each time digging even deeper. It’s completely sobering and pained. Closer “Burning Rapists” sounds exactly what its title indicates. It’s several minutes of furnaces roaring, torture rumbling, and the intensity building to roars and hisses before the flames finally subside, leaving only a waste of ash.

Things aren’t likely to improve any time soon in this country as far as women’s rights and their plight for equality is concerned, and that’s downright blood boiling. The End It All is that voice, that explosion of pure anger and frustration, and it’s smeared all over “Scourge of Woman.” That people have come together over these matters is heartening, but To End It All is that reminder that the anger cannot be permitted to go to simmer and must stay boiling over until every person responsible is scorched.

For more on the band, go here: https://www.facebook.com/TEIAnoise/

To buy the album, go here: https://www.scryrecordings.com/posts/discography/scourge-of-woman/

For more on the label, go here: https://www.scryrecordings.com/

When the lineup was announced for this past July’s Migration Fest, it contained your expected hard hitters that dot the Gilead Media and 20 Buck Spin rosters, as well as the curveball picks that really could not have been anticipated and added even more excitement to the festivities. One of those bands was Deadbird, a group many likely thought was gone and buried.

It was a surprise because it has been a decade since their last record, their sophomore effort “Twilight Ritual,” and it was great to know the band would be unearthing those southern-friend doom jams that had influenced many other musicians and always sounded welcome in just about any setting. But the big surprise dropped right before the festival when 20 Buck Spin announced they would be releasing the band’s long-awaited third record “III: The Forest Within the Tree,” an album that we’re just a week away from having in our hands. Those who have followed the band over their decade-and-a-half existence are bound to have their hearts filled with joy, as Deadbird once again soars amid the hazy doom for which they’re known. The band—Alan Short (guitar/vocals), Chuck Schaaf (guitar/vocals) Jeff Morgan (bass/vocals), Reid Raley (bass/vocals), Chris Terry (synth/samples/vocals), and Phillip Schaaf (drums)— is comprised of members of other noted groups including Rwake, Ash of Cedars, Story of the Eye, Seahag, and more, and they sound as alive and transcendent as ever before.

“The Singularity” opens the record and lets you ease in a bit, as spacey wooshes and acoustics meet, and the line, “It’s taken some time to climb out the other side,” almost seems like the explanation for their long time away. “Luciferous Heart” then arrives and makes the blood drive through your veins, as riffs rush, the track blasts emotionally, and gruff singing paves the way toward your soul. Things ease and enter the cosmos before the track hits a sludgy high, as the band thrashes away, wild cries reach out, and things come to a bubbling close. “Heyday” picks up the intensity from there, bursting through the clouds as guitars chug, the vocals glide through smoke and fires, and the humidity thickens. Acoustic passages bring cool air, injecting a sense of ease before the guitars light up again, going ablaze, while the back end is a calculated push into the unknown. “Alexandria” follows with guitars buzzing, throaty growls, and cries of, “Where corruption calls!” that stretch over a great chorus. From there, the cut churns and burn, leaving its soot behind.

“11:34” is an instrumental cut that has ominous bass at the front before noise simmers and woodsy noises color in the background. Birds chirp as we hit the swamps, leaving the song there to ring out into the dusk. “Brought Low” buzzes and plods, giving off an Alice in Chains feel from their acoustic packages. The cut then rips up and gets harsh, with a wailing, blistering chorus that rages with emotions. The pace halts later, letting some steam from the room, before everything picks up again and comes to a volatile end. “Bone and Ash” has gritty, chewy riffs and harsh cries, as the atmosphere is cavernous and heavy, and cool southern licks arrive for added seasoning. The song then begins to obliterate everything around it, as the band thrashes, the low-end rumbles hard, and yowled growls and shrieks rain down over the smothering ending. Closer “Ending” is an instrumental exit that’s frosty and has strange tones calling out, as guitars loop before its essence fades away.

I guess maybe it’s not all that metal to say you’re utterly joyous in midst of a band’s music, but even in their darkest, Deadbird always have been a band that took me to another emotional level. “III: The Forest Within the Tree” is a triumphant return for a band we haven’t heard from in quite some time, and their presence adds a refreshing element to heavy music we don’t get too often. Hopefully this record is widely embraced in the way it should and opens up this great band to more and more ears.

For more on the band, go here: https://www.facebook.com/Deadbird1332

To buy the album, go here: https://www.20buckspin.com/search?type=product&q=deadbird

For more on the label, go here: https://www.20buckspin.com/

There are times when I’m convinced humanity has run its course. Yes, look, there are many good people among us who mean well and try to help others. They aren’t the ones with voices or power. The people who make decisions, who decide what types of people are desirable or not, and who can punish at will because of their tiny, puny minds is overwhelming, and perhaps total destruction is the only answer.

Obviously, that’s a little over the top, but not when it comes to Bay Area crushers Atrament and their brutal new record “Scum Sect.” For them, seeing the best in people and hoping good prevails is so way back on the burners, it burnt and crusted over long ago. Now is the time for nihilism, pestilence, and destruction as a way to erode the scourge of humankind hellbent on wrecking this planet and giving way to the lowly scum and bacteria that inhabited this place long before we did. On this 10-track, 30-minute explosion of carnage, the band takes no prisoners and turns their vitriol toward those who use their own power to destroy those weaker than them. This is the band’s second record and follow-up to 2016’s killer “Eternal Downfall” which put Atrament—vocalist Mattia Alagna (Abstracter), guitarist James Meyer (Abstracter), bassist Sam Carr-Prindle, and drummer Chad Galey (Necrot, Mortuous)—in more ears and faces, leaving those people forever bruised.

