Sundays of Misfortune 7: Dead Revolution

By Andy Osborn. After five long years, the wait is over. Hammers of Misfortune, the most singular purveyors of American proggy heavy metal are back with Dead Revolution. As is their wont, they are unsurprisingly sporting another lineup change - this time with an all-new rhythm section

By Andy Osborn.

[In 2014 Hammers of Misfortune made their non-Metal Blade discography available on Bandcamp. In the Sundays of Misfortune series Andy Osborn guided you through all of it. Since then Metal Blade has opened a Bandcamp page, and in this installment of the series, Andy reviews Hammers of Misfortune's new album Dead Revolution. Here's to hoping it won't take another 5 years before it's time for another Sunday of Misfortune.]

Cover art by Robert Steven Connett

After five long years, the wait is over. Hammers of Misfortune, the most singular purveyors of American proggy heavy metal are back with Dead Revolution. As is their wont, they are unsurprisingly sporting another lineup change - this time with an all-new rhythm section, one half of that being Will Carroll of Death Angel fame. A long break, with new members and lots of lived life (and near-death) in-between can only mean one thing; there is no way to even begin to guess what this thing is going to sound like. Their last two efforts were both a bit out of left field so it wouldn’t be surprising if this album took another turn to the unknown.

But in a what’s a wonderful surprise to me (and many other fans, I’m sure), the style fits closely with their sound from a decade ago, sounding like a fitting end to a trilogy started by The August Engine and The Locust Years. It's fast and furious, picking up the pace from walking speed to a high octane diesel. From the first note you can hear the new urgency and excitement in this form of Hammers. The quick, mighty riff is back as the band throws it all into high gear, re-introducing themselves once again.

"Velvet Inquisition" introduces things with no fewer than three guitar solos and some brilliant organ counterpoint. Next up, "Dead Revolution" sits near the top of the hammers Discography, a strong contender in the fight for the best-penned song in their history. From the glorious mutating riff at its forefront, the untouchable chorus, and even that stupidly awesome cowbell, it throws punches impossible to dodge, deftly dropping jaws.

It’s also the best sounding Hammers record. The organic, mellow production gives everyone the space and sound they deserve. Joe Hutton’s sultry voice sounds sharper - due either to a new approach or some smart equalization - so he sounds a bit different than our introduction to him on 17th Street. But it works. He also shares more duties with Sigrid, making the album sound more like a team effort. They all just work together, and it feels like a true collaboration from a cohesive group - something they haven't accomplished in a long while. And the natural yet beefy drums are something that even Mikael Akerfeldt and Fenriz could agree sounds outstanding.

The band has appeared to expand their influences, too. And as is their expectedly unexpected way, it appears they’ve gone the Spaghetti Western route. The Americana acoustic guitar and trumpet on "Here Comes The Sky," hint at this, but they really go for something new on closer "Days of ‘49." An ode to the gold rush era, Hutton pulls out a prospector’s drawl as he croons his way through tales of gamblers and outlaws. It’s a risky way to end an album, but the payoff is huge.

It excites me to say that my favorite flavor of Hammers of Misfortune is back and stronger than ever. They're once again sounding like a cohesive unit, and it comes across in droves in the exciting, thunderous tracks. There's plenty of new elements and experimentation to be found, though, and even through massive lineup changes and 15 years they prove there is no one else quite like them.

Sundays of Misfortune 6: 17th Street

By Andy Osborn. Any band that switches a key member with almost every release invariably starts to look like a solo project over time. There’s a reason we jokingly call the thrash giants Megadave

By Andy Osborn.

[In 2014 Hammers of Misfortune made their non-Metal Blade discography available on Bandcamp. In the Sundays of Misfortune series Andy Osborn guided you through all of it. Recently a new Hammers album was announced (pre-order here), and Metal Blade uploaded 2011's 17th Street to Bandcamp. And so, two years later, it's time for another Sunday of Misfortune.]


