When Agalloch surprisingly disbanded in 2016, there was a collective sign of disappointment from those in the know in the metal community at losing one of its most creative, authentic, and genuinely unique bands. Agalloch rose to prominence through a progressive metal alchemy that combined black metal, neo-folk, and atmospheric elements which set them apart from their peers in the late 1990s and early 2000s, specifically with their debut album Pale Folklore (1999) and its landmark follow-up, The Mantle (2002). Subsequent album and EP releases, and gradually more frequent live performances, continued to elevate their status in the metal world up through 2014’s The Serpent & the Sphere, all while retaining the quality and artistic integrity that created one of the most loyal cult-following fan bases in the world of heavy music.
John Haughm, who founded Agalloch in 1996, had been arguably the biggest creative force in the group, whether through his work on guitar, clean and harsh vocals, songwriting and lyrical compositions, or designing and directing the artwork of every release. Once Agalloch disbanded, Haughm formed Pillorian, a more black-metal focused project, but also dedicated himself to a solo project he had started after a particularly inspiring trip to the desert. When Pillorian ceased in 2019, Haughm would become more prolific with his solo venture, releasing what he’s dubbed the Nomad Trilogy, which culminated with the release of The Devil’s Coil last year. The trio of records provide a soundtrack to a cyclical spiritual journey of a nomad traversing the metaphysical desert, in life and death, set in the 19th century, a place where John seems to feel quite comfortable. Somewhere along his solo nomad journey (in the current century), his friendships with founding Agalloch members Don Anderson and Jason William Walton were mended as well, leading to a reformation of Agalloch for select live shows in 2023, much to their devoted fanbase’s delight.
Over the last two years since reuniting, Agalloch have performed in Brazil, Australia, made appearances at festivals across the United States and Europe, and played select shows along the West Coast with John Haughm performing his solo material as an opening act. Many of these destinations had been points of contention during the band’s 2016 demise, but are now being fulfilled with the clarity of a decade for their founding members. I had a chance to catch up with John Haughm to discuss Agalloch’s resurgence, as well as a number of other topics, including:
- his most recent solo release recorded at a local college, his experience doing similar recording projects when he was a college student in Seattle, and a surprise Alice in Chains anecdote.
- the concept behind the Nomad Trilogy, how he uses visual images as a source of musical inspiration, the cyclical nature of the storyline, and the meaning behind the map coordinates in the title of The Devil’s Coil.
- the reception of his solo work live, how he re-creates that material as a solo performer, his experience opening shows for Agalloch and other groups, and the genesis of his collaboration with Obsidian Tongue.
- how the Agalloch reunion became a viable option for the original members, memories from their initial reunion shows in 2023, opening for Emperor, and the new mix of Marrow of the Spirit and how it became a reality from a chance conversation in Europe.
- the initial reception to The Mantle, the inspiration he drew from the Portland area for both the music and imagery of the album, plans for future Agalloch music and shows, and reflections about the artistic integrity of Agalloch and his solo work.
You can view the entire interview HERE:
As an unabashed Agalloch fan, it was a surreal experience to get to speak with John about a band that has produced some of my favorite metal records of all time. As you’ll be able to see with our discussion of The Mantle, I hold their work in very high regard and am excited to see what the future holds for the group now that they’ve returned, even in a limited capacity. What stands out most to me in speaking with John is the degree to which he immerses himself in all of his projects, whether working on solo material or Agalloch, and the high level of artistic integrity that process yields, even if it means donning a Civil War-era overcoat that's tattered in a few places on stage.
You can check out all of John's solo material on his bandcamp page, which is linked below:
If you are interested in ordering any of the Agalloch reissues that he's been working on designing, check out the Eisenwald Records webstore by clicking the link that follows here.
For all of the latest news regarding Agalloch, stay tuned to their social media channels, specifically Instagram and Facebook.