“Plague Upheaval” gets the machine started with blackened hell and full demolition, powering into hardcore-style rumbling, with Alagna’s growls smearing everything with dirt. “Chains of Terror” erupts into D-beat tension, as roared vocals mix with black metal-style melodies to paint a bleak picture. The pace is utterly steamrolling, heading right into “Harbinger” that fires up immediately. The drums draw and spray blood, while the track heads into muddy, violence turbulence, as the leads terrify, and everything ends in pain. “War Seed” unleashes fiery guitars as Galey’s drums gain momentum, and chunky thrashing deals out more punishment. The growls are lacerating, as the guitars speed ahead and bring everything to a riotous end. “Boiling Blood” bashes and stampedes, giving off the heat its title implies and pushing the pace to speedy, dangerous levels before bleeding its way out.

“Spit on Mankind” is driven by a galloping bassline and thick, abrasive riffs, which make the conditions ideal for Alagna’s monstrous growls. The pace grows frantic, as do the vocals, while the riffs wage a battle amid a bone-splitting assault. “Odium” is another where Galey’s drums take over and set the pace, as rage-splashed vocals seek retribution, and the violent pace aims to destroy all. “Malignant” lets the guitars take charge, as the song gets rougher as it goes on, and Alagna’s growls sound like they’re doing permanent damage to his throat. Things only get more intense from there, with the song ending on a volatile note. “Craven” keeps up its end of the deal, as the vocals sound like they’re gurgling thick blood, and the band finds a tempo that’s somehow even more vicious before coming to a smashing end. Closer “The Night Shall See No End” is ominous from the start, letting you feel the palpable unease and refusing to give you calm. The track opens up and declares warfare, as Alagna’s cries shred skin, the drums split congealing wounds, and everything some to a sudden, shocking end.

Abstracter’s vitriol is so thick on “Scum Sect,” you practically can taste the dirt in your teeth and under your tongue after this record is finished. This is a mean, nasty album that has ill intentions, and it’s really hard to disagree with them considering the world we’re in now. Perhaps we’re better off living alongside vermin, but then again, that might be a little insulting to the vermin.

For more on the band, go here: https://www.facebook.com/blackatrament

To buy the album, go here: http://sentientruin.com/releases/abstracter-cinereous-incarnate

Or here: http://caligarirecords.storenvy.com/

Or here: http://shop.bloodharvest.se/

For more on the label, go here: http://sentientruin.com/

And here: http://www.caligarirecords.com/

And here: http://www.bloodharvest.se/

Right now, as I write this, a storm is brewing. My TV reception keeps going out because my dish is getting confused, and at any moment, the power is sure to get zapped, leaving me with the glow of a laptop before that, too, expires. It feels like Armageddon, which is weird in this part of the country in October, but shit’s changing, and the environment is striking back.

This also is the ideal time to dig into some murky, doomy death metal, the kind that Swedish ghouls Vanhelgd have made so well ever since their 2008 debut “Cult of Lazarus.” Here we are, a decade later, and the band is back with “Deimos Sanktuarium,” their fifth helping of fiery terror and one that adds a gigantic building block to the temple of madness they’ve been building. Over seven songs spread over 44 minutes, the band gets you in their grasp and grinds away at you. Their brand of death isn’t slick and polished. Instead, it shows its guts and spills its own blood, letting it grow sticky gross, just like their music. The band—guitarists/vocalists Jimmy Johansson and Matthias Frisk, bassist Jonas Albrektsson, and drummer Matthias Westman—continues to make their sound uglier as they go on, and this record is as foul and smothering as anything they’ve released.

“A Plea for Divine Necromancy” greets you as a blast of grinding death, with horrifying growls, vicious playing, and you immersed in absolute chaos. The guitars roll over you, while the pace mangles, and it all ends in a driving show of force. “Så förgås världens härlighet” has nasty growls and riffs pummeling, as the band creates a thick, foreboding smoke that aims to strangle you. The track later takes on a barbaric feel, as melody and savagery tangle for supremacy before wild howls and a tornadic burst takes the song out. “Vi föddes i samma grav” unleashes creepy pastoral chants before the song blows up, and raspy, deadly growls are emitted. The song boils and sends off steam, while a mesmerizing pace captures your mind before driving it mercilessly into the ground.

“Profaned Is the Blood of the Covenant” chills at first as bells chime, creating a mystical haze that is ripped to pieces by devastating chugging. The howl of, “A martyr designed as a god,” leaves welts on your face as the band digs deeper, with ominous tones and a shout of, “A stillborn raised by the wolves!” The song burns dangerously from there, ending quietly in funereal chimes. “The Ashes of Our Defeat” is slow driving and doomy, as the howl of, “Swallow the stars, swallow the night,” arrives like a firm command. The track slowly burns, while the guitars are dizzy and intoxicating before slipping into sludgy violence and a ferocious end. “The Silent Observer” is an interesting one as the drums punch, the song fades in, and the band crushes methodically. Black metal-style melodies wash in, as horrifying group yells strike, guitars squirm and swirl, and death-defying shrieks peel your skin back before everything ends in a wash of hellish chants. “Här finns ingen nåd” hammers the final nail with wild screams, a delirious pace, and heavy riffs laying waste. More deadly growls and shrieks sound like demonic transmissions, while strange chants add an alien feel, the band blisters you, and everything drowns out into hell.

