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    Knee deep in acid-soaked proto-metal, garage rock and 70s heavy blues, Heavy Glow are the real deal. I caught up with the one and only Jared Mullins (guitars/vocals) from the band.
    1. Hey guys, could you tell us the history of the band. A lot of people would know the band now but what was life like pre- Heavy Glow?

    We were wandering lonely through the world like lost puppy zombies in search of a little bit more meaning. Music's always been a part of our lives. Grew up with it. Made us feel alive. It's always been the most loyal thing.  We all met on Craigslist believe it or not and just got lucky. We all get along swimmingly. We have a great time together. Mike (drummer) was a college grad out in Arizona. Met him through Blaak Heat Shujaa up in L.A.  Joe's a bartender and so that brings a fun dynamic.  I was working on a master's in intellectual history, translating a bunch of latin bullshit and trying to be an adult before I realized that I just needed to be myself...So Heavy Glow's been great for me.

    2. You were once named the High Times Band of the week. Not many bands could lay claim to that. Do you consider the sound of the band "stoner," whatever the hell stoner means. While we are at it what is stoner-rock to you? Does the tag bother you?

    I'm not a big fan of the 'stoner rock' label. I haven't really come across a lot of bands that I like that are typically labeled 'stoner rock.' There's a lot of cool guitar tones, but that's about it for me. I don't see a lot of good, tasteful songwriting in it. The subject matter is pretty boring to me on the most part. Bands writing about "the fields we know" and other tired, hippie themes. I appreciate the community embracing us as they have. I think it's mostly because of the way I solo on guitar. Where else can you put us? I don't really feel like we fit in anywhere in the music climate. We're not cute or folky enough to be an indie band. Hipsters hate us. We're a hard rock band but a lot of people think of generic, stale rock when we use that term...bands like Nickleback and such. We're not a boutique band. My feeling is if you want to be the band that sounds like Hendrix or Zep then you're setting yourself up for failure. If someone wants to hear Hendrix then go listen to Hendrix. I don't know. Tags are always tough. 

    3. What inspires you to create the sound, feels and grooves of Heavy Glow? Is there a special place it comes from that we should know about?


    4. Before I ever heard the band, I read someone describe the band as "Cream crossed with early Rush circa Fly By Night, only with a white-boy baritone blues singer." I hope I got that right by the way. Does this description seem accurate to you?

    It's definitely interesting. I don't know 'Fly By Night." Honestly, I don't like Rush either. 'Working Man's" about the only thing I can really listen to. I'm all Tom Sawyered out at this point. I think we only get the Cream thing because we're a three-piece with guitar solos.

    I am definitely a white boy though ha!

    5. Live experiences and Spinal Tap moments, want to share a couple?

    We just played a pretty hilarious show in Flagstaff. Got billed with a folkie band from L.A. Not really a good fit. They parked their van right by the back entrance and left the door open at the end of the show. So the whole place filled up with exhaust fumes. About 150 left before we even got on stage because nobody could breath haha.  I think that was the same night that Mike busted his nose while playing drums. He had a white shirt on and I looked back at him and all I could see was blood gushing from his face, all over his drums, and shirt. It was pretty epic.

    6. Time to fill us in on latest recordings from the band and other projects that might be happening.....

    We recorded an album back in June/July. Shacked up in a hot L.A. studio with two great producers, Michael Patterson and Nic Jodoin. BRMC was recording their album at the same time in the same room. We had to dance around all of their shit. Anyways...The new album will have 10 songs on it. The energy on it is amazing. It's everything we've wanted to put onto a record. Lots of dynamics, melodies, harmonies, without taking away the live-feel. We recorded it all live in one room like we've always done.

    7. How has the band approached the songwriting for each release so far. Do you have your own little formula that works for you?

    Wow! That's a great question. Well, I think we've approached every recording differently. The first EP was about "what can we do in 4 days?" The second one was "what can we do live in 6 hours because we're poor?"

    "Midnight Moan" was a tough one. I had a nervous breakdown somewhere in the middle of it. Did the whole thing on our own. No producer. Studio kept breaking down...literally. We'd go in to record and the console would be broke or there would all-of-a-sudden be feedback that wasn't there. Recording vocals while I had strep throat..."Slave Dance" for instance is me screaming with fucking strep throat...whiskey and dayquil-ed up.  The new album is going to be fantastic. It's still being mixed right now but I can't wait to share it. I think it's the best we've done to date.

    8. The band seems pretty busy on the live front. How does each member handle doing a lot of miles and live work. Do you ever feel you are not going to make it?

    Yeah we love touring. Love keeping busy and meeting new people on the road. Actually we're stuck in a hotel room right now in Medford, Oregon as I write this to you. We all watch too many cartoons. That pretty much gets us all through it.  Joe loves to drive the van. He'll hog that thing all day long and then play bass at 110% later every night.

    I don't ever think that we're not going to 'make it.' I don't think about making it or not making it. I have made it. If you're in a band and you make music you do it because it's who you are. If you're in this business to wait around for people to throw money at you or take you on the road with them then you're gonna be waiting a while. It just doesn't happen like that. If you want something I think you work for it. We're musicians because it's who we are and Heavy Glow is the only place in the world where we feel like we can express ourselves 100% without having to worry about anything. I have made it. We're a 100% DIY band. We own our record label. We hire our own producers. We hire merch girls and promotional teams. We write the emails etc. etc. It's a lot of work but we're living the dream. Whether there's 5,000 people in the audience or 20, we're true to ourselves and we can go to bed at night knowing that we've done everything we can without sacrificing our souls in the process.

    9. What is on the horizon for the rest of 2013? More touring. More new music. The follow-up album will be out sometime this year.  East Coast tour dates and we're looking at some Europe dates as well.

    We're putting out a 7" release on February 12th. You can pre-order it through our website:

    10. Any last words or rants?

    'PRE-ORDER THE 7"! There's only 300 copies to play with.'

    Interview By Sally Bethhall.

    Official Website

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    San Diego-based psychedelic blues rockers Heavy Glow are back in this gloomy part of the year (at least for the northern hemisphere) with an intensive tour hitting the western US coast, as well as with a mouthful of tunes.   The new tunes are two sides of a 7” single, two juicy mouthfuls of the band’s own rock style often compared to a blend of Queen of the Stone Age, Blue Cheers, Jimi Hendrix, The Black Keys, Cream, The White Stripes, etc., with a whiff of retro poppy lightness contrasting with the intrinsic roughness of the electric riffs. 

    As reported by the band, this release is a way to fully establish a new, important addition in the line-up and to announce the imminent coming of a new album, a “culmination of everything the band has been working towards” since their beginnings in 2008. The art dominating the band’s webpage in this period, and thus accompanying this new release, is a cool, reworked photo of a pretty, retro-looking “transgressive” woman seductively emitting spires of smoke. In black and “sinful” purple, that seems to be one of the colours much favoured by bands hinting to psychedelia and downtuned dope rock/metal.

    This is possibly a further, visual way to describe Heavy Glow’s music, as seducing and rooted into the then transgressive, and by now classic, psych hard blues/garage rock/proto-metal of the roaring 70s. The "A" and "B" side of the single are called “Headhunter” and “Mine All Mine”. Or is it the other way round? Anyway , almost 8 minutes all together. Not much time, but enough for depicting different moods and directions in the band’s sound.

    The band.
    Let’s briefly recall the story of Heavy Glow, young unsigned duo (Jared Mullins on guitars/drums and vocals, Joe Brooks on bass) that definitely conquered the scene with their second, stunning, flamboyant super- retro groovy EP “The Filth and the Fury” back in 2010. I still remember the enthusiastic comments when the band shared their tunes in those old days out at the Sludgeswamp. Then Heavy Glow came back to action with their debut full-length album “Midnight Moan” during 2011. That album was a collection of powerful, fuzz-laden ballads where the band devoted to somewhat harder sounds and enhanced roughness via dark and murky production contrasting with the emotional tones coming from Jared’s vocals. Those peculiar vocals too are a landmark of the band, vocals that may clang with raw hard blues distortions as they deviate from the smoke-raspy or gritty, alcoholic macho roars employed by several rock singers.  Year 2012 saw the duo becoming a trio, with the arrival of new blood, aka drummer Andrew Hoffman and his “tasteful balance of jazz-inspired flourishes and thunderous athleticism”. Consequently something new might be expected in the band’s sound as well.   A somewhat new course may be actually perceived in the tracks of the new single, although 8 minutes are really too short for concluding anything. Anyway these two tracks show that Heavy Glow are trying to beat different paths, still deeply rooted in their main reference old rock scenes, but done in their own way. And you’ll be probably surprised in discovering a softer side of Heavy Glow.

    Track “Headhunter” is the heaviest of the 7” and is the one closest to the band’s typical bluesy style, although the sound is a wee bit cleaner than in the last album and the mood is more introspective. The leading melody is mildly plodding and almost minimalistic, a way for enhancing the powerful drumming section. Jared’s vocals are velvety than ever, probably, and merge with this moody melody, from where loud, howling invocations of the guitar emanate.  It is as if those achingly Hendrixian electric howls end up being the actual voice in this charmingly somber, emotional bluesy rock track. 

    Track “Mine All Mine” is the one that will eventually bring sunshine in your grim winter day. This song sounds so “Californian” to me! The fresh, super catchy, dynamic mixture of addictive garage/surf rock-flavoured and acid Queen-of-the-Stone-Age-like vibes plus retro rhythm’n’bluesy pop is irresistible and acts as a perfect nest for Jared’s voice, too. This infectious track was the real surprise for me, I dig it a lot!  So, two new tracks drenched with different moods and tempos and structures, new ways of expression for the band.
    I don’t know how the new album will be.  Do these two tracks mark a completely new course for the band or justrepresent much pleasant stylistic “deviations” and experimentation in retro sounds within the framework of the by now typical Heavy Glow powerful fuzzy retro-blues rock? 
    Let’s see.
    In the meantime, enjoy the tracks, streamed on Soundcloud, and if you are at reach, enjoy the band touring along the US West Coast during January (see the dates HERE).  The new album will be out in February 2013 via Cleveland (Ohio)-based Purge Records. Then the band will be off to their European tour.

    Words: Mari

    Official Website
    Soundcloud - Headhunter
    Soundcloud - Mine All Mine

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    This year we continue good tradition of big New Year doom-quiz, there’re only 5 questions for a bunch of good and famous (or not so famous yet) doom bands. What kind of questions do we have today? Mmm… Let us see!

