...about hammers of misfortune...

“The August Engine is easily one of the best records this year and one that has to be heard to truly believe just what talent they really do possess. 9/10” –Unrestrained Mag

“If you don’t like Hammers of Misfortune, you just don’t like Metal.” –DigitalMetal.com

“I definitely recommend this album to anyone who enjoys metal, this is a must have.” –1340mag.com

“They are here to save the world from mediocrity. 10/10” –RoyalCarnage.com

Formed in the late '90s by eclectic and versatile guitarist John Cobbett (Ludicra, Slough Feg, Amber Asylum, Jarboe), HAMMERS OF MISFORTUNE started as an exercise in songwriting and making coherent full-length albums. The band’s sound incorporates various elements of folk metal, doom metal and power metal and is made up of some of the most talented musicians John Cobbett and co. can find, who are willing to work with the band at any given time. Cobbett explains, "I set out to do it this way from the beginning. Having been in a dozen or so bands that broke up before realizing their potential, I decided that the songs and albums were the most important thing. So I formed a 'break-up-proof' project that depends more on good material and strong albums than a consistent lineup."

One thing that is consistent, though, is that HAMMERS OF MISFORTUNE has always consisted of John Cobbett (guitars) and Chewy Marzolo (drums) with Sigrid Sheie (keys, voice, flute) being another a long term member of the group. Bassist Max Barnett (ex-Old Grandad) has been with the group for over a year now and HAMMERS OF MISFORTUNE recently added Leila Abdul-Rauf (ex-Saros) on guitar and vocals. Since the addition of Leila the guitars are sounding tighter and heavier than ever.

The San Francisco based, groundbreaking progressive metal outfit HAMMERS OF MISFORTUNE joined the Metal Blade Records roster in early 2010 and is set to rerelease their catalog (including the now out of print The Bastard) and write and record a new studio album, which is expected to be out in 2011. The following reissues will also be made available on vinyl via Metal Blade Records in the fall 2010.

The Bastard (originally released: 2001)
“An unknown San Francisco-based band called Hammers of Misfortune releases a metal opera entitled THE BASTARD, one of the best metal albums ever. It wins recognition in Terrorizer Magazine as one of the ‘Top 40 Albums of the Year.’ But no one seems to notice. Tragic is only perhaps slightly too strong a term to describe this situation.” –Maelstrom.com

The band’s first release, The Bastard, is an epic tale told in three acts with three distinct characters/voices. The release was met with critical acclaim and was voted among the top 40 releases of 2001 by the writers of Terrorizer Magazine. 

The August Engine (originally released: 2003)
“THE AUGUST ENGINE is one of the finest pieces of epic metal that I have ever heard. Hammers of Misfortune have exceeded every expectation that I had coming into this album, and there is something on this disc for fans of all types of metal. Fans of The Lord Weird Slough Feg, US Power Metal, Folk, and NWOBHM especially will want to check this album out.” –Metal-Observer.com

The August Engine was voted as the best album of 2003 by Brave Words & Bloody Knuckles writer Chris Bruni and received a 10/10 rating from a different writer in the same issue: “Entirely something new, and entirely something creatively masterful.” –Martin Popoff, BW&BK

The Locust Years (originally released: 2005)
“Notoriety and record sales be damned, I don't think there's a better band out there right now than Hammers of Misfortune. THE LOCUST YEARS is the kind of record that will be talked about fifty years from now…this is a metal opera that fucking rocks unashamedly, dexterous virtuoso metal that never forgets hooks and heart.” –BLABBERMOUTH.NET

Fields/Church of Broken Glass (originally released: 2008)
“What qualities define a truly great band? Proficiency, of course; technical acumen, originality, a vision - these are sufficient, while heart, soul and depth are absolutely necessary. But there's something else; some magic unknown that makes a band meaningful to its listeners. Whatever that thing is, Hammers of Misfortune has it - a nearly painful beauty, like first love, a radiant sunset, good fortune descending from nowhere.

…reminiscent of those glory days in the '70s when ambitious ventures from bands like Genesis rewarded the faithful with an overload of ideas and sensations, albums simply too rich and interesting and complex to play just once, or even 10 times. Hammers of Misfortune combine gorgeous vocal harmonies recalling folk-based classic rock - the Mammas And The Pappas, Jefferson Airplane, the Byrds - with sinuous, complex Opeth worthy arrangements and keyboard pomp Keith Emerson would the proud of. The Hammers are simply the finest unknown rock/metal/folk/Renaissance band working today, and like any lover, I'm jealous of sharing them. But I must.” –Metal Maniacs Magazine

History:

Hammers of Misfortune’s original lineup consisted of members of L7, Malefice (Washington D.C.), The Lord Weird Slough Feg and Ludicra. The band’s sound includes many influences, some reminiscent of folk, gothic and traditional pagan tunes. Previously known as Unholy Cadaver, founding member and main creative force John Cobbett changed the name to HAMMERS OF MISFORTUNE for their 2001 release The Bastard. The Bastard is a concept album with a 3-act tale of royalty and betrayal and received many positive reviews in the metal community, including several "best of 2001" awards. After The Bastard came out, both Janis Tanaka and Mike Scalzi left HAMMERS OF MISFORTUNE. Janis had been touring relentlessly with L7, and made her final exit to join the live ensemble of emerging pop star P!NK.

Both Janis and Mike were able to record tracks for the second album, The August Engine, while visiting San Francisco in '02. By the end of 2003 HAMMERS OF MISFORTUNE released their second album The August Engine. This album was also well received by the metal community and earned the band a 10/10 review in Brave Words & Bloody Knuckles Magazine by notable metal/rock journalist Martin Popoff.

After The August Engine’s release, Janis Tanaka left the band. HAMMERS OF MISFORTUNE met Sigrid Sheie who initially tried out on bass/vocals, a position eventually filled by Jamie Myers who moved all the way from Texas to fulfill the role. When HAMMERS OF MISFORTUNE found out that Sigrid was a classical pianist and flautist (who has since earned a masters degree in classical piano), the band decided to keep both Sigrid and Jamie on board. This decision was made as founding member John Cobbett always wanted to work with a Hammond B3 organ and piano, thus taking this opportunity to add those instruments to the fold.

In early '05 HAMMERS OF MISFORTUNE recorded The Locust Years. Upon its completion, Jamie Myers and Mike Scalzi both left the band; Jamie moved back to Texas to start a family, and Mike left to focus on his other band (Slough Feg), with whom he had a rigorous touring schedule. Female vocal duties were taken over by Jesse Quattro and original drummer, Chewy, rejoined the band.

HAMMERS OF MISFORTUNE’s most recent release was the two-CD set Fields/Church of Broken Glass, two separate albums that were issued in October 2008. In February 2010, HAMMERS OF MISFORTUNE parted ways with Patrick Goodwin and Jesse Quattro as they were unable to commit to practice. HAMMERS OF MISFORTUNE added Leila Abdul-Rauf (Saros, Amber Asylum, Vastum) to the lineup handling both guitars and vocals. “She is by far the best co-guitar player we've ever had as she shares my philosophy about playing guitar” comments John Cobbett. On vocals, HAMMERS OF MISFORTUNE have recruited Joe Hutton (of the Oakland doom outfit The Worship of Silence) who is a naturally gifted singer with a very powerful and distinct voice. 

Since the release of set Fields/Church of Broken Glass the band has been working on new material and signed worldwide deal with Metal Blade Records. A union that allows John Cobbett and HAMMERS OF MISFORTUNE to continue making albums the way they always have: unsupervised and self-produced.

photo by Craig McGillvray