Five records in, and Vanhelgd continue to build vicious layers on top of their already bloody, decaying resume. “Deimos Sanktuarium” is a scathing, devastating record that’s par for the course for this band (that’s a good thing, by the way) and should scare the shit out their contemporaries to step up their games. Deep diving into another smothering pile of putrid death from this band might sound unpleasant to the uninhibited, but it’s exactly what those who dine at this band’s table are hungry to find.

For more on the band, go here: https://www.facebook.com/vanhelgd

To buy the album, go here: http://www.darkdescentrecords.com/store/

For more on the label, go here: http://www.darkdescentrecords.com/

I am a huge believer in the power of therapy or finding an outlet to release some aggression or pent-up frustration, as long as it’s in a helpful, positive setting. We can’t be expected to handle everything perfectly all the time, so finding something productive to address that madness can go a long way toward keeping up and our endeavors healthy.

For Thomas Corpse, guitarist and songwriter for Jess and the Ancient Ones, his form of dealing with frustrations with his main band was to create another outlet The Exploding Eyes Orchestra for him to sink in the creativity welling up inside of him. And wouldn’t you know it, he invited his JATAO members to play in his new project, which resulted in 14 songs broken up over two really good, really different records. The second portion “II” is about to land in our hands, and it’s another killer collection, with the band not veering too far from their normal path in JATAO but doing so a little less flamboyantly and sounding a little more grounded. This is decidedly NOT a JATAO record, even if the band members sound familiar (especially singer Jess, who has some of the most powerful pipes in all heavy music), as they explore other aspects of their strange personalities.

“Those of Us Left” opens with feedback and synth waves before keys blip, and a solemn dose of rock is unleashed. Jess’ singing is a little raspier and deeper, and she commands on the chorus, calling, “Never let the white boat sail.” The track gets moodier, as sax streams in, and then it just fades away. “Belladonna” is tremendous, as it pushes into the shadows with dark organs and Jess wondering, “Are you the one that dies with me?” The chorus is swelling and hearty, and it’s buried in a bed of organs. “Harmain” has a sea chanty feel as mandolin is plucked, and Jess sings in another language. The track is folkish with beautiful orchestration, and it dissolves into the air on the waves of clean guitar lines. “The Things You Do” unleashes keys, with a faster groove, horns pumping, and the band getting about as close to JATAO terrain as they do on either volumes. “You will never leave here, you can never turn back,” Jess warns amid fiery play and a raucous finish.

“The Birch and the Sparrow” washes in, feeling sorrowful, as Jess sings, “I lost my way somehow.” The pain is palpable and builds along with the song, as the ballad puts a stranglehold on your emotions, swelling later when Jess vows, “I’ll fly to you when this night is through.” “Go Go Johnny Do” sounds like it might be upbeat from its title, but it’s a dark, warm rocker about violence and revenge. “Come on, kill them all, let the bullets rain,” Jess commands, as she’s backed by jangly guitars and a noirish atmosphere that’s intoxicating. “Love Eternal” draws the record closed, a 10:16 epic that stirs with strings and keys, as an angelic haze is created that hangs over the entire song. The track is dream-inducing and numbing, as Jess’ words sink into your bloodstream, and the song rests in the clouds, soaring and washing away.

So, this is the end of the road for The Exploding Eyes Orchestra as JATAO powers on into the future, the total focus of Corpse and his fellow bandmates. That’s great to hear, as they’re an absolute favorite of mine, but I’m also a little sad to see this band go. “II” is a great parting gift, a powerful, charming collection of psychedelic heaviness that grows on you every time you go for a journey within it.

For more on the band, go here: https://www.facebook.com/The-Exploding-Eyes-Orchestra-1375153479399278/

To buy the album, go here: https://www.svartrecords.com/shop/

For more on the label, go here: https://www.svartrecords.com/

None of our lives are mapped out or really can be planned in any real concrete way. So many things happen from the time we’re born until our death that cause our paths to curve and go into places we’d never expect, it almost makes no sense to make plans at all. It’s part of what makes existence so frustrating yet ultimately exciting.

For Virginia-based doom pillars Windhand, they took all of this into account and let it shape their fourth record “Eternal Return,” a nine-track, 65-minute opus that follows the blossoming of life and our impending demise. The band itself endured loss, changed its lineup, and all the while endured, coming back as a band you’ll very much recognize when you hear this record, though you’ll notice some subtle differences in sound mixed in with the psychedelia-draped doom. As for the band, longtime guitarist Asechiah Bogan left the fold, leaving Garrett Morris as the only guitar player. But that subtraction doesn’t lessen their grip at all, and if anything, they sound even more channeled. Singer Dorthia Cottrell remains one of the most powerful, alluring vocalists in all of metal (not just doom), and the rhythm section of bassist Parker Chandler (also of Cough) and drummer Ryan Wolfe pounds you, as this band keeps getting stronger and wiser as they grow.

“Halcyon” opens the record with noise swirling and riffs that are trademark Windhand coming for you. Cottrell’s voice, adding emphasis to the, “I wish you would,” chorus really sells this one, and in other spots she sees visions in the waters. The soloing burns, while a psychedelic haze is applied, and following a return to the chorus, everything bleeds away. “Grey Garden” is riffy and sticky, with the chorus of, “Isn’t it all a mess? Soon it’ll go away,” rewiring your brain. A cool psyche wind blows in, with the guitars bringing everything back to life, and a the chorus’ return blowing everything away. “Pilgrim’s Rest” pulls things back, as it’s a doom ballad with moody, reflective tones and Cottrell noting, “All love is pain.” “First to Die” has muscular, burly riffs as the pace lands blows, and the vocals swelter. The pace of the song gives off serious steam, with a strong chorus, bold vocals, and the leads burning before fading away. “Light Into Dark” is a cool instrumental that reminds a bit of the fade-in from “War Pigs” as guitars keep unloading, firing away and bleeding into madness.