    1. As always we’re starting with general question: What is the latest news from the band and what is it current state and plans for 2013?
    2. Second one is about main hit of the band: Which song does represent the band best? Which one makes you really proud of it?
    3. Striking balance as always: Which doom / metal / rock releases were most significant for you in 2012?
    4. This question is something new for most of our heroes: What is the best present you got at this New Year / Christmas? I was glad that I’m not alone who get socks from grandmother each year. Long live grandma! Thank you!
    5. Well, this question came pretty easy because straight before the New Year came I was enduring worst hangover for 2012. So what was your worst hangover mates? After which drink / substances did you get it and what did you do to reach such amazing results and how you survive it? Preconditions for this question are disclosed in New Year Doom quiz part I.

    Here they come! Bloody Hammers, Druid Lord, Katergon, Rigor Sardonicous, The Bottle Doom Lazy Band, Uzala, Viaje a 800, Who Dies In Siberian Slush and Witch Mountain!

    Bloody Hammers (United States, occult doom rock)
    Jerry Anders (vocals, bass)

    1. Our album comes out in America on Feb 3rd so we're waiting on that. I'm mentally preparing to start writing more for a second album in 2013.

    2. "Say Goodbye to the Sun" might be my favorite. Dynamic, melodic, heavy parts... I like that style of song. The song that represents the band I would have to say is "Fear No Evil", that one seems to be a favorite.

    3. My favorite album in 2013 was a tie between "Afterglow" by Black Country Communion and "Clockwork Angels" by Rush.

    4. My wife and I did reward ourselves with a Nord Electro 3.

    5. Too many Jager shots after playing Bar Sinister in Los Angeles in 2005. Legendary hangover the next day.

    Bloody Hammers “Say Goodbye to the Sun”

    Official Website

    Druid Lord (United States, death doom)
    Pete Slate (guitars)

    1. We've got a few things in the works. 1st, our 1st 2010 album "Hymns for the Wicked" is getting a digipack release. The 1st press is basically sold out. Doomentia in corporation with HPGD Prod is putting this out with two bonus tracks (from the Druid Death Cult ep.) We are now also writing our second full length album. We plan to put out another 7"ep on Doomentia tentatively called "Baron Blood." As this is going on we are playing a lot of gigs over the next few months here in south. It's going to be a busy year...hahaha
    2. That's a really hard question. All the songs are expressions of how we feel at the time. We are proud of all our tracks. You know we play mostly Doom/Death with lyrics based around cult horror/occult so it's really hard to pick one song out. I will say for me personally I've very proud of "Chamber of Ghastly Horror." It was the very 1st song we wrote for Druid Lord. Since day one our fans have always liked that track. We play it at ever gig. The song just flows from beginning to end.
    3. Hooded Menace - Effigies of Evil, Pallbearer - Sorrow and Extinction, Asphyx - Deathhammer, Coffins - March of Despair, Bell Witch - Longing ,Evoken – Atra Mors, Occutation - Three and Seven, Windhand - Self titled.
    4. We'll I didn't get any presents this year. My Christmas tree burned down as it got too close to the fireplace. I was drinking Whiskey at the time. I did buy myself "Orne - Tree of Life on LP"..that's about it..I usually buy myself things during the year anyway. Like new guitar pedals and amp heads.
    5. It was Halloween 2011. I was drinking at a local pub. I was all dressed up as some type of 18th Century Vampire. Make up and everything. It was a great costume I must add. Anyway, I was drinking Vodka all night long. Martinis too. I drank so much I don't remember getting home. I passed out on my kitchen floor. The next morning I was freezing and shocked that no one tried to get me into bed. It took me over a week to recover. Worst hangover ever!!!!!!

    Druid Lord "Chamber of Ghastly Horror”


    Katergon (Switzerland, atmospheric sludge / doom metal)
    Oliver Ruppen (bass) and Mauro Di Cioccio (guitars)

    1. Our latest news - the release of our album "Argonaut" - aren't really news anymore. But we've got plenty of positive reactions (reviews as well as personal feedbacks), which we appreciate very much. After the release we had a blast performing on a few stages and bringing our new songs to the audience. That's about what happend in the past year. Regarding 2013 we're looking forward to create new songs by trying to give our music an additional dimension. This will hopefully be an interesting time, since we'll be forced to work as a band even if some of us are living quite far away for the moment.

    2. In our oppinion there isn't really a song which represents the full range of our kind of music. Take the song "Endless Life" or "Weakened Hands" on the one hand and "As We Sail the Waters of Oblivion" or "An Old Man's Reflection" on the other, put them in a jar, shake it and what comes out is to be described as the essence of KATERGON! ;-)
    In fact every song has got an other element or atmosphere which brings out our musical taste/creativity and we always try to do our best. That's why there isn't such a thing as a favorite song to us.

    3. Of course there have to be named the latest releases of Ufomammut, Neurosis, Anathema, Gazpacho, Meshuggah, Godspeed You! Black Emperor, Crippled Black Phoenix and Gojira.  But there are many more bands and albums which belong to our alltime favorites which were released decades ago!

    4.Mauro: Definitely a kitchen knive which even could slice a trunk of a mammut tree!
    Oli: I've ordered an electric upright bass which I'm still waiting for. Let's see what I'll be able to get out of it after some lessons! So christmas isn't over yet for me.

    5. Oli: My last real and worst hangover of all times was back in about 2004, when I still played with Creeping Vengeance together with Matt and Mauro and we did a Party. I fucked myself up with a bottle of Tullamore Dew and spent the night with my head hanging in the toilets (luckily it was my own)... Since then I cannot even stand the smell of it anymore. I'm sorry to be unable to tell you more. I forgot every single detail about that epic night - or repressed it. That's what a real hangover is all about.
    Mauro: Actually my last hangover is only about two weeks old... Since I live in the country of the real traditional Absinth and because there is a bar right at the corner of my House (which sells this heavy booze for half the prize of a coke in an average pub), my flesh was weak. So I drank three and a half big glasses of it without remembering how i made the 100 meters back home. The next thing I can remember was me being more or less in the same position as Oli back in 2004. And: there is no such thing to shorten the ordeal, because drinking whatever liquid substance makes it even worse... By doing it, the Thujon (the hallucinogenic stuff in the Absinth) dissolves itself and you're drunk as hell again.

    Katergon “Endless Life”

    Official Website

    Rigor Sardonicous (United States, death doom / funeral)
    Joseph Fogarazzo (vocals, guitars)

    1. Our last release was March 2012 and we have material for a new album in the works though we are not sure what will be released in 2013.

    2. Season of the Dead, The Deathless Sol, and Nox Noctis Theca Dies.  We think they may harbor the most dense and bleak of our moods.

    3. Our own since it almost did not get released.

    4. A place to stay after a hurricane wiped my apartment out.

    5. That would have to be this past easter.  It started as an innocent dinner with some wine before the pub.  A bottle and half of good red wine on my own and a beer before the night even begins.  Later a few Shocktop pumpkin brews, along with shots of something I do not know, when I realized I could not walk.  Not sure how I survived but it took a many days to recover.

    Rigor Sardonicous “Nox Noctis Theca Diesl”

    Official Website
    Official Forum

     The Bottle Doom Lazy Band (France, doom)
    Guillaume (guitars)

    1. Well, so we have a new guitar player since 2 months. We’re actually recording a split LP (with the swedish band VOID MOON witch will be released on Emanes Metal Records) and working on our next album. We hope to record it this summer.

    2. I like all of our songs. If somebody in the band dislike a song we don’t keep it. If i’ve to choose one ... maybe SlowStone Banner.

    3. The come back of Saint Vitus ! Lillie : F-65 is not their best album, but it’s really great to listen new material of the gods of doom !!

    4. A good whisky bottle !

    5. Wow, I think it was when i was studying. Eating a shitty MacDo, drinking lot of bad beers and bad whisky. I was really lucky that my friend didn’t want that i died like Bon Scott in his parents house.

    The Bottle Doom Lazy Band “SlowStone Banner”

    Official Website

    Viaje a 800 (Spain, stoner doom rock)

    1. We have confirmed the last tour in Spain, after that, we quit definitely.

    2. With no doubt, for me the best song and my favourite and the one I´m the most proud of is ' Los Angeles que hay en mi Piel' (The Angels in my skin).

    3. Neil Young & Crazy Horse - Psychedelic Pill;
    Astra - The Black Chord;
    Uncle Acid & The Deadbeats - Blood Lust;
    Corrosión Of Conformity – self-titled;
    Wovenhand - The Laughing Stalk;
    Jonathan Wilson - Gentle Spirit.

    4. The best gift has been a pysch oil lamp "Mathmos Space Oil Light".

    5. Worst hangover ever was on 25th jan 2012, better not mention which substances I took, dangerous... the only thing I can say is I will never drug myself again, at least until I forget that bad experience...

    Viaje a 800 “Los Angeles que hay en mi Piel”


    Uzala (United States, doom metal)
    Chad Remains (guitars, vocals)

    1. UZALA will record new songs in January in Seattle with Tad Doyle at Witch Ape Studio. We will also see the s/t LP be issued in the US by King of the Monsters Records with a bonus 12" single. We will tour with Ephemeros in October hitting the Fall Into Darkness (Portland) and Autumn Screams Doom (Baltimore) festivals along the way. There may be a few other releases as well.

    2. This question is like being asked to pick a favorite beer. It depends on my mood and the weather at the time I suppose. I really like playing Death Masque, Burned, The Reaping, Wardrums, Cataract live... I am very happy with Batholith and Gloomy Sunday on the record since we did those very differently than I thought we might. Right now we have new songs that nobody has heard yet - they are very different from what has come before.

    3. I mostly listened to Pallbearer when I wasn't listening to old Scorpions or new Darkthrone records. High on Fire - De Vermis Mysteriis is great and the reissue of Dopesmoker by SLEEP sounds fucking MASSIVE on vinyl. The new Myrkraverk is phenomenal - but I don't know if it's released until next year. Jef Whitehead introduced Darcy and I to the music of Ved Buens Ende. I'm amazed by the fact I'd never heard it before.

    4. Darcy and I bought each other a tour van. PERFECT.

    5. I don't really do hangovers since I don't really drink to excess and I don't do drugs. I prefer to enjoy a few great tasting beers and a good conversation, although I did drink a lot more than usual in Norway - coffee, espresso,vodka, and Bailey's is a deadly good drink after several good beers.

