Are you the publisher? Claim or contact us about this channel

Embed this content in your HTML


Report adult content:

click to rate:

Account: (login)

More Channels


Channel Catalog

Channel Description:


older | 1 | .... | 15 | 16 | (Page 17) | 18 | 19 | .... | 48 | newer

    0 0

    COUGH, the mighty US sludge-doom band from Richmond (Virginia), and in the roster of Relapse Recs., is going to tour around Europe this next April and to appear in some festivals like Roadburn and Heavy Days in Downtown. Between the end of their "official" tour and the weekend of Heavy Days in Downtown festival in Denmark the COUGH bunch will intersect their path with the Italian sludge metal band GRIME (on Mordgrimm, Forcefield Recs.) on tour and will play some extra tours dates together with these sick Eyetalian metallers! GRIME will tour alone in their way to pick COUGH up and in their way back to Italy after the tour.

    These bands do not need much introduction to you, folks, but let’s just refresh memory about the fact that COUGH are a bunch of super cool and friendly guys and that their second full-length album Ritual Abuse is one of the best sludge and doom albums of these last years. And GRIME, also cool and friendly, invaded Europe, and possibly the world, with their load of sludgy sickness and mammoth heaviness when they released their much acclaimed, overly crushing debut album last year.

    Here is the temporal sequence of the dates of both bands together and separated, as reported on the cool gig poster:

    06.04. Klub Final, Prague, Czech Republic

    25.04. Lo-Fi, Milan, Italy
    26.04. Turbomongol, Lausanne, Switzerland
    27.04. AJZ, Bielefeld, Germany
    28.04. TBC

    29.04. Péniche Inside Out, Liege, Belgium
    30.04. Halle 14, Karlsruhe, Germany
    01.05. Plaque, Lipzieg, Germany
    02.05. Cottbus, Dresden, Germany
    03.05. Rote Flora, Hamburg, Germany

    05.05. Liebig 19 Jugendclub, Berlin, Germany
    06.05. Klub Final, Prague, Czech Republic
    07.05. Venster 99, Vienna, Austria

    Please check the Facebook Event Page for updates, additional infos and also for checking out the other bands that will play with these lads. We are dealing with some other kickass bands as well, eh: Deafheaven, The Secret, just to mention two of them …

    Words: Marilena Moroni

    Cough | Relapse
    Cough | Bandcamp
    Cough | Facebook
    Grime | Bandcamp
    Grime | Facebook

    0 0

    Nothing better than cool underground gigs to fight the depression coming from these tormented years of crisis …
    So be aware of what is about to come down from the Northern latitudes!
    Let’s hear what these psychorockers have to say, because they have many juicy news for you:

    “This April 2013 the astral Glaswegian quartet known as THE COSMIC DEAD, are set to embark on their first voyage overseas, reaching out to new heads and lands unknown on an extended exploratory mission across the European continent. Amongst the highlights of the trip are an appearance alongside MARS RED SKY and MY SLEEPING KARMA at this year's Stone Rising Festival in Oullins, France on the 12th of April, a veritable indoor street party with fellow sonic experimentalists GNOD in Berlin, Germany on the 19th of April and a late night materialisation at this years premier pilgrimage to the riff; Roadburn festival in Tilburg, Holland on Saturday 20th of April.

    The tour will also be a platform for these Scottish psychonauts to introduce a wealth of new material to all ye astronauts out there in the form of THREE NEW RELEASES:
    -  Inner Sanctum, a massive slab of tweaked out, head-spinning, jammed out recordings set to limited edition cassette tape by Sheffield based label Evil Hoodoo.
    -  Live at the Note, a pretty much exactly as it says on the tin live recording from our base of operations and spiritual epicentre The 13th Note in Glasgow, is also to be released on limited cassette tape by Stabbed In The Back Records.
    -  Orbiting Salvation, a collection of jams, drones and mythological mantras released by the band in limited edition subtly hand-made CD-R. Alongside the availability of new material comes a reawakening of old in editions of the acclaimed self-titled album and it's postliminary successor The Exalted King on super deluxe gatefold vinyl via Cardinal Fuzz and Cosmic Eye respectfully.

    Here's a wee trailer video for our upcoming Live at the Note release:

    As well as a video for our new song, Djamba :

    Well, I would say much munchies are expected for the addicted to twisted space psych rock!
    Check out the details and updates of the tour  in the general  Facebook Event Page    
    Also take note of the detailed list below neatly provided by the bands, including the links to the Facebook pages of each local event!
    One more thing: be aware that during these dates there are additional super cool bands, besides those mentioned above and joining forces with these Glaswegian freaks.
    Do you want a name? For example … GOLDEN VOID  …. mmmmh …. !!!


    8th  Sheffield (ENGLAND)  The Redhouse
    £6 ¦ 8pm ¦

    9th  Basingstoke (ENGLAND)  Sanctuary
    £6 ¦ 8pm ¦

    10th  London (ENGLAND)  The Unicorn
    £FREE ¦ 7pm ¦

    11th  Brussels (BELGIUM) Café Central
    €? ¦ ?pm ¦

    12th  Oullins (FRANCE)  Stone Rising Festival
    €? ¦ 7pm ¦

    13th  Milan (ITALY)  Lo-Fi
    €10 ¦ 10pm ¦

    14th  Legnago (ITALY)  White Rabbit
    €3 ¦ 6pm ¦

    15th  Salzburg (AUSTRIA)  Shakespeare
    €? ¦ 7pm ¦

    16th  Prague (CZ REPUBLIC)  Klub 007
    €? ¦ 7pm ¦

    17th  Dresden (GERMANY)  Ostpol
    €? ¦ ?pm ¦

    18th  Liepzig (GERMANY)  Zoro
    €? ¦ ?pm ¦

    19th  Berlin (GERMANY)  White Trash
    €10 ¦ 9pm ¦

    20th  Tilburg (HOLLAND)  Roadburn Festival
    €N/A ¦ 10pm ¦

    21st  Antwerp (BELGIUM)  Trix
    €12 ¦ 7pm ¦

    23rd  Dudingen (SWITZERLAND)  Badbonn
    €? ¦ 9pm ¦

    24th  Toulouse (FRANCE)  Le Saint des Seins
    €? ¦ ?pm ¦

    25th  Bordeaux (FRANCE)  Heretic
    €? ¦ 9pm ¦

    26th  Paris (FRANCE)  La Mécanique Ondulatoire
    €6 ¦ 7pm ¦

    27th  Portsmouth (ENGLAND)  Southsea Social Club
    £6 ¦ 7pm ¦

    28th  Bristol (ENGLAND)  The Croft
    £? ¦ 8pm ¦

    29th  Middlesbrough (ENGLAND)  The Legion
    £4 ¦ 7pm ¦

    30th  Edinburgh (SCOTLAND)  Banshee Labyrinth
    £5 ¦ 7pm ¦

    Words: Marilena Moroni

    The Cosmic Dead | Official Website
    The Cosmic Dead | Facebook
    The Cosmic Dead | Bandcamp

    0 0

    Chicago doom misanthropes INDIAN recently completed work on their forthcoming studio offering for Relapse Records. The follow-up to 2011’s critically lauded Guiltless long player was recorded at Electrical Audio and Soma Studios in Chicago with engineer/co-producer Sanford Parker (Minsk, Nachtmystium, Yob, Samothrace). Additional synthesis contributions have been provided by Parker and Mark Solotroff.

    Comments the band on the new material: “The four of us are pleased to announce the completion of our fifth full length album. It is our darkest and most varied material to date.”

    Since 2004, INDIAN has released a glut of well-loved records up through Guiltless, which Revolver Magazine appropriately dubbed “one of the most bewitching, hypnotizing, beautiful doom/sludge albums since [Electric] Wizard’s Dopethrone.” This is no small accolade, and INDIAN is among the few masters of heavy music today worthy of such praise. But they didn’t earn it overnight.

    In fact, INDIAN spent much of their formative years largely developing the volcanic sound that now seems as natural to them as breathing. Their debut EP, God Slave, was a self-released mission statement, welcoming the band into the world like young, kicking, screaming giants. The band’s following three records – The Unquiet Sky, Slights and Abuse, and The Sycophant, respectively – were all issued through Portland, Oregon-based metal label Seventh Rule Recordings. Each of these releases found the band gaining momentum and attracting followers, as well as performing shows with bands such as Wolves in the Throne Room, Locrian, and Agalloch.

    After signing to Relapse Records in 2010, INDIAN began to diligently craft their fourth full-length, knowing all eyes were on them. Not only did the band live up to fans’ lofty expectations, they also achieved a massive critical breakthrough. Guiltless was released in 2011 to rave reviews. The Chicagoist described the album as “a musical journey into the mouth of teeth-rattling metal madness,” while Metal Hammer simply called it “pretty much an essential album.”

    Fans were also impressed, gathering to soak up the band’s feverish rays of doom on tour across the country. The band performed shows with High on Fire, Batillus, and Yob, translating their recorded sounds into a murky, devilish live show. Such performances confirmed INDIAN as one of the most exciting metal acts making music today, recalling an era in which the genre felt truly new, bursting with energy and untapped potential. Or, as Revolver puts it, “nothing has sounded more genuinely evil and distressing in a long time.”

    Further album details to be revealed in the coming weeks. Stay tuned.

    Official Website

    Source: Earsplit PR

    0 0

    San Francisco-based doom rockers ORCHID have released the second trailer for their upcoming album, "The Mouths Of Madness". Check it out footage of singer Theo Mindell talking the songwriting process and his influences below.

    "The Mouths Of Madness" will be released on April 26 via Nuclear Blast Records.

    Comments Mindell: "I wanted the cover of the album to be really classic and strong, like one of the records from my childhood where when you'd see the colors and shapes on it from across the room, you'd immediately recognize it. A classic 'icon' it's very simple, really. But then I did a really elaborate painting for the inside that is totally ornate. I wanted people to open this kind of sparse, plain thing and be drawn into another world that kind of visually told the story of some of the emotions of the record. Kind of like peeling a weird fruit open... the inner painting was really inspired by some of the Latino psychedelic murals that were done around San Francisco in the late '60s-early '70s... like the cover of 'Abraxas' by SANTANA, which is a record I grew up on and always loved. So, it's the 'ORCHID version' of those murals."

    Guitarist Mark Thomas Baker stated about the extensive "The Mouths Of Madness" production process: "Most of the tracks on 'The Mouths Of Madness' were cut in early June 2012. We were pretty fresh off of our European tour and full of confidence. The basics done at that time were the best recording experience that we've had so far. Everybody got along great and did great work.

    "We did this album with a completely different guitar sound than 'Capricorn'. I think it sounds much heavier in that regard. We take a lot of time to get things right. I hope people enjoy it and let it sink in. I think it's miles above our past efforts."

    Mastering engineer Richard Whittaker, who also took care of the latest BLACK SABBATH and THIN LIZZY rereleases/analogue transfers, comments: "I've been a huge fan of ORCHID since I first heard their debut EP back in 2009, and they've certainly come a long way since then. So, as you can imagine, to be asked to work with ORCHID on their records was an honour and a pleasure. They're a great bunch of guys and a stellar band to be involved with.