“Red Cloud” unloads more jagged riffs, with Cottrell howling, “My hands are clean, washed up your precious heart,” amid a pulsing rhythm section and fiery guitars. The track delves deep into the fuzz as it goes on, ending in trudging melody. “Eyeshine” runs 11:03, and it buzzes in the air before the doom drops. The pace is filthier and steaming, with Cottrell singing about a “stranger crossing the sea” repeatedly so it gets stuck in your head. The soloing spits fiery noise, while the back end is steady and bruising, leaving you a heap. “Diablerie” reopens old wounds, as it’s a shorter (for them), heavier track where Cottrell pastes you with her call of, “Hope it don’t come back again,” in yet another chorus that you won’t be able to forget. A fluid, doomy solo slices in, as the track comes to a melodic, memorable end. Closer “Feather” is the death knell, clean and swimming in warm melodies, slowly melting as Cottrell’s softer singing sends chills. The band later rips right through the calming fog with bludgeoning, exploring and soaring, unleashing sorrowful guitar work that makes your heart quiver. Thick drone later arrives like a swarm, and then the track reawakens, as the vocals immerse you, sounds blend, and everything drowns out in a psychedelic storm.

The journey that unfolds on “Eternal Return” might result in death, but that’s only from the perspective of this vision. As a band, Windhand weathered the storms they faced and came out galvanized, which you’ll hear on these great nine songs. This band is building their legacy with each building block, and “Eternal Return” is one that infuses Windhand with even more life even while they stare into the mouth of impending darkness.

For more on the band, go here: https://www.windhand.band/

To buy the album, go here: https://store.relapse.com/

For more on the label, go here: https://www.facebook.com/RelapseRecords

Relationships can be stretched thin. Things can get in the way, distance can keep two people apart for too long, and people’s connections can dissolve without even realizing it’s taking place. Love can be wonderful and freeing, but it also can be torturous and painful, leaving your heart bloody and beaten.

On her breathtaking eighth record “For My Crimes,” Nadler confronts the delicacy of love and relationships and the things that can weigh down on those ties with these 11 tracks, which are some of the best of her decade and a half as an artist. I feel like we say that every time Nadler returns with a new record, and its because she keeps refining herself, digging deeper into her own psyche, and boldly revealing parts of herself, even if they’re the aspects that hurt the most. Along with her on this record are notable guests who add their own textures and voices to the songs, including Angel Olsen, Kristin Kontrol (Dum Dum Girls as well as a solo artist), Sharon Van Etten, Patty Schemel (drummer for Hole), harpist Mary Lattimore¸ and multi-instrumentalist Janel Leppin, and saxophonist Dana Colley (Morphine). Nadler is the centerpiece here, no doubt, but the artists who color in the edges help her round up these tremendous songs and glimpses into her world and life.

The title track has Nadler playing the role of a criminal on death row staring down a long corridor, her wrists tied, as she faces the wrong she’s done, balancing this role with her own life. “Please don’t remember me for my crimes,” she pleads, as the song slips into solemnity amid the haze of squeaking strings. “I Can’t Listen to Gene Clark Anymore” is about longing for a riding partner now gone, as she admits, “It’s getting harder to save you from the fire,” as she laments that listening to the Byrds founder’s songs is impossible without her partner. “Are You Really Gonna Move to the South” also tags loneliness, as she fears someone’s imminent departure, noting she has been, “Sleepwalking through the days, I’ve been out of my mind.” “Lover Release Me” is, like much of what’s on here, quiet and acoustic, as love’s grasp gets too tight, as she realizes, “I’m dying in the dark with you.” Organs rush in and amplify the mood before all light fades. “Blue Vapor” is a stunner, one of the finest songs of her rich catalog, as guitars churn, the pace is a little rougher, and the easily intoxicating chorus gets into your head and never leaves, no matter how many times you hear it.

“Interlocking” takes the mood even further into the shadows, with Nadler noting, “Every day’s a bad day, and I’ve been so down,” which is so emotionally punishing. Dark guitars then drip, while the track ends on a gothy note. “All Out of Catastrophes” extends the bad luck run, nothing a lover calling her by the wrong name at night is one of the nicer things that has happened to her, while later she opines, “I’m going to hell,” repeatedly, as her heart dissolves. “Dream Dream Big in the Sky” has a simple chorus, though its strong and always comes back to haunt, and an extra gust of atmosphere thickens the clouds. “You’re Only Harmless When You Sleep” has a different touch, and she goes more straightforward folk, while she recalls, “You saw my death in a dream,” as she makes good on the song’s title. She feels her downfall every time her partner rests, and it makes for a cold, chilling song. “Flamethrower” has her pushing, “You wanted to burn, burn, burn, leaving only charred remains,” sounding like she’s writing a death metal cut, but delivering the line with fragility and pain. The guitars weep, as a Western feel is infused, and then it bleeds away. Closer “Said Goodbye to That Car” bids farewell to love as well, as she longs for lost days all the while telling her story through an old car she says once “took a bullet in New Haven.” The unique chorus of, “119657, and the engine blew,” is both catchy but sorrowful, as Nadler cuts ties with her past as she leaves for old car behind.