Any band that switches a key member with almost every release invariably starts to look like a solo project over time. There’s a reason we jokingly call the thrash giants Megadave, and there’s no question who was the mastermind behind Death before his untimely passing. Although it was already becoming clear, 17th Street settles any debate that Hammers of Misfortune belongs to John Cobbett. With their third lead vocalist in as many albums, it’s yet another major reincarnation of the premier Bay Area non-extreme metallers.

17th Street showcases John Cobbett’s skills as a musician and bandleader, but also as a nucleus able to attract incredible, unknown musicians to his cause and get them to put forth otherworldly performances. This is proven by new vocalist Joe Hutton, previously of southern-fried doomsters The Worship of Silence, who steals the show. His buttery tenor was tailor made to fit with Hammers’ unique style, and the album seems crafted specifically to showcase his talents. Tracks like "Staring (The 31st Floor)" and "Summer Tears", the latter being a full-on ballad, show him front and center as the band plays with their newfound introspective, slowed-down style.

Compared to most of their earlier material, 17th Street is a laid-back affair. It only borders on metal, and leans more towards a prog-infused hard rock. There are fewer fist-pumping riffs and epic choruses filled with chanted harmonies. It’s more stripped-down and straightforward, but still retains the band’s unparalleled approach to their singular sound. Like the previous double album, the organ is as ubiquitous as the guitars, as both trade leads and give the nine tracks a twisted, playful spine.

The album’s first single and defining track, "The Day The City Died," is the most quintessential Hammers song of the bunch. A bit faster than the most, it’s at once uplifting and utterly depressing. An ode to gentrification, it’s a goodbye to the Bay Area that so many artists, musicians, deadheads, and bohemian types once knew and loved. Even though it was written five years ago, it perfectly captures the upheaval caused by the unending influx of tech money which continues to this day and makes life near impossible for those on a blue collar salary. Hammers have never been a political band, but John Cobbett moving to the Bay has defined a large part of his life, and each line is unsurprisingly dripping with equal parts sadness, frustrating, and gratitude.

It may not be the Hammers of old, but it’s a solid addition to their discography and a fantastic introduction to Joe Hutton. John Cobbett’s tasty licks and solid songwriting continue to be the center of the Hammers of Misfortune universe, but also prove his uncanny ability to nurture and showcase talent. The band continues to dance on the line between prog, heavy metal, and rock, and their first album for Metal Blade is a welcome addition after their previous experimentation.

Sundays of Misfortune 5: Fields / Church of Broken Glass

By Andy Osborn. Hammers of Misfortune were my first introduction to John Cobbett, who quickly became one of my most beloved musicians. I seek out anything he contributes to from the essential genius of Ludicra to his recent supergroup of VHOL

By Andy Osborn.

Early this year Hammers of Misfortune made their discography available on Bandcamp (everything except for 2011's 17th Street). In the Sundays of Misfortune series Andy Osborn takes a look at each of the albums, concluding here with 2008's Fields / Church of Broken Glass.


Hammers of Misfortune were my first introduction to John Cobbett, who quickly became one of my most beloved musicians. I seek out anything he contributes to from the essential genius of Ludicra to his recent supergroup of VHOL... hell, even part of The Sims 2 video game soundtrack he wrote and recorded himself is fantastic and hilarious. Everything the man has touched is at the very least worthy of attention as he’s proven to be one of the country’s best metal songwriters. At the time of this double album’s release he was playing guitar in Hammers of Misfortune and Ludicra and had just finished working on Slough Feg’s best releases. There’s even a rumor that he had a brief live stint in Gwar. What I'm getting at is the man is dedicated to his craft and talented as hell. His unique galloping rhythms and spot-on palm muting technique are his trademark that he brings to all his recordings, and this double album is no exception.