    Uzala “Cataract”


    Who Dies In Siberian Slush (Russia, funeral / death doom)
    E.S. (guitars, vocals)

    1. On 25 December 2012 Who Dies In Siberian Slush released their second album “We Have Been Dead Since Long Ago...” at Solitude prod. Stylistically the material differs from the debut album; it substantially tends to death-doom. Some people did not welcome it, especially in Russia. What can I say...? The third album we are working at will still be different from the
    second one. I encourage those who have not formed their unbiased opinion to listen to the album at As far as the plans are concerned. The most possible, yet not fully confirmed, is the presentation of the new album in February-March, and participation in another MOSCOW FUNERAL LEAGUE festival in October 2013.

    2. I don't think we have a song representing Who Dies In Siberian Slush ideally yet. Our various tracks could represent us at various periods of time. The first album must be characterized by “Leave Me”, “Mobius Ring” and "Zaveschanie Gumilyova", the second - by “The Day Of Marvin Heemeyer”, “The Spring”, “Of Immortality”. I am critical to my works, almost ironical. Besides, in one song the composer's idea is best developed, in another the performance is finer, in some the text is better, or the atmosphere, etc. I cannot name the song where it all could be combined. I think we have not yet composed and played our best song.

    3. I must make it clear, I don't listen to music much, my taste is pretty limited and conservative, and it has been for many years. In general I prefer the 1990's death-metal, death doom, and funeral doom of all kinds. The most interesting releases for me in 2012 were Worship
    “Terranean Wake” and Towards Darkness “Barren”. As well as a couple of albums released at Russian labels: Krief de Soli “Munus solitudinis” (Endless Winter) and Ennui “Mze Ukunisa” (MFL-RECORDS).

    4. For me it was the beginning of studio work over a full-length album of another project I participate in, Decay Of Reality. It is a real present, sane, swift and fruitful cooperation with soul-mates. Decay Of Reality is hardcore death-metal with texts about psychiatric disorders. My task in the band is vocals. I hope that the results of our work over the DOR debut album will interest funeral/death-doom fans apart from death metal fans, as the band is stocked up with
    musicians from Abstract Spirit and Otkrovenie Dozhdya.

    5. I lived through my worst hangovers during the university time, when my ideas of what, how much and with whom to drink were only forming. The most treacherous booze, I presume, is hrenovuha (a completely thermonuclear drink of vodka with horseradish). It is great to drink,
    great in its effect, yet afterwards terrible reek and severe hangover. I am not good at advising how to combat hangover, as I am a bench warmer now - been sober since October 2012. However, judging by the previous experience, I can say, that the best thing to beat hangover
    is to drink away until you drop out again.

    Who Dies In Siberian Slush “Of Immortality”

    Official Website

    Witch Mountain (United States, doom metal)
    Uta Plotkin (vocals)

    1. Witch Mountain is going to EUROPE in April for ROADBURN and subsequent touring!! One of my long-time dreams is coming true.  And it will be with Cough and Wounded Kings, two excellent bands.  We recently independently released Cauldron of the Wild on vinyl and Rob is writing our fourth album right now.  Busy, busy.

    2. We have a song called "Shelter" on Cauldron of the Wild that starts off slow and bluesy, gets heavy with stoner rock weight and then takes off with a triumphant gallop into the sunset.  It is a good representation of all the styles we like best.

    3. I love Blood Ceremony's Living with the Ancients.  We got to play with them this year in their hometown, Toronto, and get to know them a little.  They are grade A people and musicians, every one; that was a great show!

    4. I've been wanting to read 100 Years of Solitude by Gabriel Garcia Marquez for a long time.  I got it as a present and now I want to go play metal in South America!   I know there are lots of fans down there.  Now how do we do it??

    5. I can think of 3 that stand out for last year.  Two were on tour with Witch Mountain but the worst was in Bali, visiting a friend.  Don't drink two bottles of wine and slam a magic mushroom shake!!  Pick one or the other!  If you insist on doing it anyway, take a friend so they can drag you out of the street and walk you home.

    Witch Mountain “Shelter”


    Interviews By Aleks

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    O2 Academy recently conducted an interview with Axel Sjöberg (drums) and Joakim Nilsson (vocals, guitar) of Swedish blues rockers GRAVEYARD. You can now watch the chat below.

    GRAVEYARD's third album, "Lights Out", sold around 2,100 copies in the United States in its first week of release. The CD landed at position No. 6 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.

    "Lights Out" was released on November 6, 2012 via Nuclear Blast Records. The "Goliath" single preceded the full-length CD on September 21 as a digital download and on seven-inch vinyl. The single includes a special non-album track, "Leaving You". The "Goliath" seven-inch vinyl was issued in four different colors, featuring four different cover artworks.

    GRAVEYARD bassist Rikard Edlund is sitting out the band's current tour due to "personal problems with addiction." The group is playing all shows with a stand-in bass player.

    GRAVEYARD will kick off a U.S. headlining tour on January 23 in Boston, Massachusetts. The trek will feature special appearances in Seattle, Washington and Houston, Texas from THE DEVIL'S BLOOD and ROYAL THUNDER.

    Source: Blabbermouth.

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    This year we continue good tradition of big New Year doom-quiz, there’re only 5 questions for a bunch of good and famous (or not so famous yet) doom bands. What kind of questions do we have today? Mmm… Let us see!

    1. As always we’re starting with general question: What is the latest news from the band and what is it current state and plans for 2013?
    2. Second one is about main hit of the band: Which song does represent the band best? Which one makes you really proud of it?
    3. Striking balance as always: Which doom / metal / rock releases were most significant for you in 2012?
    4. This question is something new for most of our heroes: What is the best present you got at this New Year / Christmas? I was glad that I’m not alone who get socks from grandmother each year. Long live grandma! Thank you!
    5. Well, this question came pretty easy because straight before the New Year came I was enduring worst hangover for 2012. So what was your worst hangover mates? After which drink / substances did you get it and what did you do to reach such amazing results and how you survive it? Preconditions for this question are disclosed in New Year Doom quiz part I.

    Carcharodon, Dirge, Echoes of Yul, Jack Frost, Lurk, Odradek Room, Midryasi, Sea Bastard and Talbot reveal their secrets of Doom and Hangover!

    Carcharodon (Italy, death’n’roll, stoner)
    Dr.Pixo the Maniac (bass, vocals)

    1. Hey there, girls and boys! So, the latest and cutest news from CARCHARODON are:
    - We're in the deep promotion of our mammoth-heavy new album called "ROACHSTOMPER", a blend of sludge, death metal, doom, stoner, southern metal, blues and country. You're askin' yourself "how can it be possible?"..well, just drink as much as we do and you'll get to see Waylon Jennings riding a HD, getting on stage with Eyehategod and partying with Entombed. Then he'd probably have a hold'em with Nashville Pussy.
    - The new album will see the light on the 5th of April under Altsphere Production, a french label.
    - We're tryin' to put on a tour to promote the cd and infect as many places and holes we can.
    - On our socials (reverbnation, facebook, myspace, youtube) you can follow the album making of, some songs preview and of course any news comin' from the band.

    2. Oh well, that's hard to tell. I guess everyone reflects himself in a song we wrote. Personally, the one that makes me shiver is the opening track of the album, "Stoneface Legacy", a southern-doom manifesto about us and the stonehard bond that keeps the 4 of us together.  It literally flashes me everytime I play it or listen to it.
    But, let me tell you one thing I'm observing in these days: so, as you can imagine we're getting reviews about some promo copies our label sent to mags, zines, forums, etc. and every "reviewer" quotes a different song as the best of the platform. It's wonderful to see how we can touch different feelings in different people.

    3. Well, even if I usually listen to some pretty old stuff, there's no doubt about the best albums in 2012: ZZ Top - La Futura, Witchcraft - Legend, High on Fire - De vermiis mysteriis. Then maybe Baroness, Bell Witch, Testament, Slash. Yeah, and obviously the Skynyrds and Leslie West..pure class as usual!

    4. I guess the best present I/we got this Xmas has been to sign for Altsphere Production..for me it's always kind of a dream. Havin' a band, kickin' asses, having a deal, recording cds. woh, it flashes me!

    5. Ha, it's hard to answer to this question. Every night is getting more tragic and somewhat superhero-like. Dont get me wrong, we drink, no substances. But we drink gallons of alcohol, it doesn't matter what. The detonator is the 4 of us together. It makes us feel on a fuckin' rocket ready to harass every person we meet.

    Carcharodon “Last CristmAss”


    Dirge (France, atmospheric sludge metal)
    Stéphane L. (guitars)

    1. We are working on our 6th album. There is a lot of material to shape so I don't think we'll enter the studio before Spring. Then recording, mixing, mastering and so on. So we'll have to spend a lot of time within our studio and for now I don't really know when this new album will see the light. Next winter would be cool. What is sure is that we won't do a lot of gigs this year, at least not until September/October.

    2. It is really random, it depends on which period of our career we think about. Talking for myself, I would have said some years ago “Glaring Lights” but today I'd say “Morphée Rouge”, perhaps... But it is a difficult question as all of our songs are supposed to mirror what the band truely is in its essence, no matter the period. In the same logic, we're proud of all our work until then. Personally, tracks like “Wings of Lead Over Dormant Seas” or “Elysian Magnetic Fields” are very close to what we had in mind, to where we wanted to go during their composition. That's a good reason to be proud of.

    3. Blut Aus Nord : 777 – Cosmosophy, Killing Joke : MMXII, School Of Seven Bells : Ghostory, Napalm Death : Utilitarian, And Also The Trees : Hunter Not the Hunted, Sisygambis : Translucid, Dead Can Dance : Anastasis and some more... Yes, not really doom, sorry :)

    4. Those who count are still alive, that's an interesting present I think.

    5. The other guys of the band could have talked about their hangover far better than me, but bad luck for you, I don't drink and I don't take drugs. I can only remember old memories of hangover during the 90's, which is not really interesting, believe me. To be honnest, I don't feel the need to get drunk or high to immerse myself in a “parallel state” ; music, visions or words are sensations deep enough to me.

    Dirge “Morphée Rouge”

    Official Website

    Echoes of Yul (Poland, atmospheric  doom / drone)
    Michal Sliwa (all instruments)

    1. We`ve just released new album entitled “Cold Ground” on Italian Avantgarde Music. I`m currently working on next album and should finish it this year while i`m doing some remix/engineer work for others. So plans for 2013: work, work, work. I love it.

