Metal music was arguably first conceived as “doom metal” since the originators in Black Sabbath, particularly the Sainted Tony Iommi, and the horror imagery that the band embraced would directly influence what would decades later be called doom or stoner metal. Still, there are almost limitless ways to be forbidding and morose. The Obsessed have been traditionalists while Stinking Lizaveta adds prog rock and jazz flourishes. Despite a combined four decades between the two bands, they are still changing the shape of doom to come.

The Obsessed
Sacred

Scott Weinrich, or Wino as he is better known, has gone from a cult musician instrumental in pioneering a genre of music to being widely heralded as an elder statesman. In many ways, he has inherited the mantle of the lamentedly departed Lemmy Kilmister, another denim- and leather-clad warrior with a gruff exterior, zero tolerance for bullshit, and a legendary ability to consume alcohol and drugs. They both probably sold more patches than albums, but neither of them gave a damn if what they did was cool.

The Obsessed slowed down in the early ’80s when everyone else in the metal underground was speeding up. Then Wino switched coasts, moving from DC to LA to lead Saint Vitus, making him the frontman of two of doom metal’s most important bands. As slowed-down, Sabbath-inspired brontosaurian riffs came back into fashion, Weinrich also led such projects as Spirit Caravan, The Hidden Hand, and Place of Skulls (as well as a coveted position on Dave Grohl’s Probot project), and his legacy grew.

But throughout all this time neither he nor his fans, many of whom were not alive when he first emerged, have forgotten The Obsessed. Sacred (Relapse Records), the first album from the group since 1994’s The Church Within, shows a recommitment to finish what he started all those years ago.

One might think that this is just nostalgia, especially as Sacred leads off with “Sodden Jackal,” a re-recording of one of the band’s oldest tracks, dating back to 1983. But that would be a mistake. Aside from being the best sounding Obsessed recording, there is a vitality here that you might not expect from Wino at this stage of his career. To say he seems rejuvenated is an understatement.

Even more unexpected is that Sacred is not a doom metal album—at least not all of it. The Obsessed picks up the tempo, such as on barnstormer “Haywire” and their proto-rap boogie cover of  Thin Lizzy’s “It’s Only Money.” And despite the inclusion of a song called “Punk Crusher,” he shows that all that time spent around DC hardcore continues to impact his sound; “Be the Night” would likely get Brian Baker’s approval.

With Sacred, Wino proves that he still has a lot to say and you best listen if you know what’s good for you.

Stinking Lizaveta
Johnny Brenda’s, 
Philadelphia, 
April 14

You can’t help but compare Sheena & Thee Nosebleeds, the opener this night, to The Bellrays, as there is a dearth of maximum R&B rockers with black female singers. Frankly, though, there are a lot worse bands to which to be compared. Like Alabama Shakes. Just don’t, please.

Commanding the stage, everything about frontwoman Sheena Powell  is larger than life—especially her pipes—but don’t sleep on Thee Nosebleeds. Unlike a lot of garage rocker types, these guys are more Mötorhead than Mojo Men (the song “Motörmouth” on last year’s wonderfully titled The Revolution Will Be Amplified has an umlaut, for the love of Lemmy). They share the spotlight with a dynamic singer who can grab your attention visually as well as vocally.

On the opposite end of the spectrum, Stinking Lizaveta (pictured above) don’t need no stinking singer and haven’t for over two decades and eight albums, the latest of which, Journey to the Underworld, was being celebrated at this hometown record release show. The festivities made for a unique event. The group even added a fourth member Paul Webb, formerly of New Orleans psychedelic instrumentalists The Mystick Krewe of Clearlight and currently in Mountain of Wizard, who joined in on guitar for the entire show. It was a nice change of pace, most notably when he added blistering solos atop the chunky riffs of guitarist Yanni Papadopoulos. Even as a trio, though, nobody would ever accuse Stinking Lizaveta of minimalism. Adding a second guitarist really fleshed out the band’s patented sound though that also seems to be evolving.

This band has always been louder than alley cats fucking, though as of late they have lost the stoner rock tag they always had. This transition is mainly due to drummer Cheshire Agusta’s prowess. She always hit the drums like they owed her money, John Bonham–style. However, on the new disc, which unsurprisingly made up the bulk of the set list, she adds speed to the preexisting power, propelling the band like a roaring locomotive. Alexi Papadopoulos’ steady stand-up electric bass makes sure it never goes off the rails.

Being an instrumental band is not what makes Stinking Lizaveta unique. Perfectly combining brawn with brains and having a lot of fun in the process is what does that.