Fields / Church of Broken Glass was written after a stark lineup change, and before yet another one. Mike Scalzi and Jamie Myers left the band, replaced by scene newcomers Patrick Goodwin and Jesse Quatro, who took control of vocal duties. Their addition makes this a different Hammers of Misfortune album since Scalzi’s soaring voice had become a mainstay of the band’s trademark sound. And the now-sextet cranked the dial from prog to Prog as the music takes a grander, more experimental turn. These changes result in the most polarizing work in the Hammers of Misfortune catalog, but one that still doesn't stray too far from their original mission.

The Hammond organ is more forward than ever and it occasionally shares a place in the spotlight with a Jethro Tull style flute and Floyd-esque songwriting that shows Hammers wearing their 70s English fandom on their sleeves. Some will argue this is a vast improvement, but the fact that their previous soft approach to this influence was part of their charm may make it a little disappointing to others. Coupled with the new, vastly different voice of Patrick Goodwin to get used to, there is a lot on the surface that makes this 70-minute epic less appealing on the first listen.

Sigrid Sheie & Jesse Quattro 2009. Photo by brandi.

Patience for multiple spins is essential as it helps soften the blow of the new direction, making clear that the old Hammers we know and love still lives and breathes. The double album is a powerful listen and fans of more traditional Prog will find themselves drooling. Besides, I’d rather see one of my favorite bands experiment with their already complex sound than rest on their laurels. But Lulu this ain't, as the foundation of exciting guitar-driven heavy metal and playful instrumentals is still clearly in full effect. Jesse Quattro quickly proves to be the bands most skilled female vocalist to date, her emotion on “Fields” is hauntingly beautiful, and the playful upbeat melodies on “Rats Assembly” and “Almost (Left Without You)” make them two of the finest songs in the Hammers catalog. John’s guitarwork on “Always Looking Down” and “The Gulls” is world class; he makes you realize that no matter what direction Hammers of Misfortune takes, their music will always be in safe hands under his leadership. I came into this review less excited than the others, but diving deeper into this album after so many years completely changed my mind about its importance to the band's legacy.

After this one-off release on Profound Lore, Hammers of Misfortune finally got the attention of a label worthy of their world-class skills and were offered a deal from Metal Blade Records. But that blade is double edged for us here, as this means there is no Bandcamp page available for the incredible follow-up to Fields / Church of Broken Glass, 17th Street. As for the band, it’s been over three years since that album, and there has been no mention as to what, if anything, will come next. And our thoughts go out to current vocalist Joe Hutton, who was recently involved in a serious motorcycle accident and is on the long road to recovery. But as all great art takes time, it’s best not to be impatient. I eagerly await whatever they decide to do next as their incredible two decade run as Unholy Cadaver and then Hammers of Misfortune has shown they are one of America's greatest heavy bands.





Note: 17th Street has since been released on Bandcamp and Sundays of Misfortune continues here.

Sundays of Misfortune 4: The Locust Years

By Andy Osborn. What does a band do after such a perfect output as The August Engine? Do they switch it up and forge a new path or keep going with what worked so well previously? Impressively, The Locust Years sees Hammers of Misfortune doing a little of both

By Andy Osborn.

Early this year Hammers of Misfortune made their discography available on Bandcamp (everything except for 2011's 17th Street). In the Sundays of Misfortune series Andy Osborn takes a look at each of the albums, continuing here with 2006's The Locust Years.

Cover art by Thomas Woodruff

What does a band do after such a perfect output as The August Engine? Do they switch it up and forge a new path or keep going with what worked so well previously? Impressively, The Locust Years sees Hammers of Misfortune doing a little of both, albeit with enough restraint as to not exceed their grasp or limit their creativity. Part of this change is a shift in the lineup, foreshadowing much bigger changes that are soon to come. Jamie Myers of Wolves in the Throne Room and Sabbath Assembly fame replaces Janis Tanaka on bass and backup vocals, both of which are more pronounced this time around. The rest of the band sounds largely as they did before, with the exception of Sigrid switching from piano to Hammond organ. Its unmistakable tone gives a circus-like feel to the tales of dystopian politics gone mad.