    2. The last track on new album (surprisingly called “Last”) is one I’m really proud of. It took so much time to compose, record and mix the whole thing and I think it is quite good representative to direction I want to take on next EOY album – more organic and raw slo-mo riffing with repetitive guitars and more mellow atmosphere.

    3. There were few albums I was waiting for and they didn’t failed: Thomas Koner returned with amazing “Novaya Zemlya”: deep, slow, abstractive and suggestive in the same time - absolutely astounding record, I wish I could hear this through Sensurround system – these sounds are so cinematic. Om did fantastic “Advaitic Songs”. Darsombra, The Young Gods, Windy and Carl, Ametsub also done great albums.

    4. Definitely new record. The delay in release was huge so I’m glad that it is finally here.

    5. Headaches after nicotine/caffeine combos are enough for me. I prefer to stay sober (laugh).

    Echoes of Yul  “Last”

    Avantgarde Music

    Jack Frost (Austria, doom metal)
    Mournful Morales (guitars)

    1. Jack Frost is rehearsing again after an almost 2 years' break. We are working on new songs, of course without any guarantee that there will be a new record. We are looking forward to playing some decent shows in the year of our 20th anniversary which our agency is trying to get booked at the moment.

    2. If "represent" means that a song is incorporating the typical jack frost style I would choose "The Wannadie Song". A song we're really proud of is "You Are The Cancer" - it should have sold millions of copies.

    3. I have not purchased too many doom releases but the new from Saturnus is of course most significant. Two relevant rock releases were the Cult's "Choice of Weapon" and Danko Jones' "Rock And Roll Is Black And Blue".

    4. The autobiography of Arnold Schwarzenegger ("Total Recall").

    5. I guess we had our worst hangovers when we were in our whisky era. We won't talk about other substances here but I’ve heard that there are some that make whisky affect even more, haha. No idea how we survived those days....

    Jack Frost “You Are The Cancer”


    Lurk (Finland, sludge / death doom metal)
    Kalle (drums)

    1. We've been working on our new album for some while now and currently we're in the final stages of the mixing process. In that light, 2013 is looking good for us and bad for everybody else.

    2 From the first album it's probably 'Deliverance', but everything on the new one utterly demolishes those old songs! Our new album-closer is just madness pretending to be music and everything preceding that is on a completely new level, compare it to what you will. If the first LP was assault and battery committed in a drunken frenzy, this new one is totally power-mad interplanetary mass murder and/or suicide.

    3. I believe I enjoyed the new High on Fire album and the release of Silmienvaihtajat 1985-87 collection. Tame Impala's Lonerism is awesome too. I'm really bad at following release schedules, so I might make a better list for 2012 a couple of years later, when I finally catch up with everyone else.

    4. Woolly socks, couple of movies and some acid.

    5. It has probably been a case of drinking anything and everything for a number of days. It's hard to put a finger on a specific date, 'cos it's more than a few times it has happened. As for survival I suggest a healthy dose of false promises and lying to yourself. Never again! Until next time, that is...

    Lurk “Deliverance”


     Odradek Room (Ukraine, prog doom)
    Artem Krikhtenko (vocals, guitars)

    1. We are looking forward to our debut album's official release, which happens to come out a year later than the recording itself was finished. We've made a full remastering of the album for its edition at Hypnotic Dirge Records. We have also resumed our live performance activity and I'm working on the new material at the moment.

    2. It's hard to tell. The album shows the very gist and makes us proud, because it also reveals the diversity which we've been keen to gain.

    3. I think this year I've been listening to Devin Townsend and Joe Hisaishi, also ethnic music and trip-hop most.

    4. Presents themselves are not so important. What matters is that our folks are with us and in full health. That would be a rather big reason to be happy.

    5. This happened in about 2008, and it was vodka without any snack that became a reason of a really gloomy morning.

    Odradek Room “Faded Reality”


     Midryasi (Italy, stoner doom rock)
    Paolo Paganotto (guitars)

    1. The question comes at the perfect time, because right in the next days is going to be released our new album, called "Black, Blue & Violet". It comes on CD (released by My Graveyard Productions) and Vinyl (released by Rockwolf Records) and we all are thrilling for that.
    After the album release we'd like to promote it playing live as much as we can.

    2. Good question. In every gig we don't miss to play Hypnopriest, a song which was released on our very first album. It's one of the songs people like more and for us it has become a sort of battle horse, so i think it is one of the most representative of the sound of the band.
    Moreover the cover of the first album represents the Hypnopriest itself and recently we used it to issue a new t-shirt for celebrating our 10th anniversary.
    The song which makes me very proud of it is Corridors, the title track of our second album. After 4 years I still think that it is an amazing song.  I'm also very proud of Behind my Eyes, from our forthcoming album.

    3. I appreciated a lot the latest Solstafir album, absolutely brilliant. It is significant to me because also because I used to listen to it while moving with my car to the studio where our new album was mixed. I liked also a lot Tragic Idol by Paradise Lost and El Camino by The Black Keys.

    4. A professional digital camera case. Excellent.

    5. Very difficult question because there are plenty of situations to choose from. Maybe, the worst is the one that I got when I was 20 years old. I was at the seaside in a famous Italian resort during the summer holidays; one night my friends and I started to drink, speaking about music, etc.
    With us were some guys we had never met before, they brought a lot to drink. So, without any particular reason, I drank many beers and a lot of whisky; in the end I was so drunken that I needed two days to completely recover from the hangover!

    Midryasi “Corridors”


     Sea Bastard (United Kingdom, sludge doom)
    Steve Patton (bass)

    1. Currently we’re waiting on the finalities for the production of CDs and double vinyl of our album. The vinyl’s been pressed, just took a while to get the sleeve sorted, and it will soon be available via Tadpole, Headless Guru and Mosh Tunage records. We’re not totally sure who’s releasing the CD yet, so that’ll be out a bit later in the year.
    Immanent plans are mainly gigging for the next couple of months, trying to play some towns we haven’t before, and trying to get more gigs with bands we like. We’ll also start writing some new songs and possibly try to record a second album or EP by the end of the year.

    2. Personally, I’d have to say possibly Smashed by Sunlight or Aqua Vitae represent us best. They both kind of sum up what we’re doing and are both songs where the four of us work well together. Aqua was the first song we wrote, in the first rehearsal, and Smashed just has a feel to it that is us, especially the outro.
    I think we’re pretty proud of all our songs. We don’t tend to even pursue ideas we’re not totally into, and with songs as long as ours we don’t really need fillers. We’ve only gigged one song we took to completion that we’ve now dropped, and even that we wish we’d got a live recording of! It was called Dungeon Crawlin’, and was about 20 mins long. We only dropped it because we couldn’t play it well enough in rehearsals to do it live loads, but the two times we did do it were great.
    Overall we’re all really happy with the album, as all five songs are strong and we feel very proud of that. We just tried jamming a couple of years ago, and I don’t think any of us really planned this far ahead, so both Great Barrier Riff and the Sea Bastard album are more than we were necessarily expecting.

    3. I’m utterly the wrong person to ask about this, as in 2012 I was more going back to bands I knew of when I was young, and felt I should explore more now. Bands like Free, Deep Purple and Pink Floyd.
    There were lots of bands we all got into, and also albums we liked in 2012, but overall as a band we just went along with what we do.  Bands like Ishmael, Enos, War Wolf, Gorse, and various others all released great albums last year though.

    4. Not representative of the band at all, but personally I’m interested in archaeology, so my best presents were a Neolithic flint that my Dad got me from an auction, and my girlfriend got me a subscription to the Sussex Archaeological Society. Not very rock ‘n’ roll, but I liked it.

    5. My worst has probably been from white ciders, which have nothing but cheap chemicals in. No drug has ever left me feeling as terrible as when I have woken up having drunk far too much Frosty Jack, or some other white cider of that type. I’d rather repeat the worst acid trip I’ve ever been through than deal with one of those hangovers again. Oh Lord…

    Sea Bastard “Aqua Vitae”


     Talbot (Estonia, progressive doom)
    Jarmo Nuutre (drums, programming, vocals) and Magnus (bass, synth, vocals)

    1. Jarmo: Recording the new album, releasing it in the spring 2013 and then touring around the world with it.

    2. Magnus: For me it's  20k Years Underwater. One of the first songs we' re ever written and also the longest. Having it's haunting downtempo heavy groove, this song somehow always remains fresh sounding to me.
    Jarmo: Probably it's the Combat Zen Speech for me. It has the moods both from Tundra and EOS and somehow it just works very well.

    3. Magnus: Notable ones are Om - Advaitic Songs and Soundgarden - King animal
    Jarmo: Get Your Gun - EP

     4. Magnus: Nothing too big, chocolate candy bars and ginger bread… like it's always been :)
    Jarmo: Good ol' pair of socks

    5. Magnus: Worst one was mixing beer, wine and vodka without eating anything and having no water around. And in the morning you realize that together with a hellish hangover you have caught some cold. Painkillers and lemon juice are handy then.
    Jarmo: Haven't had a hangover in years and fortunately don't remember the ones from the earlier days too.

    Talbot “Combat Zen Speech”

    Official Website

    Interviews By Aleks

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    Cult Swedish stoner-rock outfit ASTROQUEEN has remastered a bunch of old and rare demos, along with the recordings that KING DIAMOND's Andy La Roque produced from the years 2000-2003, and has made them available in its brand new Bandcamp store

    After receiving hundreds of mails from fans all around the world searching for the infamous demos, the band decided it was time to make them official and give something
    back to their fans. You can stream them for free or download them for a small fee.

    ASTROQUEEN was put on hiatus in 2004 after the "Astroqueen vs Buffalo" split CD (Dias De Garage, Argentina) but the interest has remained strong throughout the years.

    The band's 2001 release, "Into Submisson" (Pavement Music), is considered a classic stoner-rock album.

    Source: Blabbermouth.

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    Some magic tunes have been emanating as of late from the southern hemisphere … During late 2012 one of the finest acts from Australia, Hotel Wrecking City Traders (or HWCT), were back with two impressive releases involving other creative bands of that and of this (northern) hemisphere, and therefore embracing the whole world. A bit like in the globetrotting life of this band …One of the albums is the Spider Goat Canyon vs. Hotel Wrecking City Traders - Japan Tour Split and the second one is a three-way split involving WaterWays, Sons of Alpha Centauri and Hotel Wrecking City Traders. The release of these two gems is via the Australian, Melbourne-based label Bro Fidelity Records which is run by HWCT brothers Ben and Toby Wrecker.  Ben and Toby, “One Drumkit” and “One Guitar”. Two minds linked by a “cosmic nod” and devoted to experimentation in noise and psychedelia while jamming over tension-filled, highly rocking backgrounds; a duo with a great taste and great sense of elegance both for music and for choosing partners. Just think about their previous collaboration with Gary Arce of mighty Yawning Man in the impressive back in 2011 … Well, tunes and partners in crime are highly valuable this time as well.