    "'The Mouths Of Madness' is such a well-crafted and awe-inspiring album. Sonically, its 1974 meets 2013 which, for me, takes the SABBATH/PENTAGRAM vibe to whole new level."

    As an appetizer for "The Mouths Of Madness", ORCHID recently released the exclusive 10-inch vinyl EP "Wizard Of War", containing a brand new track, a rare bonus track as well as one song off the band's stunning debut album, "Capricorn".

    ORCHID was named "the best and most important doom band of the past five years" by Rock Hard Germany's editor-in-chief Götz Kühnemund. In addition, BEHEMOTH mainman Adam "Nergal" Darski stated: "BLACK SABBATH should do an album like 'The Mouths Of Madness'!"

    Since its inception in 2006, ORCHID — which features in its ranks well-known tattoo artist Theo Mindell on vocals — has achieved massive global awareness with their stunning releases "Through The Devil's Doorway" (EP, 2009) and "Capricorn" (full-length, 2011).

    ORCHID is:

    Theo Mindell: Vocals
    Carter Kennedy: Drums
    Mark Thomas Baker: Guitar
    Keith Nickel: Bass

    0 0

    Via: Earsplit PR:

    Forged just three years ago in Trieste, Italy, GRIME spew a cogent wall of filth, decay and soul-scarring sludge metal battery. Their forthcoming offering comes in the form of the fittingly dubbed Deteriorate. The follow-up to their six-track self-released debut, which Pure Grain Audio simply called “dirty-as-fuck,” offers up a bottom heavy exhibition of severing doom derived of misanthropy, anguish and hurt feelings. Self-described as the sound of  “a decaying swamp filled with trash,” GRIME’s slow, heavy groove is earnest and vicious, their mammoth guitar riffs are sharp and crusted with rust, their drums and bass hit with the unstoppable power of a violent mudslide. Deteriorate’s eight tracks were recorded at Igloo Audiofactory in Italy by Enrico Baraldi, mixed and mastered by sound wizard Billy Anderson and will see official release on CD, LP and digitally via Forcefield Records May 7th. Fans of Iron Monkey, Noothgrush, Grief and Eyehategod are demanded to pay heed.

    GRIME’s ultimate goal is delivering their sonic destruction to a town near yours and next week they’ll do it alongside Richmond doomdoers Cough (on select dates). The short but deviant run will begin in Slovenia and charge through Italy, Switzerland, Germany, Belgium, and the Czech Republic before coming to a close in Austria. See you in Hell, Europe.

    Deteriorate Track Listing:

    1. Burning Down The Cross
    2. Pouring Out The Hatred
    3. Down By The River Of Dreg
    4. Giving Up
    5. Deep Cut
    6. Restless Man
    7. Pills
    8. Idiot God

    GRIME European Tour 2013

    4/05/2013 MKSMC - Koper, Slovenia
    4/06/2013 Bocciodromo - Vicenza, Italy
    4/25/2013 Lo-Fi - Milan, Italy
    4/26/2013 Turbomongol - Lausanne, Switzerland
    4/27/2013 AJZ - Bielefeld, Germany
    4/29/2013 Péniche Inside Out - Liege, Belgium w/ Cough
    4/30/2013 Halle 14 - Karlsruhe, Germany w/ Cough
    5/01/2013 Plaque - Leipzig, Germany w/ Cough
    5/02/2013 Cottbus - Dresden, Germany w/ Cough
    5/03/2013 Rote Flora - Hamburg, Germany w/ Cough
    5/05/2013 Liebig 19 Jugendclub - Berlin, Germany
    5/06/2013 Klub Final - Prague, Czech Republic
    5/07/2013 Venster 99 - Vienna, Austria

    Forcefield Records | Official
    Forcefield Records | Facebook

    0 0

    Sleestak have announced their forthcoming EP Book Of Hours for self- release at the end of May. Having taken a break from writing the next epic full length album and experiencing the first lineup change in ten years, the band decided to get down to basics as a three-piece and write some songs where they could just let loose the power of the riff. The five songs contained on Book Of Hours pay homage to the pioneers of heavy, bluesy, stoner metal in the vein of early Sabbath and Cream while giving a nod to contemporary bands such as Sleep and Clutch.

    Recording is set to begin April 10, with the band once more entering Bobby Peru's Recording Studio in Milwaukee, Wisconsin. Behind the controls will sit long-time friend and mixologist Shane Olivo who produced all previous
    studio recordings of Sleestak. Cover art was created by Steve Somers. Pre-orders are now being taken for the CD and digital download versions at their Bandcamp page - HERE  - and will be limited to a total of 100 for the physical copies. All CD orders will include new sticker designs as well as the digital version. Bonus material is also being planned for inclusion.

    In the coming weeks, Sleestak will be releasing excerpts of the songs so please visit Bandcamp and their homepage at Sleestak Music  as well as Facebook for the latest updates.

    1. Appeasing The Gods
    2. Seven Sorrows
    3. Five Million Years To Earth
    4. Lone Wolf
    5. Blacklight Communion

    0 0

    Desert Storm’s 2nd album “Horizontal Life” is released today on Digipak CD and Digital Download. Check out some of the the tracks and buy your copy here Blind Sight Records.

    Desert Storm’s new album is pure stoner rock with more colossal riffs in their trademark groove based southern-tinged style. The album was recorded by Jimmy Hetherington (1st album, Undersmile etc) and mastered by the legendary Billy Anderson (Neurosis, Eyehategod, Cathedral, Melvins etc). It also features the brilliant artwork of Chris Hitchman.

    Available from today from the Blindsight website and all good record stores. Also available on iTunes, Spotify etc.

    0 0
  • 04/03/13--11:20: Kröwnn - Hyborian Age ...
  • I cannot stress this enough and I know I have said this way more times than I can count, but the combination of Italy and doom is so egregious, so profoundly beautiful and possesses such an innate sense of class, all the while being topped with such a sense of dynamism, that one has to believe that if you like doom in all its down tuned thundering glory and cannot get enough of the genre along with its vast sub-genres then a better scene than Italy doesn’t exist. Out of the country that has graced us with the eccentric mad genius of doom that is Paul Chain, the monolithic dirge draped Abysmal Grief and the incomprehensible conglomeration of doom and progressive rock in a way never dreamed of before by Black Hole, the country, overflowing with musicians of such unfathomable talent and love for doom that happily dives into the territory of fanaticism, has bestowed upon us a new trio that goes by the name of ‘Kröwnn’.

    Kröwnn was formed in the summer of 2012 in Venice and has Michele el Lello Carnielli handling the duties of both lead singer as well as guitarist and is backed by two ladies going by the names of Silvia Selvaggia Rossato and Elena Fiorenzano handling the bass guitar and drums respectively.  They released their rather lengthy debut demo entitled ‘Hyborian Age’ spanning almost 40 minutes spread out almost evenly over the six tracks. A cursory look at the artwork leaves you enthralled and curious. A wizard gazes at you standing at an edge of a desert while moons and stars of different colors dot the sky and a gargantuan beast resembling a woolly mammoth roams freely as smoke rises. Combine that imagery with the title of this release and you put together the pieces of the puzzle that give you the thematic proclivity of the band which is an utter reverence towards the fantasy worlds created by authors such as Howard, Moorcock, Tolkien and Martin as well an undying love towards Conan The Barbarian, a topic that fits the genre of doom metal perfectly with all its masculinity and yet is not discussed enough.

    Needless to say, Kröwnn play doom metal that has a predilection towards the old school and though they gyrate around power riffs the trio often manoeuvre towards the spectrum of stoner territories and even baste them together with the utmost of repose. However, don’t expect, expansive soundscapes depicting meandering into the sun baked desert or the journeys into the psychedelia induced unknown expanses, but instead take a look at the artwork, drawn in all it warm soothing colors and experience rather a laid back wall of fuzzy sound that acts as in impressive weapon to a strong repertoire of the band. An extremely consistent and fluent release what is truly amazing is their sound writing and how the band manages to string together pieces and form one coherent track after another. Right from the epic feel of the ‘For the Throne of Fire’ which is an instant throwback to ‘Nightfall’ era ‘Candlemass’ or the groove draped stoner embracing that were atypical of ‘The Ethereal Mirror’ era of ‘Cathedral’ on ‘The Woodwose’ each track has some new influences to showcase to listener which instead of sounding derivative and recycled come as a breath of fresh air on an already original release. As the quick choppy riffs of Pentagram and Trouble come to mind on some tracks the band also uses the soft strumming of the bass creating an almost fluid liquid sound as well as swirling riffs on ‘At the Cromlech’ to  remind the listener of later ‘Electric Wizard’. As the trio also throws in elements of hard rock to create catchy choruses and infectious riffs, what is to be noticed is the different moods on each track. If you have ‘Gods of Magnitogorsk’ to sound as the perfect theme to the fight scene in Conan you also have to deal with the depths of desolate despair on ‘The Melnibonean’. If you enjoyed the classic all out rock out parts on ‘At the Cromlech’ you are also subjugated towards going on a trip with the trio through the desert on the lengthy instrumental ‘Stormborn’.

    As the lo-fi demo production and feedback a la ‘Sleep’ grips your mind with all its swampy filth you have to give a special mention to Michele. His highly emotive voice thrusts the band all along and has a range that is reminiscent of Messiah Marcolin on the epic parts, the deep sunken bellowing of Glenn Danzig and is at times even reminiscent of ‘Type Negative O’s great Peter Steele in all its sepulchral, forlorn driven power when deciding to sing on a higher register.  Throughout the demo the band permeates an esoteric intelligence by showing it knows what it wants backed by an unbridled creativity of the instruments through which the bands can bring forth unto the listener what the band needs. The song writing and song placing on the album is another brilliant feature innate here and how the band pendulums between the stoner and doom territories, often holding hands of both is truly a testament to the band and its ability to stand out in a genre that is over saturated with bands where the general norm is shelling out recycled Sabbathian riffs backed by no emotion.

    Hopefully, these guys can land a record deal, and if they do, I hope they get an opportunity to re record this demo since the lo-fi production takes away a bit of the punch, which if professionally recorded will be a massive one.Keep this beast of a demo in mind. It is one of the best stuff I've heard from a new band for a while, and this is a sign of things to come from ‘Kröwnn’ then brace yourself for a brilliant journey.....8/10

    WRITTEN BY : Vaibhav Jain

    Bandcamp - Krownn | Bandcamp
    Facebook - Krownn | Facebook

    0 0

    “A magic circle is circle or sphere of space marked out by practitioners of many branches of ritual magic, which they generally believe will contain energy, and form a sacred space, or will provide them a form of magical protection between themselves and what they summoned, or both” ~ Wikipedia.

    Awesome, isn’t it? What can possible make this witchcraft and wizardry even more fascinating? A huge dollop of doom of course. Of all the lyrical boundaries that Doom metal has implemented into its art form it is the fascination of doom with witchcraft and the occult that has often yielded the best results and timeless classics. So, when an occult drenched traditional doom metal band consisting of 4 members rises from Massachusetts whose doom scene has blessed us with acts like Upsidedown Cross, Grief, Elder, Ice Dragon, Tentacle and Blue Aside to name a few your heart is bound to skip a beat.