Nadler’s darkness, her personal touch to her music, and her willingness to display her vulnerability is something that’s always attracted us to her music, and that continues in spades on “For My Crimes.” She has a voice that is unmistakable and can’t be duplicated and a way about creating music that can touch all the sensitive scars inside and as well as all those times we felt the same way and couldn’t think of a way to express ourselves. And she slays that beast every single time

For more on the band, go here: https://www.marissanadler.com/

To buy the album, go here: https://www.sacredbonesrecords.com/collections/marissa-nadler

For more on the label, go here: https://www.sacredbonesrecords.com

We’ve been fairly spoiled by metal and heavy music in general here in Pittsburgh in 2018. We’ve had a ton of great bands come though (just a few years ago, that was not a given), we had the glorious Migration Fest in July, and now, just as autumn begins to dig in its claws, the second Descendants of Crom festival is returning, this time with more bands and another day tacked on for good measure.

Starting Thursday night with the pre-fest gala at Howler’s in the Bloomfield section of Pittsburgh and continuing Friday and Saturday with full lineups of some of the most diverse metal, doom, psyche, and rock artists imaginable, the event sets up shop once again at Cattivo in the Lawrenceville section of Pittsburgh. Last year’s event was a blast, and it’s one of the most fun festivals I’ve ever attended. With two stages (an upstairs and a downstairs setting), the fest flew by. Once one band was done, you went to the stage on the other level, and things were getting under way. No downtime, bands that sound nothing like each other, and an attendee-friendly environment makes this one that you definitely want to check out. Organized Shy Kennedy (also of local doom burners Horehound and the brains and brawn behind Blackseed Records) has put together a killer show, and we’ll take a quick run through all the bands so, if you’re unfamiliar with any of them, we can at least tell you a little something about them.

Also, we repurposed the piece from July about all the cool shit to do while you’re in town that we did for Migration Fest. The info is all still relevant, and we had a lot of people tell us the guide was very helpful. So, check that out as well. Now, onto the bands.

 

Thursday, Sept. 27, 8 p.m., Howlers (https://goo.gl/maps/1AFWB5yKhQ12)

GRAN GILA (9 pm.): Local doom metal crushers get the entire event started off. Warning: There will be beards.

MIRES (9:40): Pittsburgh-based instrumental doom/drone quartet that will bring an atmospheric, mind-bending edge.

FIST FIGHT IN THE PARKING LOT (10:20): A more rock and roll-based band that will bring a rowdier attitude to the gala. Vocalist/guitarist Abby Krinzer also is a DJ for local radio station the X and is one hell of a force.

REBREATHER (11:10): Ohio-based trio that always comes with plenty of heaviness in tow. These guys have been crushing hearing for nearly 20 years now.

DESTROYER OF LIGHT (midnight): Austin, Texas, doom rockers bring energy and fire you’ll need when the clocks turns Friday. They just released their “Hopeless” EP in May, and their last full-length was last year’s “Chamber of Horrors.”

 

Friday, Sept 28, 4 pm., Cattivo (https://goo.gl/maps/ERW2YkPnQfA2)

THE LONG HUNT (4:20 p.m.): Pittsburgh instrumental doom filled with atmosphere. Their new record “All Paths Lead to Here” is highly recommended and as beautiful as it is heavy.

SOLARBURN (4:45): Pittsburgh-based trio will bring heaviness and power to your Friday, which you’ll totally need after a bullshit week at work.

YATRA (5:10): Is your mind ready to wander into the void? If so, Maryland-based trio Yatra has you covered and more. Doomy and from the beyond.

ETERNAL BLACK (5:35): Brooklyn-based doom/stoner metal band that released “Bleed the Days” last summer.  They’re heading back into the studio in November to record their second record.

CURSE THE SON (6:00): Hailing from New Haven, Connecticut, these guys also bring the stoner metal and doom vibe and records for the mighty Ripple Records.

DOCTOR SMOKE (6:30): We haven’t gotten a new full-length from this Ohio-based band since 2014’s “The Witching Hour,” but we’ll get to see what these doom rockers have been up to lately.

HOREHOUND (7:00): Fest creator Shy Kennedy fronts this awesome doom band that can be melodic and crushing. Their new record “Holocene” is a barnburner and is out in November.

DOOMSTRESS (7:30): This smoking, fiery band mixes classic heavy metal and doom and is fronted by Doomstress Alexis, who will tear your head off. To add to their awesomeness, they’re major LGBTQ supporters, and Alexis has become a major advocate for other transgender individuals and artists.

DEMON EYE (8:00): You can’t go wrong with a band named after a Deep Purple song, and the last record they hit us with was last year’s “Prophecies and Lies.”

SIERRA (8:30): Ontario-based psyche doom pounders Sierra released “The Mirror” in April, and it has flashes of doom, prog, and psychedelics. Should be fucking loud.

HEAVY TEMPLE (9:00): Bad-ass Philly trio Heavy Temple will haunt and bludgeon you with their sound, which is heavy, haunting, and bluesy as fuck. These ladies are coming for your blood.

DISENCHANTER (9:30): This punchy duo certainly has a doom buzz to it, but vocalist/guitarist Sabine Spangenberg adds a classic metal flair with her bellowing, powerful singing.

HOWLING GIANT (10:05): Nashville psychonauts Howling Giant almost assuredly will bring in tow songs from their raucous two-part “Black Hole Space Wizard” EPs. They will be a blast and heavy as hell.

DEVIL TO PAY (10:40): Sludgy and apocalyptic, Indianapolis pounders Devil to Pay have a healthy resume of five full-length albums, their latest 2016’s “A Bend Through Space and Time.”