    Let’s start with the Spider Goat Canyon vs. Hotel Wrecking City Traders - Japan Tour Split, involving like-minded Melbourne-based Spider Goat Canyon (SGC), an independent instrumental trio with Steve Brick on guitar, Josh Beagley on bass and Deryck Hunt on drums.
    Spider Goat Canyon started making their eclectic, improvised-sounding noise since 2003 and released several albums including a split with Fire Witch, related with Bro Fidelity Records as well as with that other way cool Aussie label WeeEmptyRoom. The relationship of SGC with HWCT also includes the involvement of Deryck and Josh in the conjuct four-piece, two full drum kits/ bass/ guitar, improvised act Daggers Mid Flight.

    This SGC-HWT split CD is in honor of a tour the two bands undertook in Japan during November 2012 together with the Japanese instrumental psych prog rock band Teratova, related to Birushanah. The bands involved in the split are linked by long-lived friendship and musical collaboration.  So the conjunct November Japan tour was seen as well worth having “ a limited edition release (…) as a memento that embodies that spirit of brotherhood and friendship”. All this had been announced by Ben in an interview I had the pleasure to do with him (HERE). I like to recall that most pleasant interview also because there he explained the background of this release quite in detail: a release completely managed by the bands. Total 100% DIY setup starting with a mobile recording setup for capturing sounds during one day in HWCT’s jam room (in late May 2012), and ending with the experience of mixing and mastering by themselves with the aid of skilled friends. The limited edition CD was then officially released in conjuction with the Japanese tour and is available via Bro Fidelity Records.

    The CD comprises three tracks lead by Spider Goat Canyon and two tracks lead by Hotel Wrecking City Traders, all in all a most charming and intense jamming trip distracting you from the petty issues of everyday life for about 1 hour and 16 minutes.
    The Spider Goat Canyon  part is monumental and extremely varied in its development via the three tracks Brotherhood  (11:13), Batch 18 (4:33) and the epic suite I Draw The Line At The Clarinet (29:57). Such sequence of tracks builds up a complex, multi-layered sonic architecture which is successfully completed by the performance of Hotel Wrecking City Traders via their final suites simply called I (13:16) and II (17:02).

    Spider Goat Canyon like to drag the listener into a variety of moods and atmopheres by following a classical “full-empty” dialectic scheme best developed in their final long epic suite. Their first track, Brotherhood, is a long atmospheric introduction made of a combination of delicate, ethereal, almost exotic sounds and effects that progressively grow in intensity and help recalling wide open spaces where humans are like ants (e.g., the immensity of the desert or of the Asian steppe …). The “voice” of the guitar is made more by vibrated picks of the chords than actual riffs. Drumming enters rather late and imposes either ritualistic pace or bizarre patterns to the leading melody which grows in waves like in Ravel’s Bolero. The sum of all these sounds makes up a majestic ambient psychedelic melody. The psychedelic, mind-warping effect of the overall sound is further marked by the ossessive repetition of the melody like in a broken disk, at the end of the track. You don’t realize it immediately …Track Batch 18 is a sharp, brutal wake up from the previous numb psychedelic emptiness. Batch 18 is fully packed with noise, distortion, and blows, a charge of molasse-heavy, raw, sludgy-doom riffs, frenzied drumming, deafening cymbals  This is war, this is a charge of a tribal horde, Genghis Khan’s hordes if you like to go on with the image of the Asian steppe evoked before. In its relative brevity this track includes tempo changes and is closed by the echoes of sabbathian riffs dying out in the new wave of emptiness. From that very cosmic emptiness bass and guitar vibrations will rise and grow during the charming Hawkwind-like space psychedelic jamming that opens the final impressive track by Spider Goat Canyon.

    This suite is a sequence of steep mood changes, of ups and downs, of “full” and “empty” narrative performed by an extremely multilayered and multifaceted sound.  Here the band and the listener travel together across genres, tempos, atmospheres, crushing wall of sounds and balming silence, twisted, syncopated avantgarde dynamics, tight and even refreshing poppy rocking rhythms, ethereal shoegaze, sideral space doom, rough, heavy and distorted riffing, post-metal dissonance, hypnotic krautrock vibes, abrasive chaotic noise …
    At the end you really need a detoxification for returning back to normal perception or just to relax your mind after the vortex of  emotions, moods, noise, excess. Hotel Wrecking City Traders will help you by means of their contribution, tracks I and II, occupying the last 30 minutes of the album. If compared to the sonic seesaw before, Hotel Wrecking City Traders’ melodic lines and sound seem to be linear and almost minimalistic. However the soothing lightness of HWCT’s jamming does not mean barren simplicity. Instead it is perfect amalgamation of layered sounds, effects and tricks by the two brothers molded into an elegant polyhedric melody. And this is caught especially when returning to these two tracks in subsequent times. The first track is lead by a strong tension conveyed by the growing energy of the drumming coupled with the gentle to vigorous sound of the guitar, all building up a stream of highly atmospheric psychedelic desert rock vibes.  The leitmotiv is further developed in the second 17 minutes-long track where atmospheres are even more dilated and ethereal when the tribal drumming is not taking over. In this second track the leading melody has a more exotic, Asian feeling and a more contemplative character. The bursts of the drums plus cymbals are almost sudden and concentrated in the central and final part of the long track. You can feel the  increasing or variable intensity of the drumming as the driving force or the valve for fueling the intensity of the guitars. But the other way round may happen. The brothers are running after one another … The final part of this highly hypnotic suite is dominated by some awesome multilayered, interlaced guitar patterns with tones varying from acute to extremely raw and dull. Guitars and percussions are slowly ballooning  till they die out in the void.

    So in this part of the split my/your mind cools down and gets haunted by subtle oscillations in the sounds that might be like echoes of the extreme changes in tempo and genres heard before.  Sounds start as essential and then tend to grow and stack and merge into a “calm” boiling mass that will menace overflowing but will never do it. You just have to let yourself get soaked by this enchanting music and enjoy listening to these two brothers creating their continuously changing soundscapes with rumbling, gentle or weird, exotic sounds. If you are not in a hurry or a “purist” and you like psychedelia, doom, post-metal, post-rock, shoegaze, experimentation, laid-back desert vibes, the freshness of improvisation between like-minded musicians, these bands and this monumental album are definitely for you.
    Experience the tasty fruits of this impressive collaboration between Spider Goat Canyon and Hotel Wrecking City Traders in this new CD available via BroFidelity Records.

    Words: Marilena Moroni

    HWCT | Official Website
    HWCT | Facebook
    HWCT | Bandcamp

    SGC | Official Website
    SGC | Facebook
    SGC | Bandcamp

    Bro Fidelity Records

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    Blood of the Sun, originated from Fort Worth, TX, USA and formed in 2004. For their third LP "Death Ride" they teamed up with one of rock's most legendary singers, Derek St. Holmes from Ted Nugent's band from the 70's. Since "Death Ride" the band have firmly cemented their position as one of the world leaders in authentic-sounding 70's hard rock. Sure there is a lot of bands doing it but few have been as consistently great as Blood of the Sun. They are easily my favorite 70's sounding band so this interview with organist Dave was pure pleasure to put together.

    1. First up, thanks for the interview. Of course the band name comes from the Mountain song of the same name. Was there other Mountain song names you considered using as a band name?

    Thank you, we appreciate it! No, just that one. In our opinion, it's such a great song from a great band that it fit perfectly for us.

    2. Blood of the Sun are one of my favorite bands being such a authentic 70's sounding band (I love that stuff). Does it required much effort to write songs in the 70's vain or does it come natural for you guys?

    Again, thank you! Well, writing material isn't exactly "easy" but we write this way 'cause it's where we come from. We are all children of the '70's so we grew up listening to that style. (And we still do) In my opinion, a musician is a product of his/her influences.
    We all listened to Deep Purple, Grand Funk, Mountain, etc… as kids so it provided us a foundation for what we like and play. To us, bands had so much more heart, soul and integrity back then. It was the age of the supergroup, you know? When bands were comprised of real musicians. I feel as time has gone by, some people have forgotten the sound and the bands that made rock and roll so great.

    3. I have to ask how did you come to meet up with Derek St Holmes? I know when I first heard you were working with him, it seemed like a obscure choice because I hadn't heard anything about Derek for a long time.

    That is all credited to Henry. Henry saw Derek at a local guitar show. He struck up a conversation and noticed how laid back and easy going Derek  was. One thing led to another and since obviously he was such a big fan (like the treat of us), he asked him if he would be interested in working with us. Henry sent him a CD and apparently he dug it. The rest is history.

    4. On to the current album now. What was the recording process like for the album.? Was everything in the studio as seamless as it sounds on the CD?

    Tony Reed recorded the majority of the album at my studio. Actually, he recorded everything except the vocals and Rusty Burns' guitar. That was done by Sterling Winfield, who has recorded Pantera, Damage Plan, Hell Yeah, etc.. Also, Sterling mixed the album. So obviously, having to record at various studios with different people, wasn't a simple task but actually, it's become the process that we are used to.

    5. The production on the album is like the perfect meeting point between authentic 70's sounds and modern crunch. Was you looking for a certain feel with this album?

    Yes. We are a blues based rock and roll band and though we are not wanting to  convey a sound that is based purely on nostalgia, we are very influenced by bands from the '70's so we wanted to capture that vibe.

    6. Why do you think 70's sounding bands are so popular right now. Every second band you hear now has at least one foot in the 70's. Is there a reason people are drawing so much inspiration from the albums released in the 70's?

    To reiterate what I said earlier, bands from the '70's were comprised of real musicians and they played blues based rock and roll with a lot of passion and integrity. People can hear that and they respect it. That's why it's still popular today and probably always will be. It has stood the test of time and proven itself. It's something that you can't fake.

    7. One thing that is lacking from a lot of modern bands is of course, catchy songs. A lot of bands are impressive in their heaviness but they have songs that are not too memorable. Every song on the new album is infectious, melodic but they also have enough killer riffing to still kick your butt. Is there any sacrifices in the bands writing that have to be made to strike this kind of balance?