    Magic Circle has members was formed in 2011 by a members from local hardcore bands which went by the names of Mind Eraser, Rival Mob and The A-Team. Having gained quite a reputation with their power punched gigs the band finally released its self titled full album early in 2013. True to its reputation Magic Circle does not disappoint. Starting off with a heavy lumbering riff the band announces its presence when vocalist Brendan Radigan goes ‘Out of the darkness I emerge’ and from there on there is no looking back. The band plays a style of music that encompasses influences from the riff-centric and occult drenched imagery of Hour of 13, the NWOBHM tinge and soloing as on Pagan Altar’s magnum opus ‘Mythical and Magical’ backed by song writing skills evocative of Mistreater’s ‘Hell’s Fire’ along with the tendency to milk out riffs as much as possible and add small noodling solos all throughout as was a hallmark with the legendary heavy metal doomsters Trouble. There music is generally mid paced but alternates between mid paced and up tempo so expect no dragged out tempos as present on releases by Pilgrim and Reverend Bizarre. While most tracks follow the similar structure of starting off but slowly and eventually morphing into a burgeoning piece with its plodding grooves and ritualistic riffs and drums there are tracks like ‘Rapture’ where the band goes all out right from the get go. The bands sense of melody is unparalleled and the band manages never to drift from its predominant intent of creating a cohesive and entertaining album that manages to stay fresh through with its chugging riffs, towering solos and dominant drums whether the band is playing a rumbling riff which is a calm before the storm or a whiplash inducing chorus. Another aspect which thrusts this band to newer heights and gives it an added dimension is the garage styled production of retro doom that lends its innate coarse harmony to the music which aids the foursome to better attain what they wished to.

     However much the song writing skills, the sense the melody or the raw talent be praised here what cannot be exalted enough is the performance by vocalist Brendan Radigan. His passion fueled performance is what makes the record what it is. His tonality, which can be described as a weave of Pagan Altar front man’s  Terry Jones’ nasality and Lords Of The Crimson Alliance’s front man’s Far Cry’s towering vocals, is the lubricant which binds the band with such malleability which in turn evolves the band into a mass wrecking ball in front of which intransigence in nugatory. As on the end of February this album which has come out of nowhere is my favorite metal release of the year so far and may well be the doom metal release, if not THE album of the year.......10/10.

    Written by : Vaibhav Jain

    Buy The Album Here - Armageddon Record Shop Order Page

    0 0

    Narcotic Luxuria is an international musical project, band’s crew lives in Slovenia and Italy, so it’s something new for us. More than this – they describe their stuff as a kind of avant-garde doom metal with some post-elements and I’m ready to agree. You may ask how it could be… Well, it’s easier to listen their new songs of “Rain” Ep which heralds forthcoming full-length after 10 years of silence. Andrej Kralj is founder, songwriter, guitar player and vocalist of Narcotic Luxuria, here he goes to tell us the story of this project.

    Salute Andrej! Let us start with general info about Narcotic Luxuria – when the project was born? Who are in it’s crew?

    Zdorovo Aleks! Narcotic Luxuria is an avant-garde doom metal / post rock project. The idea for the project Luxuria came up to me in 2003. That year I started recording the first EP Narcotic Luxuria in a local studio. I met a prog metal – black metal keyboard player (known as “Dugong”), who chose to participate to the recordings. I suggested him to join my idea of a local experimental music band which would have leaned on the doom metal genre. Soon after he bacame the singer for the live shows and then other 4 musicians joined the band: Andrea (bass), Tiziano(guitar), Stefano (live keyboards) and Paolo (drums). At the time we got a manager for a short time, who organized a short local tour. At the moment the line up to join me into the studio for the forthcoming album Rain is still unsettled, but it's on the way.  

    As I see Narcotic Luxuria is international project, where are you from and how do you collaborate solving questions considering record-sessions and songs composing?

    Narcotic Luxuria is an international project, because the musicians live on both sides of the border Slovenia – Italy. There might be innovation regarding vocals in the forthcoming studio production. For instance I would like to experiment different types of vocals on the music. Another singer might join in on some songs.    

    As I understand, your last release is “Rain” of 2013, how much records do you have besides this one?

    Narcotic Luxuria (Ep 2003)
    Rain Ep (Demo 2013)
    Rain (Forthcoming album late 2013)

    You describe music of Narcotic Luxuria as avant-garde doom metal / post rock, how do these genres manifest themselves into “Rain” album?

    The avant-garde elements are to be considered part of a horror feeling that resides within some parts of the music. In Rain there are moments that can evoke either horror or mellow atmospheres, there are songs that are longer, with a seventies prog rock legacy.

    So what is the core of this “horror” atmosphere? And what is the lyrical conception of the band?

    The idea of horror can easily be associated with the realm of our dreams. Dreams lead through a subconscious world, which gives us information we don't consciously notice when awake. Information that we often define as fears. Fears protect us. They are part of a deceptive world, sometimes fabulous and ideal, but nevertheless  hallucinatory, visionary, fantastic. Today the music market offers music which isn't part of this imaginative world. Songs are composed and arranged to stimulate euphoria, they are entertaining, that kills creativity. If we just consider the tempo of commercial songs, it's usually over 130, that's already a fast heart beat.    

    How did you come to realization of such stylistic combination? Do you have some landmarks to follow onto your creative way?

    The doom origin of this sound must be associated to my deepest respect for the initial albums by  bands such as My Dying Bride, Paradise Lost, Anathema, Cathedral. The  idea of working to this stylistic combination arose after I was inspired by some post rock bands that have caught my attention in the past years such as Sigur Ros or Mogwai. There are elements in their music I really appreciate, although they really can't be considered metal bands. Their songs are sewn with somehow lethargic and soft sounds, I especially appreciate their guitar sound that chimes into mellow atmospheres, nevertheless, I sometimes would rather hear them distorted.

    I saw a video for “Your Bread, My Flesh”, it’s pretty weird – what is this song about? Looks like you’re vegetarian, it would be interesting…

    The association to vegetarianism is pertinent. The abstention from the consumption of meat and by-products of animal slaughter is not the point of the song though. It's a matter of fact, in our society, meat is considered a product, as more and more it is considered an item of production everything physical and virtual on earth, even our opinions and our attention seem becoming items of consumtion. This unreasonable behaviour and greed are the at the heart of the idea for this song.

    I see really good composition ideas in Narcotic Luxuria, yet production quality is sadly low, in which conditions did you do these records?

    The Rain Ep should be considered a demo digital release, it's a self produced Ep with 5 songs. The production of the Rain EP was reached at zero costs. On one hand the record quality could be disappointing, especially if compared to a proper studio production, on the other hand I consider music production a very important part of an artist creative work and a process that should be monitored by the artist himself.    

    But you’re going to re-work sound of “Rain” in the studio, right? What is this studio? And did you and your band’s mates have an experience of work in studio before?

    That's right, we'll re-work the sound of Rain EP in the studio. All of us have studio experiences,  Peter has already recorded for his black metal band Human Putrefaction. Paolo, the drummer, have several recording experiences with the band Sinestesia. I've already worked in studio on other rock projects. Actually, I've been the producer of the music for Narcotic Luxuria until now and this means a lot of work. Audio production is also a creative process, but sometimes should be left to a professional audio engineer. We'll record drums, vocals and other instruments in a studio in Slovenia. Some parts, for instance guitars and bass, will be probably recorded in my home studio. Rain EP features 5 songs and it's only a digital release, available for download. In late 2013 it's due to be published a whole album featuring more songs. There will be 10 songs on the forthcoming album. There is a great enthusiasm to start the production of this release, but NL haven't come to an agreement with any label for this release yet.

    Where listeners can find promo of “Rain” Ep now?

    The Rain EP promo was available online after specific request on our reverbnation or facebook page.  Fans have written an email to the page and got a link for a free download. Now it's available for a free download our bandcamp profile.

    What are your plans for nearby future?

    The first step to take is the studio recording of the Rain album and the whole production. I'd like to focus on the music now. There may be some live performances in late May, but might be postponed after the release of the album.   

    Andrej, thanks for the interview and info about Narcotic Luxuria, I wish you and crew of Narcotic Luxuria  good luck on your way to “Rain” release!

    You are welcome Aleks! Thank you, too! I would like to thank and salute the readers. I wish you full of joy, best of luck to you all as you progress in your life!

    Interview By Aleks


    0 0

    The duo Nonsun from Lviv, Ukraine, started about a year ago, is willing to present to an audience their debut EP “Good Old Evil”.  Presently, they didn’t just spring up out of nowhere like from the jack-in-box, so I should note that the guy who shouts and plays almost all the instruments - Goatooth, besides Nonsun, also roars in death doom metal band Apostate. I’m not sure if Alpha, who grinds on drums, has any experience, but I bet that he played somewhere before as well. The guys gathered with the purpose to bring their own vision of experimental drone and sludge doom to the underground audience, and how they’ve coped with that, let’s look. The release has only four tracks, but they last nearly 50 minutes, so you may conclude, how thoughtfully and thoroughly the album was written.  "Jesus’ Age" lasts about 18 minutes, and both the ragged growl and the stubborn, as slow as possible riffing with an easy swing begin a piece of the painful sludgy doom, quickly breaking and ceding to a drone-improvisation. This retreat does not last long, and again comes back the droney groove, this time decorated with a sudden psychedelic solo - somehow short and thinnish, as if it got there by accident, the groove again removed by a longer drone-improvisation, which, however, at the end was swept away by driven distorted attack ... what is it all about, guys? Intergenre transitions within one track nevertheless need to have borders, but in case of "Jesus’ Age" they’re barely noticeable, and Nonsun are shamelessly jumping from one chair to another, not really taking any of them. However the dudes gave out a powerful, deafening post-sludge monolith on their second track "Rain Have Mercy" (despite two-minutes long ambient entry). And this is completely other thing! The track captures the attention entirely: the fat spacey sound produces an unreal heat, the moderate slowed-down melody pleasantly tickles the nerves, the drums rhythmics sets an excellent driving pace, the growl finally found a decent application, and he’s roaring the quite decent lyrics!

    The acoustic interlude sounds organically within the melody, and the track partly, apparently, was born as a result of Goatooth’s experience with Apostate, you can hear some death-doom there too. The excited flight breaks by an accidentally recorded in the studio white noise - behind the grand title "Message of Nihil Carried By The Waves Of The Big Bang" hides some really stuffy noise... Does this track have some artistic value? This question is not for me, I did not see it. Last track of the release "Forgotten Is What Never Was" begins with the same noisey crackle but it is supported with the good piano samples, oppressive and doomed, soon followed by the extremely distorted guitars and drums. These elements, gradually connecting together, produce a strong, extremely dark doom track. The piano is replaced by an organ, the drums are ticking an inexorable course of time - or these are the approaching footsteps of something relentless, terrible and dirty... We’re notified about it’s arrival in the seventh minute by a torn inhuman growl, after which sounds a quiet, barely audible, tune. This is the truest dark ritual! The curtain falls.

    In my opinion, as a result we have one excellent track ("Rain Have Mercy"), one efficiently written and overall quite good ("Forgotten Is What Never Was"), one confusing, with a couple of veiled good ideas ("Jesus’ Age") and one seemingly-no-clue-how-it-got-here ("Message of Nihil Carried By The Waves Of The Big Bang").  For this first release, say, okay, but the work absolutely lacks integrity and sounds like a compilation, so after listening, one question remains: what will happen next? Let’s wait for the next release and find out.