LO PAN (11:15): Columbus’ Lo Pan have become a pretty regular visitor to Pittsburgh, and their inclusion here makes all the sense in the world. They also have one of the strongest traditional singers on the bill in Jeff Martin.

COME TO GRIEF (midnight): This band formed from the ashes of legendary Grief, whose landmark record “Come to Grief” recently was added to the Decibel Hall of Fame. And for good reason.

 

Friday, Sept 29, 4 pm., Cattivo (https://goo.gl/maps/ERW2YkPnQfA2)

URNS (4:45): These good, good local boys just tore open the recent YOB/Bell Witch show here in Pittsburgh with their heavy doom that reminds a bit of the sadly fallen Pilgrim.

JAKETHEHAWK (5:10): Pittsburgh is about as far away from the desert as you can get, but this Pittsburgh band (and Blackseed Records artist) finds a way to bring the dry heat, which they do on “Year of the Hawk,” which was released in January.

THUNDERBIRD DIVINE (5:35): Rising from the collapse of Wizard Eyes, Thunderbird Divine are getting ready to release their debut record “Magnasonic” on Salt of the Earth Records.

RIVER CULT (6:00): Heavy psyche rockers River Cult are from Brooklyn and bring with them songs from their debut record “Halcyon Days” that was released by Blackseed Records in February.

MOLASSES BARGE (6:30): This Pittsburgh band (featuring Brian “Butch” Balich of Argus) unleash their brand of classic doom metal, which will be heavy and epic. Their last album “Covered in Molasses” was released last year by Blackseed.

WORSHIPPER (7:00): This Massachusetts-based metal band is one of the members of TeePee Records’ stellar roster, and they released their EP “Mirage Daze” in June that contains covers of songs by Pink Floyd, the Who, Uriah Heep, and the Oath.

WOLFTOOTH (7:30): Indiana-based heavy doom maulers Wolftooth offered up their self-titled debut record this year. The album feeds off classic heavy metal and gallops hard on the plains.

IRONFLAME (8:00): This is the brainchild of the great Andrew D’Cagna (Coldfells, Nechochwen, and new vocalist for Icarus Witch), a power metal-friendly unit that released their latest album “Tales of Splendor and Sorrow” this year on Divebomb Records.

CAVERN (8:30): Maryland’s Cavern are one of the artists on the impressive Grimoire Records roster, and their brand of storming doom and metal will bruise bodies and pulverize ears. Their new album “Eater” was released in June, and it’s a smasher.

TOKE (9:00): I mean, if you’re not familiar with this band, do you really need it spelled out for you? They’re called Toke. They hail from North Carolina, and they’ll out-smoke every one of you.

FORMING THE VOID (9:30): This band calls Louisiana home, and they play an interesting blend of progressive sludge and doom that perplexes and punishes. Their latest record “Rift” was released in August by Bolication Records.

GEEZER (10:05): Bluesy and hazy, this New York-based band deliver riffs, as one might expect from the name of the group. They’re cosmic and psychedelic, and they’ll deliver the goods in their later slot.

FREEDOM HAWK (10:40): If you’re starting to get tired with the night going on, the energetic power and groove of Virginia’s Freedom Hawk should be enough to get you going again.

MOS GENERATOR (11:20): This band has been steamrolling for nearly 20 years now, and from their Sabbath, Van Halen, and Kiss covers to their own soulful doom sound, this band has plenty from which to choose for their set.

DUEL (12:05): Rounding out the festival is this Austin, Texas, proto-metal band. They just released their “Live at the Electric Church” album, and they’ll send everyone home thinking about metal’s sturdy roots.

To buy tickets for the event, go here: http://www.descendantsofcrom.com/

For more on the event, go here: http://www.descendantsofcrom.com/

NOTE: Yes, you’ve seen this story before. We did a roundup of cool places in Pittsburgh, things to do, places to buy records and coffees and books and all that when Migration Fest rolled around in July. This weekend’s Descendants of Crom festival takes place roughly in the same vicinity of town, so we felt repurposing this story for all the folks coming into town for a healthy serving of doom, sludge, psychedelics, etc., could be helpful all over again.

Also, come back in an hour for an entire preview of the fest.

Everyone still thinks there are steel mills in Pittsburgh. And the rivers are brown. And you can’t breathe the air. Not even close, friends. This is a city on the rise and has been for a few years, and there is a lot of fun things to do around here in your hours where you’re not being devastated by metal.

We put a few features together about what you might want to do while you’re here for Descendants of Crom. Two things: First, I didn’t add lodging. You should have done that by now. Second, don’t go to fucking Primanti’s. Every asshole in town will be like, “You gotta do dahn Primanti’s,” but that’s because most of these people haven’t traveled past Sea World. Primanti’s is shit. I’m embarrassed we are known for that place. Fuck it. But we have a lot of cool things going on, and this city is great, so here are a few things. Also, this is not a comprehensive list of everything. Just some stuff I think you might find fun. I’m also going to keep this concentrated on the area near the festival (Millvale, Lawrenceville, Bloomfield) and not throughout the entire city. We’d be here all day.

Also, quick note about transportation: If you’re driving, you should be able to find parking in Millvale. It might be tight, though. Your best bet is to use Lyft or Uber. Local taxi service is a joke, and the light rail doesn’t reach out to this end of town.

RECORD SHOPS:

Attic Record Store: This is a few-minute walk from Mr. Smalls, and you could spend all day in there. There are a ton of new vinyl loaded in the front and a practical library in the back of new and used vinyl. There’s a decent metal section on the display shelf in the back. Just ask. Someone in their ridiculously friendly staff will help you find it.