    Not to beat a dead horse but I think it just comes down to the fact that we are so heavily enamored with the sound and the bands from that era, it shows in our music. Again, you have to be real so that people can actually hear that you being genuine with what you are doing. If you are the real deal, they can tell.

    8. How do you personally rate the new album compared to say the excellent "Death Ride" album?

    For me personally, I feel that all our albums are comparable but Burning On The Wings is the next logical step for us. It has more of the production and overall sound that we were going for where as Death Ride is heavier and has a different production. Both have their differences but they still do a good job of representing what we do.

    9. One of the big features of the band is the classic organ sound. Is that really such a high maintenance instrument as people make it out to be and what is like working with a organist compared with a guitar player?

    Well since I am the organist in question I don't know if I can give the insight or objectivity that you're looking for but I will try. Henry and I started this band with the idea of the organ being an integral part of the band's sound. Not only does it add a feeling of authenticity, it adds another dimension to the sound. As far as it being high maintenance, I used a real B3 on the record but we don't tour with one. That is where modern technology really shines. I use a Hammond SK-2 live and while is has a very comparable sound, you don't need 4 roadies to move it!

    10. I haven't heard much about the band and touring. Can you give the readers a brief history on where you have been playing all these years and tell us about some of the highlights.

    We have done 3 European tours and we have played the states fairly extensively. Of course that includes local shows which we have done for the last 10 years. We are planning another Euro tour this Summer.

    11. Have you received any praise from well-known musicians from the 70's?

    Just John O'Daniel and Rusty Burns, LOL!  We don't really have not affiliation with a lot of those kinda dudes. Although, on Death Ride we covered "Keep Goin" by Lucifer's Friend and the guitarist Peter wrote and told us how great we are. What a kick ass compliment!

    12. You have been to Europe a few times. Do you think Europe has more of a fan base for retro rock or is it the USA?

    Unfortunately, that seems to be the case. Europeans are more accepting of our style for some reason. They are also more into collecting vinyl then in the states. Hopefully, things will get better over here.

    13. Thanks for the interview, any last words?

    Thanks for the interview as well as your kind words! We really appreciate the exposure and hope everyone digs the new album. Soon we will be touring and hope everyone will come rock out with us and have a great time!

    Dave Gryder



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    On tour from April with WITCH MOUNTAIN, we are thrilled to announce that COUGH is added to the DESERFEST 2013 line-up !!

    Formed in Richmond, Virginia, in 2005, COUGH is a sludge/doom metal band delivering thoroughly massive, epic and impenetrable walls of sound and volume, at points suffocating and claustrophobic, at others warped and hallucinogenic.

    The band self-released an EP, “The Kingdom”, in 2007, and followed it quickly with their first proper full-length “Sigillum Luciferi” in 2008, recorded with acclaimed producer Sanford Parker (Minsk, Rwake, Pelican, Nachtmystium). Sporadic gigging followed the release before the band holed up in a Richmond warehouse to write the follow up, but the band slowly laboured forward with the writing. By winter 2009/2010, the band had signed to Relapse Records and returned to Chicago, Illinois, enlisting Parker once again to record the long awaited “Ritual Abuse”, released in October 2010.

    Upon its release the band embarked on two epic North American and European tours lasting almost four months ! In 2012, COUGH performed another US headline run, and their first ever Australian and New Zealand tours. They will be back in Europe in 2013 for a seven-week tour starting from April, stopping at the DESERTFEST Berlin to deliver their impressive monolith of sound !

    On tour from April with COUGH, we are thrilled to announce that WITCH MOUNTAIN is added to the DESERFEST 2013 line-up !! WITCH MOUNTAIN is classic doom metal band delivering a magic potion of massive and rumbling riffs that bore you skull, and bluesy, ballsy, and sensual vocals that attract everything with their seductive wildness.

    From Portland, Oregon, WITCH MOUNTAIN was formed in 1997. The band self-released a demo “Homegrown Doom” in 1999, and their first full-length album “Come the Mountain” in 2001. But after a 2002 tour with Eternal Elysium, the band slowed activity for several years…

    A July 2009 show opening for Pentagram, with guest singer Uta Plotkin, marked a revival of the band. Uta brought the necessary ingredient that Witch Mountain founders Rob Wrong and Nate Carson had been seeking since they initially formed the group.

    She was asked to join the band as main vocalist, and Witch Mountain recorded their second full-length album, “South of Salem” six months later. Produced by master “engine-ear” Billy Anderson (Sleep, Neurosis, Melvins), it was unleashed in April 2011 through their own label Mountastic Recrods. In November 2011, WITCH MOUNTAIN was signed with Profound Lore Records and released their third full-length album, “Cauldron of the Wild”, in June 2012.

    Just after, an invitation to play the main stage at Scion Rock Fest 2012 along with Sleep, Saint Vitus, and Down gave the band an opportunity to return to US stages, successfully headlining in the US and Canada for most of June. This fall, Scion sponsored the band’s most extensive tour to date — a 5-week headlining trek around the US and Canada with witchy friends Castle in support.

    They will be in Europe from April, with COUGH, for their first European shows ever!! The DesertFest couldn’t miss this occasion, and you either!!

     Source: The Obelisk

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    Comprising two songs ‘Maleficia Lamiah‘ and ‘Grave Cardinal‘, their fifth album in as many years pushes the very boundaries of experimental, psychedelic, down-tuned, mind-expanding music. The album was recorded in June 2012 at Foel Studio and then finished at their favourite recording haunt Earthworks in Sept 2012. Maleficia Lamiah finds the band in a paisley ebullient mood given their success at breaching the suffocating expectations associated with belonging to a single genre.

    No longer being sharply defined as a doom band, Maleficia Lamiah reflects a certain maturity which comes from POMBAGIRA‘s intent on concentrating solely on composition rather than playing live shows. While their retreat into silence, although missed by many, may have initiated whispers of disbandment, POMBAGIRA have steadied their intent to unleash something so monstrous and so exciting, that many will be surprised if not shocked when they hear this new tome.

    Although the departure from previous releases will be evident, there are of course the anchor points to ease the listener into their new epic corpse-scape style. Amps rage and soar with a focussed endeavour to draw the crossroads onto your flesh while the drums breathe a new life, reviving the Haitian cascading rhythms which nail the point for your ingress into their world.

    POMBAGIRA have drawn on their deep respect for the past. By acknowledging their influence to bands like Amon Duul II, Pink Floyd and Caravan this album stands as a testament to their ability to embody and innovate these past masters. For embedded within both ‘Maleficia Lamiah‘ and ‘Grave Cardinal‘ there rest tales of journeys into the world of the Pombagira as witch, while ‘Grave Cardinal‘ asserts the majesty of their critical mass as a moment of transgression where the dead meet the living. But this is no Hammer House of Horror ‘cheap trick’ reference, rather a reflection on POMBAGIRA’s involvement with the occult, academic writing on history and otherness, while also providing insight into the hypnogogic world where dreams and reality merge.

    Resplendent in its intent, vibrant in its intensity, beautiful in its introspection, POMBAGIRA may this time have really found the portal between the visible and invisible worlds. A magnificent psychedelic down tuned progressive behemoth Maleficia Lamiah will after due process expand your mind. POMBAGIRA’s fifth album deserves to be acknowledged as one of the greatest progressive feats in the last decade or more. As a result the band don’t promise an easy ride through their paisley tinged sound scape, but like anticipating a gathering storm, the gradual shifts and turns build to a crescendo before Maleficia Lamiah finally makes landfall on your body.

    It’s a journey fraught with trepidation but it does ensure that once you step aboard you will never be able to depart from their vision again.

    Released on 18 March on Black Axis Records and Vic Singh, who infamously photographed Pink Floyd In 1966 for the Piper At The Gates Of Dawn album, was enlisted for this album to take a new set of press photos, and the results are mesmeric and splendid. This is what Vic has to say about Piper at the Gates of Dawn and Maleficia Lamiah.

    “I was approached by The Pink Floyd a new and comparatively unknown band in 1967 to take the album cover photo for ‘The Piper at the Gates of Dawn’. The concept for the cover was left up to me, listening to The Piper for the first time surprised me, it was completely original, a complete break from the popular 60?s sounds, which we were all brain-washed into. The concept for the Piper cover photo remained mysterious for a while, finally I decided to use a prism lens which had been lying around in the studio and had never been used by me before. Piper at the Gates of Dawn and Maleficia Lamiah have similarities. Listening to Maleficia Lamiah for the first time I got a similar vibe as with The Piper of originality and the resolve to do something different, creating progression rather than repetition and stagnation.”

    The LP version is limited to 500 copies will be available for pre-order at from 5 Feb. This version will contain three extra bonus tracks.

    Black Axis Records

    Source: Rarely Unable
    Photo Credit: Vic Singh

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    When I look back at this French bands past releases, I think they are one band with enormous potential but with very little personality of their own. This new album comes some 2 years since their last 'World of Doom' was released and while they still don't have much personality to set them apart from anyone else, the songs themselves are much better this time around. Where as the last album had some memorable riffs but was a somewhat forgettable by-the-numbers kind of doom, this album is catchy, the vocals have improved and there is not a dull moment to be had anywhere on the disc. Now they are still following a much used doom metal formula on 'Pulvis Et Umbra' but this album is full of infectious riffing and tempos that ensure you can't help but get the head nodding to this one.

    The band is very much set in the ways of Saint Vitus, Count Raven and to a lesser extent Pagan Altar but there is something warm and friendly about this album that makes this a classic old-school release. The band still have the tendency to plod along but they more than make up for any meandering by injecting a different riff or tempo change just when it's needed and it all works. 'Rise Again' isn't exactly the most exciting opening number and certainly doesn't give out much hope for the rest of the album but things pick up steam with the second cut 'Three Winters of Wars' and the album doesn't let the listener down from that point forward. There is fine guitar work although basic and there are some tasty bass lines that keep things interesting. As just a three-piece, there are passages that seem a bit empty. I love three-piece bands but sometimes bands with these line-ups lack a bit of crunch at vital moments during songs and Surtr do suffer from that at times.