    0 0

    Abstract Spirit are one of few leaders amongst Russian extreme doom scene, they bring high qualitative funeral doom to world-wide underground community since 2006. They did forge three insane sonic monoliths and successfully spread their power through Solitude Prod, showing no bloody mercy. After long year of silence they return with live performance onto Moscow Doom Festival VI with new stuff of forthcoming album. A.K.iEzor is a man who did growl into Comatose Vigil, and he’s a co-founder of Abstract Spirit, seat tight and hear his story of funeral doom domination.

    Hello, Andrey! I didn’t know how to start speaking about Abstract Spirit and I remembered a year ago you told me for our Doom Quiz (HERE) that your band was working at the fourth album “Anhedonia 4.0”. How is it coming along?

    Hello! Yes, I remember that. We’ve got no news since…Our work is almost finished and it’s going to be a completely different album. We’ve turned out to be unsatisfied with the results of  “Anhedonia 4.0” and we decided to start from the very beginning that doesn’t make us redo this one. However we saved something as a song “Za sonmom tsvetnykh snovideniy” (“Behind The Host Of Colorful Dreams”). By the way it’s the only track in Russian, the others are in English. The album is being mixed now; we’re also engaged with a booklet design which an artist Pavel Lyakhov helped us with.

    Do you understand that I have to ask now what a new Abstract Spirit album is going to be?

    It’s difficult to tell about such things. I can’t review myself our new album but in short… I suppose it’s the gloomiest album in Abstract Spirit life.

    I do remember the debut album of an American death-doom band Fall of Empyrean was named the same “Anhedonia” (but there was no numbered mark of course), so what is your attitude to such coincidences of titles in the similar music genres and how much are you preoccupied about “trends” in Abstract Spirit life?

    I’ve absolutely forgotten to say we have changed the album title, too. It’ll be released as “Theomorphic Defectiveness’. I didn’t know about their album, to be honest I’m not really advanced in their discography. The coincidences always take place and they will do, there’s nothing critical to it. Trend? I’d not say like that… where did you get such dirty terms about especially underground genre?

    If I’d not told “trend” but “genre tendency” would it have changed the meaning of the question? There are always constituents, when in some genre there are a lot of bands where overwhelming majority plays “like those guys”. You know, when we face five new My Dying Bride or Electric Wizard it’s ok, but I’m worried when imitators quantity gets over thirty. Abstract Spirit is one of the few “constant” doom bands in Russia. Are you satisfied with what’s going on to our scene?

    Okay, genre tendency, I got it. Actually there are a lot of bands which play “like those guys” in many countries. I’d say, we have many original bands and the scene is at the height of progress. Long time ago the quantity of representatives overstepped the limits which I know. However there are other topical questions for home musicians. The problem is acute about financing musical activity. To buy a decent instrument and additional accessories is a round sum, then one should pay for rehearsals and other costs (alcohol, drugs, fare – tick off). Finally it’s an album recording. Not every band can afford it, half measures aren’t highly thought by ones. I’m not going to mention sales of released CD at the price of incredible efforts and costs. It’s clear about it. To talk about Abstract Spirit - the situation is more difficult. Our schizoid music made us play for target audience. We deeply occupied our niche and we cannot move further. This is the value of that your riffs aren’t hits, he-he. We’re not perplexed with it by the way. If one can’t rely on wages, there’s no point to play anything for “masses”, being equipped with artless remakes of imperishable compositions from the best of the genre. You understand what I’m speaking about, don’t you?

    Of course I do, comrade! What is your opinion about Abstract Spirit development from album to album? Whether is there anything you want to get about the new album?

    Beginning from the second album “Tragedy and Weeds” Abstract Spirit is a band which follows its genre. The first album was a result of compositions and trying of different times. Further we found out our preferences. I don’t think that something’s really changed since. Who we are to judge if it’s good or not?

    Concerning my getting anything about the new album… We don’t want to get anything, we just play music without looking back at criticism. It’s just a new album which we made as we wanted. H. and S. were assiduously working at sound engineering and we’ve reached a new level in our sound. If to talk about the music it is the same Abstract Spirit.

    Andrey, you were a lead singer of famous funeral act Comatose Vigil, you are a part of Abstract Spirit and besides you’ve got time to put an appearance in Mare Infinitum. It looks like you shown up at least in two bands of four famous home death-doom/funeral bands. How did it happen? Did you use rough physical power to ensure this domination?

    Ha-ha, not on any account. There’s nothing mysterious behind it. Many musicians have much more projects than me. After Comatose Vigils breaking up I got more time for Mare Infinitum, it took its normal course. Georgy and I are preparing for recoding a new album. I’m not going to stop elaborating on it, this is who I am.

    Look, for all that could it be possible for people to see you with a microphone growling in Who Dies in Siberian Slush or Otkroveniya Dojdya?

    Seriously? I’m not going to monopolize Russian doom scene, there’s nothing to be afraid of, ha-ha.

    Hm, what can you say about famous Ea band?

    To tell the truth – nothing. They said, former Comatose Vigil members have something to do with it. But it’s not like that. None of us took part in it. So, I’ve got nothing to say.

    Then let me ask you about Comatose Vigil former members, by the way. I remember you were replaced by another vocalist in this band, where was he got from and where did he go?

    I can’t exactly say where he was got from because I was out of the band at that time. I seemed to be out more than two years. He should have been found per internet but I’m not sure. We met and spoke not once further, I don’t remember this story actually. Upon the whole Kostya is a nice positive dude. We see each other from time to time. At some instant he understood the band wasn’t his cup of tea because he likes sludge more. He left and sang in a very savage and stoned formation Sobutilniki Christa (Jesus’ Boon Companions), that doesn’t exist anymore. I came back to Comatose Vigil to finish up “Fuimus, non Sumus…”. Now he sings in 609 which plays solid sludge-doom.

    How does it happen that such a rotation of musicians take place in Moscow bands – are there really few good musicians within this genre?

    Rotation? Why? Some people just like playing music together, efficiently mixing themselves, making new projects. Why not? I think the term “professional” is inadmissible because doom is not a kind of profession. Good musicians – it’s okay. I’m not sure I can only make a guess about their quantity. 

    So, here we’ve got a natural question… Could we speak about serious competition inside of Russian scene having minimum substantial death doom/ funeral doom bands? What is your opinion about how many leading bands are able to meet competition with western ones?

    You’re asking me as if I specialized in Russian doom-scene. I make you sure I don’t. There are a lot of bands, I always see new band names, I didn’t set myself the aim of monitoring them. Meanwhile I consider that we can call “leading” bands in question. It doesn’t matter how it sounds but everything is relative. 

    First of all, you can be called an expert as a man who has been in the midst of doom-scene for a long time. Secondly, some bands could be “leading” relatively to others. So there are bands which Solitude Productions successfully promote, good bands advanced themselves, some bands stew in their own juice. But western bands seldom come to play in Russia as there no one waits for ours in Europe as it seems.  In any case you should promote yourself as far as possible…

    Firstly as I said before the problem of lack of money is acute in our country. It’s not only about musicians but labels releasing their production (but again to tell about selling CDs everybody knows they are weakly demanded in sale). Competitiveness will suffer heavily. In the second place, as I said before again, we’ve got a lot of good and interesting bands and no matter that they sound worse than western colleagues. You can think in such way. The pluses and minuses are obvious but I suppose our chances have risen for 10 years.  Organizing concerts is getting on bad. They say we constantly have to thrust ourselves on it. So it is, but I don’t know. We didn’t try for some reason.

    Honestly I doubted if this question should be asked, but I bet some Comatose Vigil fans are excited about – how likely is the band reunion?

    The chances of it are 0,0000000000001. This is not enough, isn’t  it?

     Hm it’s really improbably… Tell me, is the difference big between how you feel with Abstract Spirit and Comatose Vigil?

    The difference is tremendous, but I feel good both. There were reckless guys in Comatose Vigil and all the time we had most fun when we didn’t torture instruments. Sergey Evgenevich Troitsky of Korrozia Metalla would envy such boozes. Concerning Abstract Spirit it’s vice versa, all people are serious being in condition of constant straight-edge, except me, certainly. After all I’m pleased to have a deal with such people. I’m not going to compare because it’s useless. 

    Abstract Spirit will take part in Moscow Doom Festival VI. What track list will you play this day? How much are you interested in playing there?

    Well, we want to play couple of tracks from the new album, but I don’t really know yet, whether it will have time to be released. We’ll play songs from the previous ones, we haven’t made track list yet. Certainly we are interested in playing at this festival! Sepulture Union always set perfect gigs, unhesitatingly we agreed to perform.

    What do you think, what Abstract Spirit fans will remember about the band if one day it stops existing?

    It’s sick music, what else?

    The answer is accepted and I don’t want to abuse your patience that’s why let me thank you for your time. I wish you good luck and bloody powerful performance at Moscow Doom Festival! Do you want to send some regards or something?

    Thank you for the wishes; it was pleasure to have a talk. Regards to my granny who will never read this interview, I’m kidding, ha-ha. I’d like to thank our not numerous auditory for their liking us. Thank you, friends, we hope to make you enjoy our works of funeral art!

    Interview By Aleks

    YouTube Video
    Official Website
    Russian version of the interview: HERE

    0 0

    Both name of the band and album title might be an excellent example of synthesis for neatly portraying what you have to expect here … And if I add the magic word “New Zealand”, you know it is going to be a hell of a nasty music …Sinistrous Diabolus are one of the long-lived bands making up the pillars of the stunning extreme metal scene down in New Zealand.

    An underground scene to be admired in any of its possible declinations and shades: Vassafor, Diocletian, Witchrist, Heresiarch, Skuldom, Ulcerate, Graymalkin, Dawn of Azazel, Meth Drinker, Open Tomb, Invertebrate, Baboon King, Mosquito Control, Akaname, Stone Angels, Creeping, Datura, Beastwars, The House of Capricorn, Shallow Grave, the hardcore punk/crust scene, just to name a few …Like Vassafor, Sinistrous Diabolus has been working in the darkness like a monster spider in a cave since the early 90s, and, like Vassafor, these guys released their debut LP recently, called Total Doom / Desecration. Long time that didn’t pass in vain: this is what you may realize after plunging into the Total Doom / Desecration experience.

    The band had launched their bait by posting the monster track “The Essence Of Divinity Given To  Abstractions Of The Human Mind” in the web a few months ago. Many of us were blown away and seized by the spires of this malevolent creature from the southern hemisphere! Sinistrous Diabolus presently involves four guys, frontman N.K.S. on vocals, guitars and samples, M.C. on guitars and vocals, R.R. on bass and G.E. (new entry) on drums. The guys have variable relationships with Diocletian, Witchrist, Stone Angels and other heavy bands from down there. These guys are from Christchurch, the city heavily damaged by the strong earthquake that struck New Zealand a few years ago. Their genre may be loosely described as doom death but the way these guys adopted for expressing decennial amounts of bleak murkiness, utter pessimist and strong opposition to oppression by religion, i.e. Sinistrous Diabolous’ thunderous, gloomy, filthy and, yes, deeply haunting sound, deserves a few more words. Total Doom / Desecration LP includes six tracks basically merging one into the other and expanding to almost 42 minutes. This new album is like a bridge across time as it is linking the early days of the band and their present-day inspiration by means of a collection of tracks incorporating early gems and new stuff.