Location: https://goo.gl/maps/3k9XheBJBsq

Juke Records: This store evolved out of Soundcat Records (RIP Karl Hendricks) and is located in the Bloomfield section of Pittsburgh. Lots of indie rock, jazz, and classic rock, though you can find some metal, punk, and hardcore records amid their collection. They also have a really healthy used vinyl section.

Location: https://goo.gl/maps/fSyCbAixfcw

Eide’s Entertainment: Located in the Strip District right next to downtown Pittsburgh, this four-story shop is another you could be in all day. Comics and toys on the basement and ground level floors; used records and DVDs on the second floor; new vinyl and CDs on the top level. Pretty much every time I’m there, they’re playing fucking bad blues rock, but the selection makes the torture worth it.

Location: https://goo.gl/maps/qHs5DGoovao

Cruel Noise: Located in Polish Hill section of Pittsburgh, Cruel Noise has a slew of used metal, hardcore, punk, and indie rock records, as well as a decent section of new vinyl, cassettes, T-shirts, and whatnot. Almost every time I go, I find something awesome I never thought I’d find. Also, sometimes the owner’s cool dog is there. Definitely scratch the pup on the ears.

Location: https://goo.gl/maps/3jVB78tCzZo

Others: Get Hip Inc. (North Side), Jerry’s Records (Squirrel Hill), Dave’s Music Mine (South Side)

 

BREWERIES:

Like every city, we’ve got a lot. These are some good ones.

Grist House: One of two breweries in easy walking distance from Mr. Smalls, they have a menu of beers that are very drinkable and range between 4 and 8% ABV typically. Laid-back and cool hangout spot.

Location: https://goo.gl/maps/QD3qqQdAEMU2

Strange Roots Experimental Ales: Formerly known as Drai Laag, this brewery changed their path very recently, concentrating on mostly on sour ales and interesting brewing techniques to come up with brews that are pretty different. Also, they have a nice dining menu. Short walk from Mr. Smalls.

Location: https://goo.gl/maps/vREmsHMdXyN2

Roundabout Brewery: Located in Lawrenceville, right across the river from Millvale, this small brewery is owned by a husband-wife team and always come up with new concoctions throughout the year. You can get a 12 oz or 16 oz pour in their taproom, and they have a limited food menu. Fun place run by people who love beermaking.

Location: https://goo.gl/maps/FrC5wZD1Krt

East End Brewing Taproom: East End was up and making their craft brews long before the trend became such a huge thing. They have two locations, but this one is the closest to Mr. Smalls. You can get a pint, a growler filled, or a fleet of beers that have become local favorites.

Location: https://goo.gl/maps/6D1A9v184PU2

Full Pint Wild Side Pub: Full Pint’s actual brewery is in North Versailles Twp., but this brew pub features their tremendous beers in a dark, ambient bar setting. They have some of the better beers in Pittsburgh, and if they have it on tap, definitely get the Rye Rebellion. It’s dark, tasty, and potent.

Location: https://goo.gl/maps/5qdjZSpyvsm

Others: Southern Tier (North Shore), Dancing Gnome (O’Hara Twp.), Arsenal Cider House and Wine Cellar(Lawrenceville), Penn Brewery (North Side)

 

RESTAURANTS:

I’ll keep these to the names and location, broken down by style of food. We like these places a lot, and maybe you will too. These are a little more spread out over the city, but Pittsburgh’s not too big of a place. Also, many of these places have bars and serve alcohol. A quick Google search will help.

 

Traditional American:

Nova Café (hoagies, hot dogs, deli sandwiches)

Location: https://goo.gl/maps/meLyygq659T2

Millvale Diner (name says it all, and it’s right down the street from the venue)

Location: https://goo.gl/maps/kntRFkMjGHG2

Franktuary (all kinds of hot dogs, veggies options, and beware one of the potential toppings is tarantula!)

Location: https://goo.gl/maps/RCmdoLNGd852

Industry Public House (great beer selection, American-style food)

Location: https://goo.gl/maps/DaW9CbTygnE2

 

Pizza:

DeMore’s Pizzeria

Location: https://goo.gl/maps/UDDHu4kjjxs

Caliente (excellent beer menu)

Location: https://goo.gl/maps/zQv6RDSHLAw

Driftwood Oven

Location: https://goo.gl/maps/HjcSs2HnAC72

Alida’s Woodfire Cucina

Location: https://goo.gl/maps/A939FamijY22

Spak Brothers Pizza

Location: https://goo.gl/maps/xEHRQA95q5C2

 

Asian:

China House

Location: https://goo.gl/maps/5wtVDEBUwgn

Zen Asian Diner

Location: https://goo.gl/maps/x1TCoEpUoTM2

China Lin

Location: https://goo.gl/maps/gigbbB1VH312

Umami (specializes in Japanese street foods)

Location: https://goo.gl/maps/mhtWTQYE91B2

Feng Japanese Steakhouse

Location: https://goo.gl/maps/UdwWKeSH1Py

Ginza Japan

Location: https://goo.gl/maps/LgJjYsVoYCw

Pusadee’s Garden (Thai)

Location: https://goo.gl/maps/oRJSznWhw2p

Hug Thai Restaurant

Location: https://goo.gl/maps/GPvBemU1yQw

Thai Gourmet

Location: https://goo.gl/maps/67Q5RP1VK8r

Pad Thai

Location: https://goo.gl/maps/47DkAmVi6Ut

Tram’s Kitchen (Vietnamese)