Some familiar tricks are employed as Cobbett and Co. recycle a few choice riffs to maximize their impact; once again the (partly) instrumental intro acts as the reservoir for these fantastic streams of sound that grow into raging rivers as they reach their apex. Overall the music strays closer to the ballad side of things, with emotional slow burners like “Famine’s Lamp” and “We Are The Widows” dominating the mood. But the guitar-forward epic “Trot Out The Dead” and the painfully pretty “Chastity Rides” are the highlights of this more somber album.

The key to Hammers of Misfortune’s success is, as I’ve hinted at this before, their ability to balance all the ingredients of their complex recipe. At once playful, deadly serious and forward-thinking, there’s just the perfect amount of prog in their prog metal. But that’s prog with a lowercase “p” because there’s not a hint of pretension or weird for weird’s sake to be found. Just a group of musicians growing comfortable together, learning from one another and pushing each other to make devastatingly captivating music.

Bits and pieces of The Locust Years are easily as - and sometimes more - memorable as The August Engine, but as a whole it isn't quite as perfect. This slowed down and more reflective version of Hammers of Misfortune doesn't reach the grand scale they’re capable of. But that’s hardly a criticism. If anything, this third full-length solidifies their rightful place as a band to be reckoned with. Their quirky individuality, songwriting genius and the unstoppable duo of Mike Scalzi and John Cobbett make The Locust Years a fantastic addition to the Hammers catalog.

Sundays of Misfortune 3: The August Engine

By Andy Osborn. There are a handful of albums that are really special to me. Albums that transcend the descriptor of “great music” and represent something more meaningful. I will always remember exactly what I was doing when I first heard The August Engine.

By Andy Osborn.

Early this year Hammers of Misfortune made their discography available on Bandcamp (everything except for 2011's 17th Street). In the Sundays of Misfortune series Andy Osborn takes a look at each of the albums, continuing here with 2003's The August Engine.

Cover drawing by John Cobbett

There are a handful of albums that are really special to me. Albums that transcend the descriptor of “great music” and represent something more meaningful. I will always remember exactly what I was doing when I first heard The August Engine. Setting up a tent during a camping trip on the Olympic Peninsula, I felt like listening to something new and exciting, hoping it would strike a chord. I had just graduated from college and landed my first real job; the sun was shining, the beer flowing, and I hit play. So many chords were hit that I will never forget that moment, one of the rare occurrences where the music you’re hearing describes your thoughts and emotions better than any other medium ever could. It’s what music was meant to do: act as a translation of the human experience.

The experiences begins with the fiery “The August Engine Pt. I,” the ultimate in epic instrumental intros. Where most metal bands will throw something together with a couple synth effects half-baked orchestrations, Hammers lay the foundation for the entire sound of the album over the next five minutes. They tease out the melodies and ideas that are going to be explored en masse throughout the rest of the work. Keep in mind what you hear, because it’s coming back when you least expect it. This taste is captivating and fun with it’s buttery smooth chugging riffs and flowing tempo changes. It even ends perfectly as a transition into “Rainfall” where acoustic guitars take charge to mimic the pattern of the song’s title.

John Cobbet 2011. Photo by Taylor Keahey.

The band is playing with longer, more epic tracks than on The Bastard and they’re hitting their stride. Their cross-genre experimentation is in full effect but they never hide their love of NWOBHM in their tasty licks and dazzling vocal harmonies. Scalzi and Cobbett’s leads are world class, endlessly building atop each other to create a fucking majestic attack. The first album with Sigrid Sheie, her subtle piano is the perfect addition to this crisply produced classic. But it’s not just the individual performances that astound, it’s the effect of a perfect group of musicians firing on all cylinders from every direction that pushes The August Engine into the realm of revelation.