    As announced in an interview to N.K.S. last year, Side A includes tracks previously in the celebrated, and by now underground classic, Opus One tape (1993), i.e., “Wipe Out Christianity” and part of “Sleep of the Damned” (oddily called Part II), while Side B includes the new track “Gate of Hell”, the remaining part of “Sleep of the Damned” (consequently called Part I) and the “bait”, the monster suite “The Essence Of Divinity Given To  Abstractions Of The Human Mind”. The latter is a remastered version of the track contained in a rough promo release dating back to 2008 and found in the web.  Both sides of the album have a similar architecture, as they start with a short intro-like song, make you enter the “mood” via a 4-6 minute-long track and drag you deeply into the depths of darkness by means of the long tracks occupying both sides. It may seem a wee bit “mechanical” scheme, but you’ll forget any constraint after your mind, soul and glimpses of naive happiness will be caught, charmed and destroyed by Sinistrous Diabolus. In Side A Wipe Out Christianity has been reworked, extended and divided in two parts, the intro Exordium and the over 12 minute-long suite Pestis. Sleep of the Damned Part II is nested between the two.

    The intro to this amazing album is lead by a slow martial rhythm gradually raising out of ethereal, spacey sounds and then merging into the breathtaking galloping charge of Sleep of the Damned Part II. This track shows one of the features of the unique style in this band, i.e., bizzarre dark pummelling sound patterns created by peculiar and sometimes quite technical combinations of downtuned, distorted guitar plus bass riffs possessing a distinctive tune. Here, as in other tracks, the band alternates faster, mid-tempo death metal parts of great sonic impact with highly atmospheric ultra-slow, funeral doom-drony intervals. Sleep of the Damned Part II and the adjoined suite Wipe Out Christianity-Pestis  possess some incredible dynamic parts lead by vortex-like technical riff combinations where complexity never downgrades to sterile technicism. On the contrary these twisted technical riff patterns incredibly retain some primitive, old-school death metal freshness and add tactics to the brutal attack of this music to your senses. It is a clever chase. You can’t escape.

    Vocals are deep, rough growls echoing over both the fast and the slow parts, not covering or disturbing the sound but either reinforcing the strength of the barbaric charge or contributing to the grave, somber solemnity of the atmospheric insets. As to these atmospheric, slow, drony parts, they are far from being relieving or reassuring. Especially in the “post-atomic”, final part of side A spacey atmospheres evoked by effects, feedback, drones, elaboration of noises, and some majestic drumming echoing in the background are hellish and  alienating. Sinistrous Diabolus evoke the noise of an unreal, post-battle deserted, dead world where the only alive (?) presence is a highly disturbing, hardly human rants and breath by the vocalist recalling some features of Attila Csihar’s style.

    Side B opening, Gate of Hell, is duly infernal. Almost 3 minutes of violent, low-/mid-tempo rambling death metal surges unleashed with incredible fury but with a heaviness that translates into solemnity more than into sheer brutality, a sort of epic form of war metal. The fury will die out into a haunting, occult slow chanting leading to the roaring reprise of the doom-death march of Sleep of the Damned (this time Part I). This part of the album is more strictly adherent to the doom-death style as heard in old-school bands like disEmbowelment or Extreme Darkness: slow plodding rhythms, sabbathian riffs, slow martial drumming, seismic bass, deep dull growls and much dark, anguishing ambience. This is the ideal way to shift towards the most atmospheric and epically melodic, deeply melancholic part of the album, comparable to what heard in bands like Evoken or Esoteric, the stunning funeral doom suite “The Essence Of Divinity Given To  Abstractions Of The Human Mind”. This spectacular funeral ballad is majestic in both length and development: it starts in an almost delicate way but it will gradually turn into a rambling march driven by a continuous build-up of sounds and effects towards paroxysm. It will be like seeing a titanic hurricane building up and coming towards you. The very last notes emitted by the chords vibrating in the silence will tell you that you are deep into the eye of Sinistrous Diabolus’ sonic cyclone.

    Album Total Doom /Desecration is a great release and a must for those addicted to ultra dark, slow, unbearably heavy, murky, suffocating metal sounds and who also appreciate ambience and, also, variety. Sinistrous Diabolus display a wealth of sounds and shades that account for the list of the band’s official sources of inspiration and that you can pick while listening: Lord of Putrefaction, Blasphemy, early Slayer, Bathory, Thergothon, disEmbowelment, Asphyx, Esoteric, plus also Wormphlegm, Eternal Darkness, Winter, Evoken, … Moreover sound production is simply awesome, solid and dirty when there is a battle going on and ethereal when effects depict ambience. The rendering of the sounds is tri-dimensional and all the instruments are audible and enhanced when it is the case. Total Doom /Desecration is out as LP via the New Zealand label Internecion Production, the same label releasing stuff by Vassafor and Finnish act Lantern and run by folks related to another cool NZ band, Heresiarch. For doomsters and metallers in the northern hemisphere the LP is conveniently available via Iron Bonehead (Germany – this for sure, I bought it there),  Invictus Prods. (UK) and Contagion Releasing (USA). The Internecion guys or the band on Facebook will provide all necessary or additional info. A high-quality digital version of the album is also available for a few bucks via Bandcamp, where, by the way, you’ll find all the previous releases for free download, including the acclaimed Opus One, live recordings and some covers of tracks by beloved pre-Electric Wizard bands (Lord of Putrefaction and Thy Grief Eternal).  Sinistrous Diabolus are back and, judging from the hellish fire they started with this new monster album, they are here to stay, and dominate

    Words: Marilena Moroni

    Internecion Production

    Sinistrous Diabolus - The Essence Of Divinity Given To Abstractions Of The Human Mind

    0 0

    No Words Needed - Due For A May Release

    0 0

    I can't conceive of anything doomier and more oppressive than this being released in 2013, unless it is forthcoming full-lengths from Cough and Windhand themselves. Here, the two titans of slow motion musical suicide unite for a three song album that is sure to suck every last ounce of cheer from your limp and helpless body.

    It's 3 songs but definitely not an EP, not with two tracks exceeding the 18 minute mark and the third coming in just over ten minutes. If you like any kind of pace to your music, head in the other direction, because these two bands don't believe in more than 3 or four drumbeats a minute. But if you crave the total heaviness of complete  and utter DOOM, then prepare to celebrate, because "Reflection of the Negative" is leadweight in the way that only true doom can be. Cough get one track to themselves and it is a real aural monstrosity called "Athame". A dead slow drum beat, an eerie high pitched organ motif and sampled dialogue giving the usual Satanic mumbo-jumbo gives way to slow, ultra-heavy riffing that will buckle your knees. This is the stuff that doom dreams are made of. It's a thick, warm swamp of repeated sonic sludge that induces a trance. Vocals are pushed way, WAY back in the mix and seem to be either spoke word mumbling or horrific shrieks. Just when the repetition reaches the absolute breaking point, the riffing changes and becomes even more catchy and tribal. Cough carry this monster riff to the bitter end of the song, with plenty of acidic guitar noise laced on top. This track is a nightmare, that's the only way to describe it.

    Windhand then kick in and really, they can't equal the sheer evil of Cough, but anybody who picked up their awesome self-titled debut will love the two lumbering anthems here. "Amaranth" is 18 minutes of trance-inducing thick and meaty doom with the ethereal ghost-like vocals of Dorthea adding their own atmosphere. This track is really almost two songs in one. "Shepherd's Crook" follows in much the same fashion and if anything, is even heavier and more plodding. Right now, Windhand have tapped into a simple and incredibly effective style of music, but somewhere down the road, I can see them falling into a pit of monotony if they don't change the formula they've used so far. But on "Reflection of the Negative", they are still massive eidolons of doominess.

    Usually splits don't interest me too much, but this one is really the elephant in the living room...impossible to ignore. I look forward to further low-tuned brutality from both.

    Words: Dr. Mality

    Cough | Facebook
    Windhand | Facebook

    0 0

    Welcome barbarian doom heroes Surtr! They’re returning with their second LP “Pulvis et Umbra” to plunge our world in the very flames of Pagan Doom and Damnation! Even if one of the crew is injured others hold the banner high and they’re ready to march through Europe to get each of you wherever you hide! Yet don’t be afraid and accept Surtr riffs with your heart and soul.

    Salute comrades! As all of us know main news from the Doom World of Surtr is release of “Pulvis et Umbra”, yet first of all, man, Surtr is a trio but Julien is injured, it’s a very sad obstacle on the way of the band. How do you do mate?

    Julien: Thank you for worrying about me! I'm fine and I'm really longing to play with my bandmates again. I deeply miss our gigs and rehearsals but for the moment I still have to be patient and keep calm to get things back together. I really hope that I'll be able to play again by the end of April. However, it wasn't such an obstacle for us as I asked my friend and excellent bass player Antonin Rubatat to stand in for me for the release party of the new album. He did an awesome job and everything went well. Although I felt a bit sad seeing my band performing with someone else, it was the best decision to take and I'd like to think that this whole process ended up showing that we are a band one can rely on, and that we are not the kind of people who give up as soon as something goes wrong.

    Glad to hear, that you’re fine, mate, I hope that you’ll restore soon! “Pulvis et Umbra” is released both on to CDs and vinyl, and it seems as a good start to promo tour, what are your touring plans for the spring and further?

    Jeff: Actually we had to cancel some shows as Julien was injured. Now Julien has to come back as its best so we will work step by step to get him fully ready for Hellfest Open Air on June 22nd. Then we’ll see about touring. We’ve some plans in Germany and in France for September. We will try to tour the most we can for sure.

    Surtr is professional doom band of course and I remember your first full-length well. There were 5 songs with name “World of Doom – Part I-V” and cover version of Reverend Bizarre most popular song. Now your songs at least have personal names, what did happened? Did you get an idea of Surtr conception from the beginning or does it became to incarnate only through “Pulvis et Umbra”?

    Jeff: When Régis and I have been working on the very first songs of the band, we took the habit to concatenate the songs in rehearsal. So the idea of a concept album came to my mind logically. And we built “World of Doom” has one song cut in five chapters. For “Pulvis et Umbra” I arrived with two songs, “The Call” and “Rebellion” which can be concatenated as one song like on the CD or in some gigs, or played separately. Then I wrote “Sonic Doom” and, naturally, we built smaller tunes which can be played in the order we want, even if, together in the right order, they build a complete story.  We don’t think that much about what we want to do : if we want to write a concept album, just a 10-min long song or several small song; if we want to have something epic or something more funeral,... We just play rock n’roll and the result is just what we like to do at the moment we do it. That’s it. Doom metal, and music in general, is something instinctive for us. No mathematics. No complex theories. We are not thinkers, we are doers and rock n’roll is all about that. When songs are mostly composed, then we play them again and again until we all found and put the feeling we want in our personal parts.

    Well, may you clarify what was a whole conception of “World of Doom”? I guess that most of us have their lot of “doom” in daily obstacles and there’s no mystery at all. Well, more than this: there’re people who know real meaning of such words as “suffering” or “pain” but they don’t record doom albums. I guess that these words are not about Surtr, but what do you think? I guess that some of us (including me) have a tendency to feel “doom” even when our life is fine in general.