    However, 'Pulvis Et Umbra' shows a band progressing in all the right ways and the lack of a unique identity isn't really an issue if the songs are good and this album is indeed packed solid of epic traditional doom metal. The band seems to be able to do a lot with very little. The vocals are nothing special but it is kept enjoyable by a good blend of clean vocals and growls but none of it is over-done in any one area. The musicianship is workman-like and it gets the job done but this is an album that is all about the riffs and this album has some doozies that doom purists should find better than average. Most important of all.....this album sounds like the bands first real complete piece of work. Past efforts have had a demo vibe but that is not the case here. The band have arrived and this deserves to be heard and appreciated. Good album.....8/10.

    Official Website

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  • 01/24/13--08:56: Mage - "Black Sands" ...
  • Simply put Mage is one of the more exciting UK stoner-doom acts going around but it is because of what they DON'T do that makes all the difference. The band writes short to the point songs - everything on this album is under 5 minutes. The band doesn't play the obvious, songs like the second track 'Degenerate' has a trash-metal flavor mixed with the usual stoner-metal tendencies so that makes this such as easily digestible release. Mage play classic UK stoner-doom in the vain of Cathedral and Acrimony and therefore sound 100 percent British all the way through except for the odd up-tempo passages when they sound like a hyper Black Pyramid to me. The short songs do one thing and that is, it keeps this album flowing by fast, almost too fast. This 39 minute album flies by with 10 very concise tunes that simply stomp on the listeners senses and then leave before you know what hit you.

    Every track is a highlight whether it be the Down-ish sounding opening track 'Cosmic Cruiser X' or the stoner thrash of 'Rust' or 'Degenerate.' The thrash element (which is pure 80's by the way) makes this a unique brand of stoner-metal that is one part nostalgia, one part modern and original. The band often sound like what would have happen if Metallica turned doom metal in the mid 80's. Or to put it another way imagine a more metallic and doomy Orange Goblin and you will be getting closer to the sound of Mage.

    The band seemed to have found their niche and have avoided a lot of the usual stoner/doom clichés in the process. Tracks like 'Surfing Temporal Tides' is a classic example of how this band work their magic. There is a whirlwind of fuzzy, infectious riffing along with more hooks that most bands manage to drag up throughout their entire career and this is just one 4 minute blast of infectious grooves. 'Star Born' and 'Drowning Doom' showcase the bands songwriting niche with the perfect balanced of catchy hooks and sheer shit-your-pants doom could say this album has it all, well almost. If there is one thing this album lacks it is the epic track, the epic track where the band can stretch and develop a mood within a song. Some of these songs seem underdone, like they are too short for their own good. Take the under 3 minutes of 'Star Born' and 'Hulk Out' for examples, killer tracks that always fizzle out just as they are building up steam.

    So the album is not perfect but apart from some overly short songs, I can't find any real faults anywhere. The production is excellent and while the artwork looks somewhat primitive, I can tell you, the music is not. Mage are in a unique place musically. They have one foot in the nostalgic side of the 80's and 90's as a lot of this sounds like a long-lost Mans Ruin Records release (remember bands like Altamont?) but there is also a modern edge to the band that makes this sound fresh and certainly not recycled. The album has too many songs that seem half done but that is a small price to pay when you have so many yummy stoner-metal riffs and grooves going on. Have to highly recommend this one....8.5/10.

    Words: Jack Sabbath (Review dedicated to Ed - we all miss you, hope a miracle happens soon and someone comes to the rescue)


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    SPIRITUAL BEGGARS — the Swedish band featuring ARCH ENEMY guitarist Michael Amott and bassist Sharlee D'Angelo, along with vocalist Apollo Papathanasio (ex-FIREWIND) — is putting the finishing touches on its eighth studio album, "Earth Blues", for a spring release via InsideOut Music.

    The band will celebrate its 20th anniversary with the CD and by playing shows, including a European tour in April.

    Commented Amott: "We started the recording process of 'Earth Blues' with an eight-day-long session at Fat Guitar Studios (Sweden) with knob-twiddler Roberth Ekholm, a truly great dude who really knows how to capture a band jamming live, sadly a rare quality in recording engineers nowadays! We continued with some overdubs at various studios in Sweden, and it's all come together super easy this time. We're finishing up the mixes now with Staffan Karlsson (SPIRITUAL BEGGARS, SHINING, etc.) at his studio in Halmstad, Sweden. Sonically, I think this might be our finest hour yet. It's a raw, heavy and honest record."

    In order to promote this upcoming release as well as the band's anniversary, SPIRITUAL BEGGARS have confirmed a European tour for April with support by German rockers ZODIAC, as well as some European summer festivals.

    European tour dates:

    April 15 - Hamburg, Germany - Logo
    April 16 - Köln, Germany - Underground
    April 17 - Ludwigburg, Germany - Rockfabrik
    April 18 - München, Germany - Backstage
    April 19 - Pratteln, Switzerland - Galery
    April 20 - Nürnberg, Germany - Rockfabrik
    April 21 - Tilburg, The Netherlands - 013 / Roadburn Festival
    April 22 - Paris, France - La Scene Bastille
    April 25 - Madrid, Spain - Caracol
    April 26 - Barcelona, Spain - Apollo 2
    April 27 - Erandio / Bilbao, Spain - Sonora

    SPIRITUAL BEGGARS in 2011 released a live CD entitled "Return To Live: Loud Park 2010" in Japan via Trooper Entertainment. The disc features eight songs, capturing the bands high-energy performance at Loud Park 10 at Saitama Super Arena, Japan on October 17, 2010. The live recording was mixed in Sweden by Staffan Karlsson and Rickard Bengtsson at Studio Landgren 5.3 and The Sweet Spot Studio in December 2010. The artwork and design was handled by Hippograffix.

    The new lineup of SPIRITUAL BEGGARS made its live debut on October 1, 2010 at Kyttaro club in Athens, Greece.

    SPIRITUAL BEGGARS's seventh studio album, "Return To Zero", was released in Japan on August 25, 2010 via Trooper Entertainment Inc. — the label founded by legendary Japanese heavy metal music industry guru Tetsu Miyamoto. The Japanese special edition comes in a glossy paper box with a poster and a sticker of the CD front cover. The Japanese edition also features a bonus track, a thunderous cover of URIAH HEEP's "Time To Live" off the legendary U.K. band's 1971 "Salisbury" record.

    "Return To Zero" was released in North America on October 12, 2010 via InsideOut Music. The follow-up to 2005's "Demons" was recorded at Sweetspot Studio with producer Rickard Bengtsson.


    Michael Amott (ARCH ENEMY, CARCASS) - Guitar
    Ludwig Witt (FIREBIRD) - Drums
    Per Wiberg (OPETH) - Keyboards
    Sharlee D'Angelo (ARCH ENEMY, MERCYFUL FATE) - Bass
    Apollo Papathanasio (FIREWIND) – Vocals

    Source: Blabbermouth.

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    Frankie DiVita, radio personality at Southern California's 96.7 KCAL Rocks, conducted an interview with BLACK SABBATH bassist Geezer Butler at this year's NAMM (National Association Of Music Merchants) show at the Anaheim Convention Center in Anaheim, California. You can now watch the chat below. A few excerpts from the chat follow.

    On BLACK SABBATH guitarist Tony Iommi's cancer treatment:

    Butler: "Tony's responding really well. He's been having his treatment now for 14 months, and he's really responding well to it. So he'll be alright. You can never stop Tony."

    On the incident at SABBATH singer Ozzy Osbourne's home in Beverly Hills earlier this month which resulted in Ozzy burning his hand:

    Butler: "He's doing alright. He burnt his hand when he was putting the fire out. He's got it in a plaster cast."

    On BLACK SABBATH's new album title, "13":

    Butler: "Well, it was sort of a temporary name, that we had something to refer to the album as, and I think it kind of stuck. But I don't know if that's gonna be the final title or not. [It was named partly because it's coming out in the year 2013] and originally, we were gonna put 13 tracks on the album. We ended up doing 16 tracks, so I'm not sure what's gonna on the album and what isn't."

    On the recording process for "13":

    Butler: "This is the first time we've done an album together sober; none of us have been drinking or doing drugs or anything, so it's been more professional in that way. And we've stuck to a schedule every day. We'd go in at one o'clock and finish at six, just to keep everything fresh. Five hours a day — that's it."

    On the inspiration for the new BLACK SABBATH album:

    Butler: "It's sort of got the feel of the first three albums — back to the basic rawness. And the lyrics are very… They're just about life…. Life and death and doom and everything else. You get Prozac with every album."

    On BLACK SABBATH's touring plans:

    Butler: "We start in New Zealand and Australia in April, and then we do Japan. Then we do album promotion in June and then USA in July and August. Then South America and then Europe … [The USA trek] will be strictly [a] BLACK SABBATH [tour and not an Ozzfest run]."

    On having RAGE AGAINST THE MACHINE's Brad Wilk play on the new BLACK SABBATH album:

    Butler: "That was [producer] Rick Rubin's idea, 'cause he wanted to have… He didn't want a typical heavy metal drummer on the album, 'cause it's not really a heavy metal album; it's more of a rock… heavy rock. And Rick Rubin suggested having Brad, 'cause he's more in the vein of [original BLACK SABBATH drummer] Bill Ward. So we jammed with him and he sounded great with the stuff, so we went with that … It's sort of back to the way we used to be in the '70s; that's his feel — sort of a jazzy, bluesy feel to him, and that's the way the music is now. It was great working with him."

    On who the touring drummer will be:

    Butler: "We haven't decided yet."

    BLACK SABBATH first LP with Ozzy Osbourne since 1978 will be released in June via Vertigo/Universal Republic in the U.S. and Vertigo in all other territories.

    Ward in May 2012 announced again that he was declining to join his former bandmates for its scheduled 2012 dates, as well as the recording of a new album, due to a contractual dispute.

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    “Hibagọn is your daily cup of mud.”
    This is the motto of a young heavy band named after one of the traditional Japanese “monsters” but coming form Northern Italy. The duo, Jᾇbo on “kaboom voodoo sticks” and Doᾧi  on “shaga massive strings”, started out in 2011 and devoted many late-night improvised jam sessions to the generation of high-impact raw, sludgy sounds simply with drums and distorted guitars. Their efforts were much appreciated by intense live activity and by the making of their debut 2011 EP carrying the flamboyant and intriguing title of “Hibagọn VS Monsters Spewed from Time’s Stomach to Clutch the Universe in a Mortal Slime”. But what’s a Hibagọn?

