Savannah, GA's Black Tusk combine the drive of fellow Savannah residents Baroness with the thick and murky stoner sludge of High on Fire. In 2005, they debuted the self-issued When Kingdoms Fall. Two years later The Fallen Kingdom followed (also self-released). They issued Passage Through Purgatory in 2008, their final self-issued title before signing to Relapse. In 2010 their label debut appeared as Taste the Sin. Bassist Jonathan Athon died in 2014, his final contributions were on 2016's Pillars of Ash. Kylesa's Cory Barhorst helmed the bass chair for 2018's T.C.B.T. and subsequent tour. Following personnel changes, Black Tusk re-emerged as a quartet for 2024's The Way Forward. Emerging onto the metal scene from Savannah, Georgia in 2005, Black Tusk 's self-branded "swamp metal," its particular musical tenets from dirty punk, sludgy heavy metal, and a weighty Motörhead influence. Their sound is loud, proud, slightly blackened, always intense, and extremely murky, as displayed on their best-known offering, 2010's Taste the Sin. The original trio was founded by Andrew Fidler (guitar/vocals), Jonathan Athon (bass/vocals), and James May (drums/vocals), and combined the drive of fellow Savannah residents Baroness with the thick and murky stoner rock of High on Fire. Their self-released first demo, Demos and the Demons, appeared the same year, followed in early 2006 by the full-length When Kingdoms Fall on Wrecked Signal. Two years later, they self-released another album, The Fallen Kingdom, and kept their prolific release schedule going the following year with Passage Through Purgatory, released on Hyperrealist Records. Taking what for them was a long break from recording, Black Tusk gained attention through tours with bands like Weedeater, Pentagram, and Eyehategod. The band eventually signed to Relapse, and in 2010 released their first album through the label, Taste the Sin, featuring cover art from Baroness singer John Baizley. The band's sophomore long-player, Set the Dial, dropped just one year later, and was followed by a pair of EPs, Tend No Wounds and the digital-only Vulture's Eye, in 2013 and 2014, respectively. Sadly, in November 2014, bassist Athon succumbed to injuries sustained in a motorcycle accident. After some soul searching and a real debate as to whether they could continue as a band without their brother in arms, Fidler and May tapped longtime friend and veteran Corey Barhorst musician (Kylesa, Niche) to take over the bass chair. In 2016 they released their much-anticipated third full-length outing, Pillars of Ash, that included the last studio sessions by Athon and served as their final release for Relapse. After intensive touring, followed by writing sessions, Black Tusk re-entered the studio to emerge with T.C.B.T. (Taking Care of Black Tusk) in August of 2018, their debut for Season of Mist. Following tours, the pandemic, and personnel changes, they returned as a quartet for 2024's The Way Forward. ~ Gregory Heaney, Rovi

Portland, Oregon dark rock trio Hoaxed return with their stunning new album Death Knocks via Relapse Records. Three years in the making, the group—featuring vocalist/guitarist Kat Keo, drummer Kim Coffel, and new bassist/vocalist April Dimmick—have honed their stygian craft to perfection. Whereas predecessor Two Shadows offered an eclectic array of genres through singles "The Call," "Guilty Ones," and "The Knowing," Death Knocks rises above the first album fray, solidifying Hoaxed as masters of the shadow. Certainly, tours with Wolves in the Throne Room, Blackbraid, Gaerea, and Amorphis impelled their next-generation songs, but the roots of Death Knocks go deeper. "We've added another element to the writing and collaboration process," says the band. "April comes from a classic heavy metal background, and her influence is in these songs. We've also had experiences on tour that have helped shape these songs. You can hear influence from the bands we toured with and learned from. We played together for three years as we wrote this album, and we learned a lot about our styles, and our sound evolved naturally together on stage. So, when we sat down to write this album, it didn't feel like a departure or a change." Anchored by the witchy spell of opener "Where the Seas Fall Silent," the rock-hardened groove of "Kill Switch," and the darksome power pop of "The Family," Hoaxed upped the tempo, sawed the edges (Dimmick's raspy menace intimidates), and strengthened their ties to the golden gods of heavy metal. Indeed, cyclical riffs, dynamic rhythms, and bottom-heavy bass propel Death Knocks through its filmic, hard-nosed gloom, but Keo's sorcerous vocal hooks seal the deal. Often smartly paired with Dimmick's angels 'n' demons, her performance effuses fragility and potency across the album's alluring expanse. "We started writing this album before Two Shadows had come out," they say. "We were writing right up until we went into the studio [for Death Knocks]. This album is more energetic. We enjoy playing energetic songs and knew that was a vibe we wanted going into this one. We also wanted to work with a cellist [C.E. Brown, aka Kakophonix, of Osi And The Jupiter fame] on this one, so we wrote some songs specifically for that. Overall, we wanted to expand upon and enhance what was showcased in Two Shadows, adding more texture and extra elements." The first track Hoaxed wrote—as a trio—was "Where the Seas Fall Silent." From there, the group hammered out the rest of the Death Knock's eight tracks in anticipation and celebration of Coffel's pregnancy. Hoaxed wouldn't be who they are without tipping their flat-crowned, wide-brimmed hat to the macabre. There's a hint of irony in the album title and Coffel's expectant status. Themes of death and the aftereffects are central to Death Knocks. This line from "Kill Switch" says it all: "Out here / everything hurts / everything's poison / everything's turned / Witnessed, awaited / Who killed the world?" "The album's real vibe revealed itself a few songs in," Hoaxed reveals. "Death Knocks is an exploration of what comes next. The embrace and fear of the unknown. The finality of what happens when we finally give in and let go. The songs speak to experiences on the edge of death, last moments in this plane, and trepidations, fears, and expectations about what comes next. We looked into characters who surround themselves with death and their triumphs and demises. Some of the songs are entirely about these characters—the women we revere." Hoaxed recorded Death Knocks at Falcon Recording Studios, a studio founded by Oregon Hall of Fame inductee Dennis Carter in 1982. The group re-enlisted producer/engineer Gabe Johnston (Unto Others, Vintersea) and hired whizkid Arthur Rizk (Kreator, Crypt Sermon) to mix and master. In total, the group spent eight days in February and March tracking Death Knocks. While most bands horde months ironing their metallic mettle, Hoaxed's expeditious time at Falcon engendered a polished, big-sounding force befitting their larger-than-life songs. "We love recording," says the band. "It's such a great ending to the songwriting process—a proper eulogy to the years of songwriting. We were writing right up until we went into the studio, putting on the final touches. Some of the elements, like cello, were written after we'd recorded the majority. Arthur was a late add. We had the album completed for a couple of months before he stepped in. He's our salvation mixer. He gave this album a beautiful finish. We were so happy to work with him—he's the absolute best!" Hoaxed keep the cover art in-house on Death Knocks. Whereas Two Shadows was designed by Coffel, the group's new album leads with an engaging sculpture by Dimmick. To support Death Knocks, tours are in the planning phases and music videos are also in the works. Surprisingly, Hoaxed are already putting their able fingers into their untitled third album. But the real magic will be the response by the threesome's burgeoning fanbase. "We love hearing from people who connect with the songs," says Hoaxed. "Knowing that our struggles and curiosities are not only shared but enjoyed is a great feeling. Our songs, especially those on Death Knocks, are storytelling songs. We want people to find connections and draw parallels. We love playing live and connecting with people through our art. It's the best thing."