Location: https://goo.gl/maps/KtqSt1cybfu

Pho Minh

Location: https://goo.gl/maps/4vGrkLob6K42

 

Italian:

Piccolo Forno

Location: https://goo.gl/maps/9CXsQxeeQAB2

Senti Restaurant

Location: https://goo.gl/maps/fPh7ew4Nujv

Alida’s Woodfire Cucina

Location: https://goo.gl/maps/A939FamijY22

Sausalido

Location: https://goo.gl/maps/Ab4w97Zqyq62

 

Indian:

Taste of India

Location: https://goo.gl/maps/KcEkNSGzzi52

People’s Indian Restaurant

Location: https://goo.gl/maps/45XLcGZxbQz

 

Mexican/Tex-Mex:

El Burro

Location: https://goo.gl/maps/9pi7xt98y3k

Baby Loves Tacos

Location: https://goo.gl/maps/3kJUzRjAhsR2

Round Corner Cantina

Location: https://goo.gl/maps/qKEcWbj6J712

Smoke BBQ Taqueria

Location: https://goo.gl/maps/MULJP2KGogu

Los Cabos Mexican Restaurant

Location: https://goo.gl/maps/8MDpY2ZX4wp

 

Mediterranean:

B52 Café (mix of American and Mediterranean with vegetarian options)

Location: https://goo.gl/maps/gKtHmSKc42P2

Cure (Mediterranean with local ingredients)

Location: https://goo.gl/maps/csALhSXsLjQ2

Pastitsio (Greek)

Location: https://goo.gl/maps/EkoTv5ZbA5B2

 

Middle Eastern:

Salim’s Middle Eastern Food

Location: https://goo.gl/maps/zGvYRVmqg6n

Khalil’s

Location: https://goo.gl/maps/5RaX43KwYc42

 

Vegetarian/Vegan:

Almost all places have vegetarian options, but here are some better vegetarian/vegan stops.

Onion Maiden

Location: https://goo.gl/maps/DBhWxfiwW1U2

APTEKA

Location: https://goo.gl/maps/WPAoE1meHks

Milky Way

Location: https://goo.gl/maps/6bPf2PtqeiH2

The Zenith

Location: https://goo.gl/maps/MpgNwz1kpBk

Brillobox

Location: https://goo.gl/maps/MT5JydEbtLx

 

Gluten-Free:

Gluten-Free Goat Bakery and Cafe

Location: https://goo.gl/maps/A3brxWrsmK12

 

Breakfast:

Midtown Tavern

Location: https://goo.gl/maps/vnUSW3ngXxt

Pamela’s (local chain … I think it’s really overrated, but tons of people disagree with me)

Location: https://goo.gl/maps/56D4TY7FCQG2

Coca Café (known for breakfasts but also serve lunch and small-plate dinners)

Location: https://goo.gl/maps/FkKJwsX3oDq

Geppetto Café

Location: https://goo.gl/maps/QKXkja2RsnQ2

Barb’s Corner Kitchen

Location: https://goo.gl/maps/PLE9cRDfvFR2

 

Dessert:

Crazy Cones of Millvale

Location: https://goo.gl/maps/e7tSjuR7qZo

Jean-Marc Chatellier’s French Bakery

Location: https://goo.gl/maps/tavaB1282to

Yetter’s Candy

Location: https://goo.gl/maps/2eqM48QpJsx

The Butterwood Bake Consortium

Location: https://goo.gl/maps/cLiDYuc9FGM2

La Gourmandine (French pastries and other baked goods)

Location: https://goo.gl/maps/ss5Cpes17Tx

Twisters Ice Cream

Location: https://goo.gl/maps/PCaQGm3dV2y

Bella Christie and Lil Z’s Sweet Boutique

Location: https://goo.gl/maps/PCaQGm3dV2y

NatuRoll Creamery (ice cream made with Thai technique of rolling batter)

Location: https://goo.gl/maps/L9aWdGikr4x

 

COFFEE SHOPS:

Black Forge (it’s a little out of the way from the venue, but it is THE metal coffee shop of Pittsburgh)

Location: https://goo.gl/maps/5FocNpHbBLF2

The Abbey (also good beer selection and is open for all meals)

Location: https://goo.gl/maps/rMJcoWF9siz

Constellation Coffee

Location: https://goo.gl/maps/obfi76DmtYr

The Commonplace Coffee House

Location: https://goo.gl/maps/obfi76DmtYr

Tupelo Honey (tea)

Location: https://goo.gl/maps/T9kUCD7xNhr

Espresso a Mano

Location: https://goo.gl/maps/7Xz8yFE1GSR2

Zeke’s Coffee

Location: https://goo.gl/maps/QWTEF3nQDry

Coffee Tree Roasters

Location: https://goo.gl/maps/xTbBbHpMrUH2

Nicholas’ Coffee

Location: https://goo.gl/maps/PqP5PEHru8y

 

ASSORTED FUN SHIT:

Millvale Riverfront Park (hiking and biking trails)

Location: https://goo.gl/maps/UBnUbyiz6b32

Bloomfield Park

Location: https://goo.gl/maps/MbxtruPTvmL2

Arsenal Bowling Lanes

Location: https://goo.gl/maps/jHvKDP4UFq32

Millvale Bowling Lanes

Location: https://goo.gl/maps/3Kw7JNTXbc52

Lumberjaxes Axe Throwing

Location: https://goo.gl/maps/bJnp4xsruJG2