    Régis: I don’t think that you need to have a bad life to listen to doom metal. I find that listening to heavy and dark stuff makes me feel alive an able to face the world with more lightweight feelings. In fact, I think that your vision has to be all clear about what’s happening in life. When you really suffer from something, you cannot write about this, because you are focused on the pain. Thus, you just can write doom metal with what remain of this state of mind. But that has nothing to do with the concept of the “World of Doom” album. “World of Doom” was more about how mankind is running again a wall and just speed its end up. These who get the power just do things, asleeping the others for their own need. And this is an epical battle since centuries. With this point of view, I think that “World of Doom” was very “narcoepical” album.

    Julien: You have to find inspiration somewhere, and I guess it's part of a musician's job to translate your feelings in what you write. When I take my instrument and just play without trying to think too much about what I'm doing, what will come out is going to sound sad and melancholic or angry. Although I think that i'm rather a nice person, this is just the way I express myself, and it's probably the same for Jeff and Régis. I guess that it's our way to evacuate our own negativity and to share our dark side with other people who happen to feel the same. In this sense music is a great outlet.

    What did change in the band since release of “World of Doom”? Did you analyze your work or do you just continue to compose and play music as you feel it without any “scientific” methods?

    Julien: Yes and no. We still write and play things as we feel it but in the same time, we were getting a bit bored about playing very long songs and thought we would do better at writing more focused and direct titles. As I joined Regis and Jeff, “World of doom” was already written, and I just put my bass lines on the existing pieces. Even if Jeff is still writing the most part of the material, for “Pulvis et Umbra”, we worked much more as a trio, and everybody came up with ideas on which we tried different arrangements. We also improved a lot in the way we play with each other which makes the whole thing more coherent and tight. There's more room for vocals, less but better guitar riffs, the drumming is more solid and groovy, and I've more liberty and space to come up with interesting bass lines. But otherwise, we haven't changed that much, we’re just improving, which is very exciting for the future.

    I know that Jeff also writes and plays things for other bands, so, Jeff, what’s about your projects besides Surtr? What are your priorities?

    Jeff : I've stopped all my other metal side projects when we’ve founded SURTR with Régis. I've just kept my eponymous indus ambient project alive because it’s my recreation since 2002. But actually I’ve just released one album (“Torment”) the last four years and I’ve no plan for the future. It’s kind of stand-by too in fact. SURTR is definitively my only band and main project ever.

    What kind of difficulties did you face recording “World of Doom” and “Pulvis et Umbra”? If I remember it right your label Altsphere Productions had some troubles but it’s chief did intend to release new Surtr album anyway.

    Jeff: As owner of Altsphere I can tell there were no specific problems at the time I released “World of Doom”. In Fact it’s more about common difficulties that every indie label has to face: trying to be visible in the shadow of the main big labels, trying to sell enough stuff to have enough money for the next release and so on…
    Julien: For “Pulvis et Umbra”, the main difficulty was to find a studio in our area where we could record the instruments live, as we wanted to keep a natural feeling to it. We were lucky enough to find that in Nancy, at Mon Studio where Yann Klimezyk did a great job as soundman.

    Surtr “I’m the Cross”

    Jeff, may you tell – as an owner of Altsphere – what are plans of your label for a nearby future?

    Jeff : To be a small indie alternative records label is not really easy. Each release is a new challenge and your future releases depend on the previous ones in terms of money of course. So I released “Pulvis et Umbra” in CD, LP and digital and in April will come the second album of Italian Southern Stoner Death’n’Roll band CARCHARODON. They received good feedbacks and have already a US Tour planned. Check this out if you’re enough open-minded to like a mix of Entombed, High on Fire, Crowbar, Down, Pugent Stench, silly funny lyrics and country-blues music.

    I’ve heard only two songs from “Pulvis et Umbra”, they are “I Am the Cross” and “The Call”, both songs sound bloody strong and heavy, yet they are really diverse as if you had different approach recording them. What’s about other songs of the album? Are they so differing too?

    Julien: You're right, there are definitely a lot of differences between those two songs, but they both ended to sound like a Surtr song. “The call” was one of the very first songs we wrote for this record, while “Cross” came up from jamming at the rehearsal room. We'd like to think that each song has a different and unique flavor to it, that each one explores a different side of the band. We don't plan to stick ourselves in just one direction, but again, this is a very natural process. We're not like “hey, let's do a funeral doom song!” It just depends on our mood in fact. For instance, “Three Winters of War” has a more epic touch, “Sonic Doom” clearly shows a more organic and direct side, and “FKA” shows us experimenting some new directions for the band. It's a varied record, but our own style can be heard through the whole album, and I think it's one of the reasons why lots of people seem to like it also.

    And what is your favorite song on the album? True to say I mostly think about my favorite songs but do you have one which you listen with pleasure time after time enjoying it’s riffs, melody and structure in itself?

    Julien: I really like the intro to “Rise Again” and 'I'm the Cross” is a very cool song. We had a blast writing this last one at the rehearsal room, it came from nowhere and ended to sound pretty good I think, very natural. It's definitely a song that makes my head bang everytime I listen to it. On the first album, “World of Doom Part IV” is still my favorite, very simple, heavy, dark and somehow frightening with a unique atmosphere.

    Jeff: I really like to play “Sonic Doom” because the main riff goes straight in your face. But I also enjoy listening and playing “Fred karno’s Army” or “Rebellion” because there are lots of small stuff hidden inside, nice structures and they’re never boring to play.

    Régis: I like “The Call” and “I am The Cross”. The first one gets a lot of sides that I like, like sorrow and power. “I Am The Cross” because it is very heavy and a little bit in a Cathedral vein I think.

    And let us clarify one thing about band’s name. Surtr is a “giant with a flaming sword” in Nordic mythology, but you’re from France and I wonder why didn’t you take a name of some local pagan heroes of gods… I still wonder how Nordic and Christian mythology have such huge influence onto metal scene - even Manowar has an album about Odin and his friends and most of bands who don’t believe in Christian God use image of his opponent in their songs!

    Julien: Nordic mythology gods are better than our local heroes :-) I guess that Metal is a lot about not accepting the established order, and rebellion against authority. Using an inversed cross for instance is much more a sign of reject towards common thoughts and right-thinking persons than adoring Satan. It represents the right for every people to be different, unique and responsible for his own life. It's about showing your opposition towards conformity and the world we live in.

    Regis: Nordic and Germanic mythologies are linked. We are from North-East France and that means a lot to me. We have a lot of history in common with the old German’s culture and even more than with French culture actually. For instance our local language is an ancient Germanic language, spoken here for over a thousand years you know. The name Surtr was chosen because of his role in the Ragnarock tales. He brought doom on earth. In fact he should be THE God of Doom. His name can also be translated as “Svart”, which means “Black” in English. That’s the color we want to show with our doom metal. I like also Christians’ symbols, like the cross. Today the Satanist imagery has maybe become too hype, in that way it is nowadays an established order that doesn’t make any provocation anymore. The Christians imagery shows more how evil and stupid mankind can be. During centuries, men were bounded deprived of their liberties under the shadow of this “peaceful and loving religion”. With politics issues today, we can see that things didn’t change a lot. That’s our role to show it.

     Hah, okay, then what’s about Satan? Will you get few words about him in Surtr’s songs? And how do you like that popular moto about “worship weed, smoke satan” or something like this?..

    Regis: Satan is a part of the Christian religion, the “bad and the good”, “the white and the black”. But I think that in a certain point, Satan is more linked with the human race in Surtr’s lyrics. Humans are their own slaves bound by capitalism. Consume, consume and die the fuck alone.  We are not a stoner band, then I cannot really linked the moto “Worship Weed, Smoke Satan” with Surtr haha. Personally I’ve stopped smocking weed few years ago because I was this slave and I just did nothing with my life, but that’s personal. If I want to get high, I take a bottle of Jack Daniel’s and listen to Electric Wizzard!

    Didn’t you think about common simplification in metal scene and in doom scene particularly? I’m meaning that we have here a number of symbols, themes, riffs and clichés which is needed just to mix to get a doom album in the end. Of course, there are good exceptions, I would like to ask you about them and about your vision of this situation.

    Regis: Symbols and clichés are the way people are able to recognize each other as members of a same group. This is sociology. The metal scene is nothing more than a social group, divided in many sub genres. So all symbols or themes are signs of belonging like everywhere else. For my part, I like the sound and the riffs, I have interest in the themes, I understand and I appropriate myself the symbols. That’s what does the whole metal scene, and particularly the doom metal scene. No more, no less.

    Julien: I agree with you up to a certain point, but you should not forget that we mainly use all of this symbols and sometimes clichés because we simply appreciate them. We have grown up listening to metal, reading the lyrics, watching the artworks, and we simply like the whole doom and metal imagery. It's our culture, a kind of religion if you prefer, and an important part of what we are.

    By the way, which doom metal trends do you like and which ones are enough silly for you?

    Regis: I like a lot of metal genres, from death to black, but also thrash or crust/punk. I like music who punches me from the inside, something that can make me feel that I am still alive. I like doom metal that gets a real vision on the nowadays society and living stuff. I think that the must hear will always be Saint Vitus. Slow, dark and down to earth. Mega riffing, punchy and dusty as fuck, that’s doom metal. But I have to say that the whole “occult/ritualistic” stuff is boring me a little bit. Some bands are very good for doing this, but a lot are simple trend followers, coming there to make money. And a lot of bands that were put on the top for a few months, have already split-up. It is a little bit the same with all the retro stuff. There are some bands that I like very much, like Witchcraft, Graveyards or Kadavar, but when the genre becomes overcrowded, you have just to wait a while, which bands make it honestly, because they will still be their in 5 years doing very good stuff.

    Surtr is confirmed at Hellfest 2013, and it’s a really good advantage, how often do you usually play and what were biggest venues? By the way, doom is rock music and everyone knows that band’s tour is an endless string of booze, hangovers, sluts and weed smoking. May you entertain our honorable readers with some fantastic stories from Surtr’s gigs? ;-)

    Regis: Ha-ha, that’s personal, but you have to know that we have nothing to do with Motley Crüe. Hellfest will be the biggest venue where we actually played. I just look forward to it, because I know that the organization is just very good and that they are great people. And it gives us the chance to play alongside bands like Candlemass, Procession or Manilla Road. It is a little bit like a child dream that comes true, that’s all. But that doesn’t mean that all is done, and we have to continue to work a lot and play as much as possible. I also like small venues, where the public is very near and sweat with us. But in all cases, what is sure is that booze will always be there, and so do hangovers too. For the rest…

    Julien: I don't want to disappoint you, but we are no rock stars! Touring isn't always as fun as people may think, even if it's still the best thing in life. We hang together a lot outside the band, and it may be there where you could find the funniest and too shameful to mention stories.

    Good, thank you for patience comrades! I wish you all the best on your way to the top of Mountains of Doom! And Julien, go back into Surtr formation as soon as you can, hold on mate!

    Jeff : Follow us anywhere on the Internet and support us if you like. Be doomed !

    Régis: Where is my fucking beer??

    Julien: Thank you for your kind words and this nice interview! And thanks to all the people who like and share our stuff, we are more than grateful for your positive feedback.

