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    Today Ed and his adorable lady Sally are stuck at the hospital while Ed goes through his usual testing procedures. This tedious and expensive task involves a 2 hour bus ride there and another 2 hours to get back home. Plus with waiting times and the usual slower than a slug service that hospitals supply these days, these poor souls will be stuck in the hospital for most, if not all of the day. This makes me think it is time for another Ed Update. Most of the readers will know by now that the situation is virtually hopeless and all anyone can do know is try and see that medicines and treatments are maintained and sadly, this is still not the case. I have included a portion of a medical statement from last February (edited for patient privacy) and if you think it looks bad, I can assure you the debt has almost doubled by now.

    Thanks to all the folks that bought the Doommantia Compilation but the honeymoon is over on that one and now we set our sights on Volume Two of the compilation but until then, we have no money coming in at all to help our dear friends. So this another heads-up on what is happening. Ed's health is stable but fragile with his biggest hurdle being the on again, off again medical supply. Please ..... the time to help is now....

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    Let me introduce Mark Thompson, formerly known as a painter and photograph he started his own solo project Dispersed Ashes in 2009 recording two demos – “Earth and Dust” and “Scattered Traces”. He did continue to calculate an optimal formula of perfect funeral doom onto his first full-length “Arithmetic of Souls” and through collaboration on two split-records he came to second big work with a grandiose title “The Nature of Things” which was released in the end of 2012 by Rain Without End Records. Are you ready to plunge into philosophical and analytical cold funeral doom metal? Just follow me, Mark is here.

    Hi Mark! How are you comrade? Hope you’re in a good mood ‘cause last album of Dispersed Ashes “The Nature of Things” sounds pretty depressive and dark. At least were you happy with final result of this work?

    Hi Aleks! It has been a long day in the studio, but a good one thanks. Yes, “The Nature of Things“ feels to have been a positive step forward from the first album. It‘s more confident and dense in sound, and is therefore closer to the sound that I had in my head before making the recordings. I think it is also more cohesive as a whole. I‘m not entirely sure I‘m ever completely happy with anything, but I am at least content with it as a marker in the ongoing path of Dispersed Ashes

    “The Nature of Things” is quiet ambitious title for doom album, what was a matter of your researches in this work? What kind of results did you reach as person in a process of recording this stuff?

    Taken from the title of a poetic work by Greek philosopher Lucretius, I stumbled upon it whilst researching something else entirely. It was a very happy accident however, and it quickly became obvious that it was to inform my work in some way. I have always specifically avoided any arcane or esoteric references in my lyrics and titles, opting instead to keep it squarely in the realm of actual human experience. The original poem deals with reality in an entirely UN-superstitious manner, attempting to see nature and matter for what they really are. This unflinching look at things has proved very useful to me as I approach the human condition in my work. One thing that became very apparent was the observation that although times have changed, people haven‘t. We‘re still hag-ridden by wish thinking and what amounts to a fear of the dark. Recording the album was a very emotional process… this is something that has intensified as I have written subsequent songs.

    Mark, I know that you’re not only a musician but also you’re known as painter. Are those feelings which you express through your works similar to those which are projected through Dispersed Ashes? And where can we find your drawings?

    My creative work is primarily as a painter, and I started Dispersed Ashes in response to a need to express certain ideas that didn‘t translate into painting. In many ways the two disciplines require very different approaches, but as time has gone by they seem to be moving closer together. In both my musical and visual output I try to understand my own humanity, time and memory through place and allusion, but perhaps where they most differ is in the level of emotional intent. D A is much more dark and aggressive because of the physical difference in time it takes to make a painting or play a piece of music. The paintings take an extended period to complete and are thus more reflective and measured… D A is still quite contemplative in a way, but is more pointed and immediate. I exhibit my work quite regularly, but if you wish to get a taste of my visual work online, visit my website:

    Oh, I see… And I’m ready to agree now that Dispersed Ashes continue the line of your paintings, I’m starting to understand it’s distorted sound better. Can you name artists who do inspire you in musical and other artistic ways?