Sigrid Sheie 2011. Photo by Taylor Keahey.

Aforementioned patterns become more clear on “The August Engine Part II” with its entrancing second half, another block of dizzying instrumental play. “Insect” as a single track is the best representation of the album as a whole. Every singer is contributing their voice over another beautiful acoustic ballad that then explodes into a familiar chug that’s one of the most satisfying transitions in metaldom. Finally, “The Trial and the Grave” sees the two women again contributing their vocal skills on a slower track, but this one is more heavy than playful, an experiment in somber doom that provides a perfect end to a perfect album.

When I first heard it, The August Engine clicked with me in a way I still can’t adequately describe. I was at once excited, anxious, prone to reckless experimentation. And without even diving into the lyrics I knew, deep in my bones, that this is what this album represents, despite what its true intent may be. And after all these years it evokes the same flood of emotions. I long to call this a masterpiece, but that’s just too ineffective a term; one simply cannot categorize a work of art this transcendental.

Sundays of Misfortune 2: The Bastard

By Andy Osborn. I was working as the Metal Director for my college’s radio station when Metal Blade reissued the Hammers of Misfortune discography, giving me a crash course in what would soon become one of my favorite bands. I absorbed their albums voraciously

By Andy Osborn.

Early this year Hammers of Misfortune made their discography available on Bandcamp (everything except for 2011's 17th Street). In the Sundays of Misfortune series Andy takes a look at each of the albums, continuing here with 2001's The Bastard.

Artwork by Lorraine Rath

I was working as the Metal Director for my college’s radio station when Metal Blade reissued the Hammers of Misfortune discography, giving me a crash course in what would soon become one of my favorite bands. I absorbed their albums voraciously, but it was only when I revisited them all last year that I realized how much I truly adore them. There has been a Hammers of Misfortune fanboy lurking within me for years, and now I finally have the means to properly convey my feelings for the band formerly known as Unholy Cadaver.

Rebranding themselves as Hammers of Misfortune, the quartet tried a more streamlined approach to songwriting on The Bastard. The meandering experiments explored previously are left behind as the Bay Area prodigies continue with their classic approach to extremity-infused progressive metal. And if that wasn’t enough to appeal to the tastes of the discerning metalhead, the album is a concept of epic proportions. With a tale of dragons, witches, trolls and revenge it’s a veritable Game of Thrones season imbued into sonic wondry with fantastic neoclassical melodies and dialogue to match.

Every track is efficient and to the point, each its own chapter in the fantastical tale. But despite the short and sweet approach to the songs, The Bastard is an incredibly fluid piece meant to be absorbed as a whole, although its individual parts taken out of order can form the most metal Choose Your Own Adventure ever penned. As the tale progresses it becomes clear dialogue is what breathes life into the dragon’s fire behind the record. Not just the dialogue in the story itself but the back-and-forth between the grand, sweeping lead guitars and the conversation-like tone presented in the various singers as they present themselves. The band is fully comfortable with one another, a far cry from the slightly awkward interplay shown with Unholy Cadaver. But the crowning achievement is the guiding star of John Cobbett’s regal voice, a perfect fit for the medieval setting.

Galloping and blasting their way through kingslaying, enchanted axes and sacrifices, Cobbett and Co. excel without so much as a misstep or unnecessary diversion. This conceptual journey is trimmed of its fat, more Pratchett than Tolkien. It’s exciting and thoroughly rewarding, with nuanced plot points revealing themselves upon subsequent listens. With this debut the Hammers have arrived, and this is only their first pounding at the metal forge.

Sundays of Misfortune 1: Unholy Cadaver

By Andy Osborn. One of the greatest catalysts in bringing metal to the front of the cultural psyche was the Bay Area scene in the 1980s. The region gave birth to the some of the most famous and pioneering thrash bands of the era, many of whom are still alive and kicking today.