    Interview By Aleks

    Official Website

    0 0

    There’s no secret that Mourning Beloveth still holds the place of one of the best death doom metal bands in Europe. The band was born in Ireland somewhere in 1992, and it’s very good that they are still with us since that time. More than this – Mourning Beloveth is an active band, and as some of you already know Grau Records have released their new full-length “Formless” at February. Do you want to know more info about new stuff straight from the tin? Then take a look here – it’s a brand new interview with Frank Brennan himself!

    Hello Frank! How are you? Let me congratulate you with another chapter in Mourning Beloveth history! You’ve released new full-length album “Formless” at 22nd of February via Grau Records. First of all mate how will you promote the album? Mourning Beloveth is enough well-known to start a tour in support of the release, isn’t it?

    Hails and greetings to all, Frank here to answer your queries, well as far as promotion for the new release we usually just try to do as many gigs as possible, we love to play live and have some cool festivals coming up for us including ROADBURN in Holland and a few other gigs in Europe and of course MOSCOW again. We have done our own tours in the past and will again maybe at the end of the year when the festivals season is over, but for the moment we are just concentrating on the festivals we are booked for..

    Last albums of Mourning Beloveth were released by Grau Records, a label with good taste in all what concern of qualitative doom music. But I remember that “Dust” and “The Sullen Sulcus” were produced by another label. Do you feel differences in methods of working with various labels? Did your demands to promotion and other things change?

    Yes we have released 3 albums with GRAU so far and of course every label has a different approach to marketing and promotion,  in fact DUST was originally released by ourselves, we created our own label just to release it, and then a good friend of ours had started a label SENTINNEL and he rereleased it, and sulcus was picked up by AFTERMATH in Norway, but to get back to the question workin with GRAU gave us more time to concentrate on the music end of things, we don’t have any specific demands for promotion only that who ever we work with does their best to get our music to as many people as possible… every label has their own methods of how they operate and I guess GRAU has done some good things for us.

    New album always means new promo sessions, don’t you tired of all these interviews with similar questions? :-) What kind of questions do you hate the most?

    We like to do interviews I all seems to happen around new releases, it seems to be late night when I’m replying and usually a bit stoned so it depends how mundane the questions are, I done one a few weeks ago and the same question was asked in 8 different ways, that annoys me but I try to give my best to answer with truth and honesty…but the one that bugs us all is when we get questions regarding some my dying bride similarity or shit like that. Other than that ask what thy will…

     Frank, after 20 years of playing death doom, what did change in the band? Let us start with changes of your approach to songs composing – are your priorities same now as before?

    Fuck, has it been 20 years already… oh I'm old, haha, but for us it's still the same as in the song is more important than anything, we still have the same procedure in song writing as we did in the beginning… but in another way we are different than the early days, our sound has changed a bit, in as far as to say we have matured a lot and our world perception has evolved and it transfers through the music…

    Well, now about “Formless”. “A Decease of the Ages” was released 5 years ago – in 2008, so it’s obvious that Mourning Beloveth followers want to know more about new songs. What’s new have you prepared for public?

    Well DISEASE FOR THE AGES was a very course and cold album, dry harsh guitars and the feeling throughout is very desolate, not to say FORMLESS is not desolate, it is but in a different sense, theres a  warmth to the new album that is both enlightening and smothering at the same time… just like existence,

    Yes, I’ve got your point, but what are real reasons for such changes? Can we separate personal life and experience of musicians and their work in the band? Look, man, Anathema had problems with girls when they were young and they were playing death doom, then things went better and their change the style, but MDB plays same stuff as always for damned lot of time and… Oh, well, okay, just bring it on!

    No to be honest, I don’t think you can separate them from each other, your music is the feelings and thoughts that occupy your mind and what make what you are and we need this music to vent all that emotion away. To expel all pains and fears so as to feel free if just for that moment.. it’s a kind of therapy…


    I wonder how much time you spent in a studio recording new songs… You know it’s an old stereotype: metal guys go to a studio, drink there, crush the equipment and then have a brand new full-length! So how did record session of “Formless” go?

    It was a strange thing to be honest because I had some idea of how to approach the songs and at the same time I had no idea, first time writing with Pauric I was curious and nervous of how it would work but once we started structuring and raping the songs apart until we felt there was something working, some of the songs came together a bit easier than others, even transmissions riff parts were in so many different arrangements but I always knew it would sound different on its own merit haha there was no crushing of our valued gear, sure don’t you know were all starving artist struggling to get our art out there for the kids…

    What is your favorite song of “Formless”? Yeah, I know the story that “each song is like a child” :-)

    Well they are like children their yours nobody gave birth to such monsters, haha but really you never really have a favourite song per say, but there's certain  sections that are great to play or passages that feel so good to sing it gives you this sense of completeness you feel whole in those instances, but I have many of these on this album I have to say that nothing has a centre which was the last song we arranged in a few short weeks I may add I just came together, it was an old riff and felt right and I love that vocal harmony which was a bitch to do. But every song has something that holds you into its life….

    I see that “Formless” is released as vinyl and double CD edition, and second part has only one song. What is this song?

    This track is still in the same vain as the rest of the album but it has a different flavor compared to the rest of the songs, so it kinda needed to be separate for a simple reason, it’s a strange song even for us, it based around the fact of we are all overwhelmed with propaganda and surreal messages being churned out for the human mind to be flooded with sound bites and news bulletin being washed over us to confuse and distort our views, everything being sold and re-wrapped and resold and tryin to obscure our perception of the world, the idea sprung from an idea I had of some guy sitting on his porch picking at his strings and these new bulletins sprouting from a tv or radio in the background as a tolling bell rings ominously in the distance giving the feeling of being separated from reality but also being caught in the trap set by the powers that control society….

    What kind of topics do you raise in your new songs? New art-work is non-typical for doom genre, it’s quiet cruel and brutal, didn’t your change band’s conception?

    We feel the artwork suits the message we try to portray in these songs, the formless pupa having no real shape or construct, nailed and tied to life, having no release of free movement…
    As I was just pointing out in last question the lyrics deal with the view that we no one seems to listen anymore to make their own view of the world, that our livelihood and futures are bought and sold back and forth all wrapped in a different plastic, wars to keep man at bay, to control the masses, propaganda to keep revolution and change from uprising…. Keeping mankind down with a very powerful control…

    But mankind seems to love the control… We got trends and most of us follow them gladly and blindly, someone tries to break the ties yet he catches another trend of being mindlessly “against the system”. You’re a musician, you’re an artist, you’re old – you’ve said it by yourself – do you see a way of breaking this circle? Does music really help you to deal with that?

    No man is ever free of control, his worst control is his own, we hold ourselves back from basic living our own life, even family, work and other aspects of our social intrigues are a control, we need them to feel a part of something and trends are things that humans vaguely attach themselves to see if they fit into certain groups of society or even certain scenes, but I’m still the same I just wanna play my guitar and sing a doom to the world and that’s not trendy..

    Man, I remember that you recorded “A Disease of the Ages” with Brian, and now Pauric Gallagher takes his place. Did he take part in composing of “Formless”? And where’s Brian now?

    Having worked with Brian the longest, with us being in one of the first bands I played with before Beloveth formed, I was a pleasure to have had him being part of our journey, it was a difficult transition to lose him, I won't go into the semantics of that split. All hails to him for his contribution over the years. I don’t really see Brian that much around, I dunno if he has some other music interests going on at the moment. It took us a while to figure out who would replace him, we had a couple of guy's in mind, but when we found Pauric, we knew we had found something good, he fit in with us so naturally, even with him being so much younger than us he has the same views of how music should feel and he adds another aspect to our style that is only going to grow into something better in the future..

     By the way, you made a diagnosis for a humankind bringing it in the title of your previous album. So dare I ask – what is this disease? And what is your “prognosis” for a “patient”?

    Humanity is the disease, a disease upon  itself, we wallow in a drunkenness of ignorance and hate, we strive to crawl through life and we poison ourselves in a toxic haze to get through the pain.. we medicate ourselves in whatever we can, let it be drugs, drink, music  or whatever we can to make sense of it all….

    One of most intriguing news for our Russian readers is return of Mourning Beloveth in Russia for taking part in Moscow Doom Fest VI! How long were you thinking before agreed to play a gig in Moscow? And do you have some other plans for Russia besides making a killer-gig?

    I was an instant decision to return to Moscow, we enjoyed ourselves so much there last time, couldn’t believe the warm welcome for us there, a long way from home but feeling at home with all those dedicated fans… I was a pleasure to play there, and will return many times again… the fans were amazing there… this one guy travelled days on a train just to see our show… what a legend… and I have to say, Russian women are so so fine we just want to return to look at them and hope they are not shy to come chat to us when we return…

    Oh, I would like to ask you about most crazy gig of Mourning Beloveth – get this question like you want! :)

    Oh we have had many crazy episodes throughout the years and met many a crazy fan or two along the way, but for me one gig always sticks out in my mind for craziness is when we toured America in 2003, we had played some strange venues but one in particular sticks out, we played in this venue called the junkyard and as many venues have cool names this place was in fact a junkyard with pickup trucks and cars everywhere, no stage, just a garage floor, and it had gigs 5-6 nights a week, but they were usually crusty grindcore gigs and the place filled up with crazy crusties, moshing and drinking and one guy climbing under the drumkit asking our drummer to hit him with the drumsticks during our set… it was such a fun show to play, dunno if I would want to go back there again but I was such a laugh…

    Frank, thank you for the  patience which you were demonstrating answer my questions. I wish you and the band all the best on your way to Russia and back. We’re waiting for you. Already. Really. Right at the bar.

    Thanks to you and your readers for takin the time to listen to my ramblings, and I hope to see you guys soon…..      Doom on my friends…

    Interview By Aleks

    Official Website

    0 0

    Come follow me to the deepest Russian underground! Come to Old Chapel! Come to celebrate the black mass and feel the raw and wicked atmosphere of twisted old school death doom metal. The band has released new Ep “Symptoms of Possession” a month ago, and it’s their second work with first full-length “Tales From The Churchyard”. Here’s quiet interesting story of Pavel (vocals) and Sergei (drums), band’s founders.

     Salute! Congratulations on your new release! EP “Symptoms of Possession” was presented on March 10, but so far little is known about your band. To begin with, who you are?

    Pavel: Salute Alex! The idea of creating a band came to me and Sergei a few years ago, may be around 2007. We spent a lot of time searching for musicians, unfortunately this search still continues. We don’t have a complete line-up. The music we want to play is not very popular in our city Ivanovo.

    Sergei: The first rehearsal was able to take place only in April 2010 due to these line-up problems. And we still have months of downtime.

    Old Chapel is usually defined as death/doom band, but it is obvious that the elements of death metal dominate in your music. Where did the definition “doom” come from?  How much of doom is in your music?

    Pavel: Doom metal is the music of our past. Of course death metal is predominant in our music now. Doom component is formed with slow and measured riffs forcing a gloomy mood. However, I think that it is difficult to draw a clear line between death and doom in our music now.

    Sergei: I think it will continue to be more death metal. We’re going to write more fast songs next time, we want to move in this direction.

    Both your albums sound aggressive and raw. Do you agree? What is the reason for the anger?