    Wiki says it is a Japanese equivalent of Bigfoot or Yeti. So, a big mysterious, wild, furry beast, eh. But the band is further enriching the definition and applying it to their music: “The Hibagọn is a two-souls creature of the swamp forests whose aim is to hunt and devour every kind of living being. This primitive instinct gives him the ability to absorb their senses and use them to create any kind of unheard deafening noise. Nothing can be done to stop his thirst for loud vibrations and deconstruction.” Bigfoot, mud, swamp, deconstruction, distortion, heaviness … Yep, Hibagọn play a unique, high-vitamin and insane blend of stoner rock and swampy sludge metal played with a free-jazzy attitude and often escaping into post-metal dissonance, psychedelia, funky rhythms, prog/avantgarde digressions … anything!

    Their debut 7 tracks EP nicely portraits the high technical skills of the duo and the crushing and highly involving nature of Hibagọn’s music. You just have not to be mislead by the short opening track, which is maybe the only feeble element of this release. Go over the intro and directly plunge into the Hibagọn experience, enjoy the the heaviness of the sound, the big mass of sludgy groove, the unpredictable patterns of the outstanding riffage and drumming. A continuous surprise that will never make you tired, even with repeated listening, because of the infectious and groove-laden leading melodies. EP “Hibagọn VS Monsters Spewed from Time’s Stomach to Clutch the Universe in a Mortal Slime” is available for free download from Bandcamp.
    Recently the Hibagọn guys informed that they are completing a new EP due out in early 2013. So let’s see where Hibagọn’s new adventures will bring us …

    Words: Marilena Moroni


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    EPITAPH, one of those bands active in the "old days" of the Italian doom scene, is back to life.
    EPITAPH comes from the charming, historical town of Verona (you know, Shakespeare, Romeo and Juliet ...). They belonged to the powerful wave of dark-doom rock/heavy metal metal that swept across Italy during the 80's and the 90s and is still palpitating. Here are some names: Death SS,  Black Hole, Sacrilege, Zess, Malombra, Cultus Sanguine, Abysmal Grief, …
    Epitaph's members were militating right in those two awesome, seminal cult doom/heavy metal bands active in the deepest underground during the 80s, BLACK HOLE and SACRILEGE.
    Epitaph released three demos drenched in awesome occult doom vibes in the early 90s and then split up.
    Well, now Epitaph have completed their new line-up with a new young guitar player and they are ready for a glorious return back from their grave, much welcome by the whole Italian community of doomsters and beyond.

    Here is the new line-up (plus affiliation):
    Mauro Tollini - Drums (Epitaph, ex-Black Hole, ex-Sacrilege)
    Nicola Murari - Bass (Epitaph, ex-Black Hole , ex-Sacrilege)
    Emiliano Cioffi - Vox (Epitaph, ex-All Souls' Day)
    Lorenzo Loatelli - Guitars (Epitaph - new entry!)

    The band is already working for the recover and reissue of the old, glorious tracks as well as for the production of new tracks. Great news for those addicted to the morbid vibes of genuine raw, occult retro doom ...
    More news can be gained via the Myspace page of the band or probably by checking one of the several pages devoted to doom in Facebook.
    While waiting for new stuff by Epitaph, have a mouthful of what they did in the past in the video below ...

    Words: Marilena Moroni


    Video: Epitaph - Black Shadows (Demo 1990)

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  • 01/28/13--14:45: HEADS-UP: Mara – Demo ...
  • Another band from Sweden? Yes. And when some heavy music comes from that part of Europe we all have great expectations. Once again your expectations will be rewarded. This time no warm retro rock vibes but some powerful, dirty groove-laden sludgy doom metal/rock performed by band Mara. Do not mistake doom band Mara with that other (cool) Swedish one-man black metal band Mara. Our Mara is a young four-piece band involving Thunder on vocals and lead guitar, Abbe on bass and backing vocals, Denka on lead guitar and Ülf on drums.
    The band has a badass self-titled debut demo/EP out on Bandcamp for free download.  Mara’s EP includes three fat tracks nicely portraying the band’s skills in building up infectious powerful sounds lead by simple melodies but enriched with measured technical skills, tempo changes and contamination.

    The opening track Greed is starting immediately with rain and a clean and sinister-sounding, melancholic and delicate melody reminding of Opeth’s Damnation. Soon this melody is reprised and surprisingly transformed by means of some mammoth heavy riffing, booming drumming and Thunder’s aggressive rauchous, shouted singing. Riffage ranges between raw Sabbathian to highly dynamic stoner and even post-metal/proggy, sort of halfway between Red Rang and Mastodon. The second track Possessed is lead by a slower pace and a seducing swampy southern flavour, the best setting for the alcoholic, raw sludgy chanting. Only towards the end riffs nicely speed up in badass accelerations and somehow announce the tight dynamics in the following track, On the Edge of Extinction. This killer, flamboyant mid-paced ballad is lead by quintessential raw heaviness but embellished by some great retro proggy / heavy metal riffs which will leave you wanting for more when the music will suddenly stop. Also vocals here are so strained and varied that singer Thunder will surprise you even with some falsetto screaming à-la-Merciful Fate. Nasty!
    The Mara guys say they are working on a full length album out soon. I bet it will be a blast!

    Words: Marilena Moroni


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    The first time I had the chance of listening to Tome was right in their natural environment, i.e. Dublin, at the über-cool Dublin Doom Days Chapter IV festival, at the end of Semptember 2012. Tome was one of the emerging bands involved in the festival and, notably, the band opening the festival. In spite of such dangerously “early” schedule, there were quite some people (me included) paying love and kudos to these three young doomsters who did a most enjoyable performance, in perfect line with the top quality standard of this great doom festival as a whole.
    Tome are a new sludge-doom trio from Ireland (actually I am not sure whether specifically from Eire or Northern Ireland, I saw both indications in the web). Anyway the band is involving D McIlhatton on bass and vox, M Salters on guitars and vox and C McAuley on drums. Double vocalists, and powerful ones.  Actually that festival came not long after the release of Tome’s debut demo, Demo MMXII, which was printed as cool tape in two versions, a first in creepy greenish tinge and a second one in blue.

    Here we have “In Fire and Ash” and “Void Cantation”, two fat tracks of monolithic, sinister, raw, distorted, doped, sick sludge-doom metal lead by frankly sabbathian riffs but strongly smelling of moss over tombstones and bong water. The first modern band almost automatically evoked by a first listen of Tome’s tunes is Electric Wizard, although also Saint Vitus came to my mind as well especially while enjoying the monster groovy riffs in the second track, Void Cantation. But these guys come from a land possessing their own past and present-day monsters of slow, crushing heaviness, like The Naut, War Iron and Slomatics. The double vocals are emitting ferocious, death metal-sounding, reverbered roars that get swallowed by the overwhelming wall of sound from the deeply downtuned guitars/bass and the rumbling drumming. The leading melodies are duly sinister and often possess that type of occult/ritual development recalling Electic Wizard as well as War Iron’s or Horse Latitude’s hypnotic toxic lullabies. However occasionally Tome’s guys like to speed up tempos a wee bit, maybe remembering their past militancy in black metal-punk bands. 
    The production is raw and perfect for the magma-type sensations conveyed by this kind of music, and I liked particularly that way of making vocals utterly suffocating when devoured by the feedback. This coupling of ferocious roaring vocals and groove-laden sludge-doom sounds reminds me also of bands like Fister, Demonic Death Judge, as well as emerging acts like Corax, Black Temple Below, Fuoco Fatuo etc.. So do we have another band playing doped sludgy doom metal? Yep, slabs … While waiting for more from Tome, get hold of them playing live if you are at the right latitudes and buy their cool blue tape either at the gigs or via Into The Void Records.

    Words: Marilena Moroni

    Tome | Into The Void Records

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    Las Vegas-based doomsters DEMON LUNG have completed recording their debut album at Sharkbite Studios in Oakland, California. The CD is currently being mixed by Billy Anderson at his studio in Portland, Oregon for a late spring release via Candlelight Records.

    Las Vegas Weekly recently included DEMON LUNG on their Top 10 Local Bands To Watch In 2013. Drummer Jeremy Brenton confirmed to the newspaper that the album will be a concept about "the long-begotten son of Satan, who's been sent to earth to assemble the three parts of the devil's bible so that we can speak the name of god in reverse and undo creation." He added: "When you say it out loud, it's pretty funny, but it's some pretty epic shit."

    DEMON LUNG features guitarist Phil Burns, bassist Patrick Warren and vocalist Shanda Fredrick with Brenton. The band has been called "earthy yet horror-themed doom metal a la CANDLEMASS," by Metal Hammer. Ave Noctum noted, "DEMON LUNG has a deft touch and solid sound. Their music is clearly from the soul."

    DEMON LUNG has performed alongside PENTAGRAM, HIGH ON FIRE, JUCIFER, WITCH MOUNTAIN and CASTLE, among others.

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    - For Immediate Release-

    In~Graved, the new band led by former Pentagram and Place of Skulls guitarist Victor Griffin, will release their self-titled debut album in Europe and the U.K. on Friday, March 22 via Finnish label Svart Records and in the U.S. on Tuesday, March 26 via Veritas Records (See album cover attached).

    The debut self-tilted album was produced by Travis Wyrick (Place of Skulls) and founding guitarist/vocalist Victor Griffin (Death Row, Pentagram, Place of Skulls). The album was recorded at Lakeside Studios in Knoxville,Tennessee and engineered by Travis Wyrick & Mike Dearing (Place of Skulls) with cover art by Richard Schouten (Place of Skulls, Massacre).

    As previously reported, original drummer of doom-metal legends Trouble, Jeff "Oly" Olson, will play the Hammond organ on the forthcoming debut album and will also feature drummer Pete Campbell (60 Watt Shaman, Place of Skulls), bassists Guy Pinhas (The Obsessed, Acid King, Goatsnake), Ron Holzner (Trouble, Earthen Grave, Debris Inc), Greg Turley (Pentagram), Marty Swaney (Death Row, Pentagram), and Dan Lively (Sweet Cicada), as well as keyboardist Mike Puleo (Orodruin).

    In-Graved will perform at the Roadburn festival on Saturday, April 20, 2013 in Tilburg, Holland. More tour dates will be announced soon.

    Touring line up is as follows:

    Victor Griffin - Guitar/Vocals (Death Row, Pentagram, Place of Skulls)

    Pete Campbell - Drums (60 Watt Shaman, Place of Skulls)

    Guy Pinhas - Bass (The Obsessed, Acid King, Goatsnake)

    Jeff "Oly" Olson (Trouble, Retro Grave).

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