By Andy Osborn.

Early this year Hammers of Misfortune made their discography available on Bandcamp (everything except for 2011's 17th Street). In the Sundays of Misfortune series Andy takes a look at each of the albums, starting with the material from pre Hammers of Misfortune band Unholy Cadaver.

Artwork by Lorraine Rath

One of the greatest catalysts in bringing metal to the front of the cultural psyche was the Bay Area scene in the 1980s. The region gave birth to the some of the most famous and pioneering thrash bands of the era, many of whom are still alive and kicking today. But less well-known is the scene the area produced in the 90s, which spawned a batch of bands who dabbled in both extreme and more traditional forms of metal to create something entirely new. (For an in-depth history on the scene, check out Invisible Orange’s fantastic three-part series on the era.) One of the more unique bands birthed from this perfect storm of reckless experimentation and a crust-punk outlook on life was Unholy Cadaver, a weirdo heavy metal group that would later rise to fame under a new name, Hammers of Misfortune.

Essentially a testing ground for their future Unholy Cadaver only released one demo, before changing their sound and their name to what we know them as today. Though they had recorded an entire album's worth of material, the rest remained unreleased until 2011, when Shadow Kingdom Records released the Unholy Cadaver LP. But as it was the first time the unstoppable duo of John Cobbett and Mike Scalzi (of Slough Feg fame) would perform together, it marked an important turning point for the two musicians, each just years away from their definitive releases.

If you enjoy Hammers, you’ll likely enjoy Unholy Cadaver. But I won’t go crazy with the comparisons because while many similarities exist, this short-lived project was clearly its own wild, skeletal beast. This first incarnation of the lineup borrows heavily from more extreme subgenres, while keeping a glimmer of trad roots with varying song styles; some are long and wandering, others are quick, relentless, and to the point. And a few feel like half a dozen ideas compressed into a single track, separating the influences into clearly defined passages. At its core Unholy Cadaver is a heavy metal record, but there’s so much to wrap your head around that even a dozen listens later it’s difficult to fully absorb it all.

Things start off with a slow burn, but when an errant shriek appears almost 5 minutes into “On This Final Night” you’ll quickly understand that there’s still an entire kitchen sink and more headed your way. The everything-goes approach begins soon thereafter with “Fuck the Galactic Police.” It’s definitely a bit of a head-scratcher, both sonically and lyrically. It’s a grinding foray void of any of the neoclassicisms Cobbett and co. are so fond of, and more intense than anything else the crew have done since. The next half-hour is a wild journey peppered with heavy ballads, NWOBHM-isms, traces of early black metal and whatever else the band was in a mood to throw into the middle of a song.

The longest track on the album, “Hammers of Misfortune” would actually serve better by the name of the former group as it captures all their quirky charm into one oddly shaped package. There’s the incredible dueling leads of a world-class heavy metal act, but also an odd dramatic section where a woman with a poor Russian accent is apparently being kidnapped. Around the 10:50 minute mark is where you can pinpoint the future of the band with their trademark 70s metal chugging and dueling melodic vocals. A wonderful taste of what’s to come. The album ends on a disappointing note though, as there is nothing of substance to be found in the grueling 9 minutes of “Kloven Septum.” It’s an odd assortment of noise experiments and a few half-baked jam sessions. At least it succeeds in helping to define just what an esoteric foray the project was.

It’s clear why Unholy Cadaver remained as a short-lived, singular entity. Their debut, while undeniably unique, seems to be pulling itself apart at the seams. Too experimental to be traditional heavy metal but not punishing enough to appeal to extreme metal fans, it still resides just too far on the edges of digestibility to elicit a wide appeal today. But there are some absolutely incredibly moments amidst the din, and it’s clear the band thought so too. Thankfully those choice cuts would be exorcised, reanimated and rewired shortly thereafter into Hammers of Misfortune, who would grow into one of America’s most revered prog metal acts.