    Pavel: Rawness is a loose concept. It doesn’t mean poor quality. Personally, I don’t feel any extreme anger in our music. Perhaps it is, but I would like to add more anger. True metal should be angry; it should be intensive and punchy. I think that in this case the word “energy” is more correct than the word “anger”. I would like to feel more energy in our music.

    I would not argue, but even your cover arts and song titles can be described with the word anger. I will ask in another way. What emotions do you put into your energetic music?

    Pavel: This is a difficult question; it is not easy to answer. We try to write dark music, it is important for us. As for emotions, they are akin to those you feel watching old horror movies.

    By the way, the sound is raw on purpose, isn’t it? Or may be this rawness is just the lack of studio processing? Were there any differences between recording these two releases?

    Pavel: Raw sound is important for us. I want to repeat that rawness is a very loose concept. We are not very satisfied with the sounding of our releases. Yes, there were many differences between recording “Tales from the Churchyard” and “Symptoms of Possession”. We have tried to avoid many of the mistakes that we made in the recording of the first album. I think we have made some progress in this. We recorded “Symptoms of Possession” at another studio, with another audio engineer. It was very difficult to work with a guy who recorded “Tales from the Churchyard”. His negligent attitude is unacceptable. It was a bad experience.

    Well, both releases were recorded in different studios. I did not ask about such things for a long time, but how much money have you spent on recording each album?

    Sergei: Yes, the releases were recorded at different studios. In the case of the first release, it was not quite studio. To be precise, it was a rehearsal room. To be honest, we spent a little money on the first album, something around 200 $. All the drums were recorded at once, for about six hours. Drums for some songs were recorded in one take. We were really constrained in time and conditions. We treated more seriously to record “Symptoms of Possession”. We spent more time and of course money, something around 500 $, including payment for mixing and mastering.

     Your stuff looks at the western way in all respects. Obviously, the roots of the style are in Europe, but I’m sure you understand what I mean – your songs’ plots, your art work, and your devotion to old school… What are Old Chapel’s ideals? Who inspires you?

    Pavel: I like old school death metal, sometimes doomed, sometimes extremely fast. I like Autopsy, old Swedish school, and classic thrash. Modern bands which play in vein of old school death are very important too. I mean Decrepitaph, Bastard Priest, Hooded Menace, etc. I could continue this list. Great respect to Pyre from St. Petersburg, they are awesome and very professional band. Also I often listen to punk metal or crossover; I mean something like Municipal Waste.

     Sergei: Well, I have no ideals, I have sources of inspiration. Old death metal, predominantly Swedish, old classic thrash, bands of the new wave of old school death, something like Bombs of Hades or Bastard Priest. Also I must mention classic doom, stoner, old fashioned heavy metal.

    “Tales From The Churchyard” was published by Gris Records (Ukraine). What were results of this collaboration except an opportunity to publish your stuff in CD format?

     Sergei: This collaboration gave nothing. There was no promotion by label. We used to wait for answers to our questions for months. Moreover, the booklet was changed without our consent, and there were mistakes in the layout. We are working on re-release of “Tales from the Churchyard” now. It will be re-mastered, the layout will be changed. It will be on factory printed CDs and it will be limited to 500 copies.

    Wow… Who is engaged in re-release of “Tales From The Churchyard”? How successful was the self-promotion?

    Sergei: There was no self-promotion as we are not satisfied with the quality of that first album. Moreover, some bastard downloaded the tracks from our MySpace page and distributed them all over the internet in a low bit rate. The same thing happened with the new ЕР. It was intended for free listening through Bandcamp, bur someone found the way to download the tracks again. As for the re-release, it must be said that the label found us by itself. I think it is too early to give its name. It is located in South America.

     By the way, what do you think about your first record now? Did you take into account some errors while working on the second release?

    Pavel: The first record is full of flaws. It is not easy for me to listen to this stuff now, I’m not satisfied with “Tales from the Churchyard”. We tried not to repeat mistakes of past while working on “Symptoms of Possession”. All songs of “Tales from the Churchyard” are decent. These songs are just poorly recorded, it is their undoing.

    “Symptoms of Possession” was released only in digital format as promotion stuff for labels. Were there any suggestions? Do you have any intention to refine the album before publication?

    Pavel: There will be no improvements. The stuff has its flaws, but we can not change anything at the moment. There were some suggestions, more than we expected. We have made our choice. “Symptoms of Possession” will be published as soon as possible. But we have to finish with re-release of “Tales from the Churchyard” primarily.

    I know that Old Chapel plays live. How often? How serious is your attitude to the band? Do you plan to record songs and play gigs regularly, or maybe you want just to push the project further occasionally?

    Pavel: We are serious about the band. I always yearn for concerts. I appreciate the opportunity of being on stage, as it is a great experience for the band. Concerts give the opportunity to show your real power. It is very important to bring the concert experience to the studio. Unfortunately, we don’t have enough of that experience. We had something like 10 or 15 concerts in our city. Once we were the opening act for German thrash metal band Necronomicon. Now Old Chapel does not give concerts because of the difficulties with the line-up.

     Sergei: We are always very serious about our band. It is very important for us. As for the concert, the last one was more than a year ago, in February 2012. We really want to give concerts, but not in our city. Here is very nasty attitude of organizers and public. We hope to find musicians for live performances, because there were some concert suggestions from other cities. And of course, we will continue to write and record new songs.

    What about the popularity of such music?? Old school death/doom seems archaic monument of the past, but recently it was widely popular. When this decline of popularity began? By the end of the Nineties?

    Pavel: I don’t think that death/doom is a monument of the past. If we mean something like Mournful Gust or Revelations of Rain when we speak about death/doom… Well, in that case everything is excellent. Unfortunately the music of these bands is not what I mean by death/doom metal. I think underground metal is good because it has more dedicated and more thoughtful audience than mainstream bands. Only true fans are always aware of the events in the underground. They know for example that the re-release of Gorement was published. They know about Desultory or God Macabre, about all bands that were forgotten by people. I also think that there is a new wave of interest in raw old school doomed death metal. That is good. There are new bands. Dinosaurs of ninetieth are back in force. Hooded Menace suddenly recorded a song of Eternal Darkness. All this is very promising.

    Sergei: I think that this music will be in demand as long as true metal fans are alive. I’m happy that in the underground nothing changes for the sake of fashion, everything remains the same as in the old days. Time has stopped here, and that's good.

    Sounds optimistic. I have no more questions for today. Thanks for the interesting interview! I wish you success with the publication of your stuff.

    Sergei: Thanks for the interview! Greetings to all the true metal fans. Support the underground!

    Interview By Aleks

    Official Website

    0 0

    Candlelight Records today confirms June 4th as the North American release date for The Hundredth Name, the full-length debut from Las Vegas-based epic doom band DEMON LUNG. The eight-song album was recorded with Adam Myatt and Billy Anderson (Neurosis, The Melvins, Sleep) and features artwork by English illustrator Tom Bates (Vision of Disorder, Amorphis). The Hundredth Name is a conceptual album as previously confirmed by drummer Jeremy Brenton. Its story line follows, “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.” Songstress Shanda Fredrick adds, “We have had the concept idea for the album for a few years.

    We have just been waiting until we signed to a proper label to finish writing it. Working with Billy was a dream come true for us. He has been like a fifth member of the band, a mentor, and just an all-around awesome friend. He helped us craft something that we are very proud of."

    Formed in 2011, DEMON LUNG features guitarist Phil Burns and bassist Patrick Warren, with Fredrick and Brenton. The band has a singular EP, Pareidolia (Bandcamp 2012), currently available. The recording was favorably received by international media. “Earthy-yet-horror-themed doom metal a-la Candlemass,” said Metal Hammer. “Their hazy atmosphere and unorthodox way of playing guitar in a doom metal band is an interesting approach that doom fans should immediately check out,” noted Metal Archives. “Their music is clearly from the soul,” added Ave Noctum. In their still short history, the band has performed alongside Pentagram, High on Fire, Jucifer, Witch Mountain, and Castle, among others.

    The Hundredth Name Track Listing:

    1. Binding of the Witch
    2. Devil's Wind
    3. Eyes of Zamiel
    4. A Decade Twice Over A Day
    5. Heathen Child
    6. Hex Mark
    7. Hallowed Ground
    8. Incantation (The Hundredth Name)

    DEMON LUNG has announced the following dates in April. Additionally, the band are set as a featured performer at the third installment of the Doom In June Festival (also featuring The Skull, Manilla Road, Karma To Burn, Ancestors, Las Cruces, Castle and more). Doom In June is sponsored by Heavy Planet, Planet Fuzz, Doom Metal Alliance, and Hellride Music.

    4/16/2013 The Bunkhouse - Las Vegas, NV w/ Ides of Gemini
    4/19/2013 The Joint - Los Angeles, CA w/ Crowned by Fire, Behold! the Monolith
    4/20/2013 Favorites - Las Vegas, NV w/ Ultra Electric Mega Galactic, The Freeks
    5/09/2013 Cheyenne Saloon - Las Vegas, NV w/ Cauldron
    5/30/2013 Hemlock Tavern - San Francisco, CA w/ Castle
    5/31/2013 Whisky Dicks - S. Lake Tahoe, CA w/ Castle
    6/01/2013 Doom in June Festival/Cheyenne Saloon – Las Vegas, NV
    6/02/2013 Pubrock - Scottsdale, AZ w/ Castle

    Official Website

    0 0

    Electric Wizard proudly presents The Electric Grindhouse Cinema at Roadburn 2013 on Friday, April 19th at the 013 venue in Tilburg, Holland. A 12 hour trawl through the abyss of 70s exploitation cinema… “when cinema was still considered art and art meant tits & ass to the grindhouse cinemas of the 70s”, says Jus Oborn, “Dirty sleazepit theatres in 42nd street NY, Soho, Copenhagen, Paris, SF, etc and across the world started out by showing ‘arthouse’ films with an emphasis on sex and / or violence but by the 70s this had devolved into pure sex and violence epics.”

    “Any film with the right ingredients could make money on the thriving underground circuit and some directors used this breeding ground to explore their own cinematic obsessions… Jess Franco, Jean Rollin etc… and some just sunk to the bottom for money, money, money…Harry Novak, 42nd street S&M etc…..either way they got darker, sicker, more depraved, shocking and sleazy. They have a primal roar that is unique compared to modern cinema . They are harsh, violent and evil like early Sabbath, Stooges, Pentagram, etc etc. We have handpicked from our personal collection a eclectic selection of obscure oddities.” “The grimmest blackest nightmares of a disenchanted era. Also we have special performances from similar darkminded souls…We are proud to present a special performance by Void Ov Voices (Attila Csihar) invoking unholy incantations with voice and audio manipulation over Horror / exploitations darkest jewels.”

    “Shazzula will perform cosmic rituals to the drugcrazed and depraved ‘midnight’ cinema when only druggies and maniacs remained. Aderlating will improvise audio atrocities in front of a specially selected compilation of the sleaziest and grotesque loops from New York and Denmark, films funded by shadowy satanic organisations and grim underworld crime syndicates…. and we have a performance by Nicklas Barker (My Brother the Wind) whose improvisations invoke the sleazy horrotica of the Euro Grindhouse factories.”

    Come my fanatics…”

    Source: Roadburn.Com

older | 1 | .... | 15 | 16 | (Page 17) | 18 | 19 | .... | 48 | newer