    I gain inspiration from many sources some visual some musical, and they have begun to cross pollinate, as it were. Most of the musicians/bands I admire seem to follow their own path rather than being allied to any particular genre, and many of them are outside of metal. For example, I love the work of trumpeter Arve Henriksen… he uses note combinations that never cease to amaze me. There is also a great deal of space and silence in his compositions. Similarly, I have started to really enjoy some of David Sylvian‘s recent albums. Within metal, Cult of Luna are not so much an influence as a source of wonder. Their song writing and attention to detail is startling. Altar of Plagues are also plowing their own furrow musically, and I find myself returning time and time again to their albums. Lantlos are also a band that I‘m listening to a lot at the moment. The phrase ‘post metal‘ is a little vacuous, but it does encompass any band that defies classification. I do of course listen to a lot of doom as well – mainly within the funeral or blackened areas; bands like Nortt or Tyranny. I also very much like modern classical and have recently been listening to Rachel Grimes, Dakota Suite, that sort of thing…
    Visual artists that interest me are somewhat easier for me to identify. I love the work of photographer Sally Mann. Her photographs continually surprise me with their beauty and unflinching gaze at us as animals. In a different way, the sheer mastery of Hiroshi Sugimoto and Thomas Joshua Cooper are constant sources of inspiration. Within the realm of painting, Anslem Kiefer never fails to surprise me. His imagery is so rugged and dense with meaning. Recently I‘ve also been enjoying the work of Luc Tymans. His paintings are quiet but deeply serious and uncompromising.

    Dispersed Ashes “Nature of Things” teaser

    By the way, I note that some of your works have a common details – I’m meaning that straightforward lines or rails. How do you interpret that image for yourself?

    I tend to respond most to imagery or music that is deceptively simple – unadorned and uncluttered. If by lines or rails you mean the perspective in the paintings and the building patterns in the music, they are quite intentional. It‘s a way into the work, both literally and metaphorically. I don‘t want to make the kind of compositions that the eye or ear cannot penetrate or are purely about the surface appearance. I want to invite you in… I‘m sure a psycho-analyst would have a field day with me!

    Your previous full-length album was named “An Arithmetic of Souls”, another good title. What was behind it? You’re from Stuttgart and German philosophical school is still one of most famous one, is it a kind of your national feature?

    Thank you Aleks. I dislike the arbitrary and throw away, so try to consider the song and album titles carefully. “An Arithmetic of Souls” was in many ways a statement about my view of superstition, religious dogma in particular, and how it attempts to govern and constrain the most important and celebrated moments of life by wrapping them in ritual. From cradle to grave, we have for millennia lived our short lives in fear of harming our ‘immortal souls‘ in some way or other and thus losing them to an ill-carpented and fictional hell. Even now our spiritual anxieties stand in the way of free enquiry. The album somewhat obliquely dealt with these ideas, and how they related to my state of mind.  Whilst I live in Stuttgart, I am originally from England and thus cannot really comment on the German psyche or traditions.

    Oh, that’s my fault – excuse me. Yet it’s funny, because it always seems the music as a form of art have a lack of such “arithmetical” logic as unconsciousness prevails, but I’m ready to suggest that Dispersed Ashes is exception. Heart or mind – which one plays leading role when you create?

    They play equal but opposing roles. The initial spark is purely intuitive, and the songs come out in something of a flood. Within that process however I am very aware of my note choices and the musical clichés that are best avoided.  As I get older and am exposed to a broader spectrum of music, it is impossible not to have all of it at the back of my mind, informing my self-editing. I think also that working as a one-man project gives me the freedom but also the responsibility to dictate the direction of Dispersed Ashes, and I try to be as rigorous with the songs as possible. I would find it difficult to approach them purely through reason and logic, but in order for me to move forward and progress I have to engage a certain self-criticism that prevents easy solutions.

    I guess that you’re as a man with versatile artistic talent should have a complex method of writing not only music but also lyrics. What are your lyrics about?

    As hinted at above, the lyrical content is centred loosely on the human condition, mine specifically, and how I process memory and experience. They deal with longing and loss, and the affect of time on both. The songs have no traditional verse/chorus structure as such, and so I am free to essentially write poems that explore the emotional content of the music. Describing lyrics is not unlike attempting to explain a joke – when reduced to its formal aspects it ceases to be funny - but I purposely included the lyrics in the cover design in case anyone is interested to read them.

    What were your most important achievements onto “The Nature of Things” and in a whole period of Dispersed Ashes activity?

    “The Nature of Things” is much more confident than my previous output. As a purely studio based project, it lives and dies on the recordings, so as I have gained in experience I hope the communication of my ideas has become more transparent. I have a very long way to go in sound engineering – the curse of all one man bands – but the more I learn the more I‘ll be able to let the music breathe. For example, when one is starting out there is always the temptation to drown everything in reverb and distortion… I‘ve rolled a lot of that off to reveal the personality of my playing a bit more. Besides the obvious artistic and intuitive aspects, I have also learnt a very little more about the craft of songwriting. I am very aware however that I have a long, long way to go…    

    I don’t remember funeral doom with clean vocals, don’t you ever think to be one of first explorers in this territory?

    The clean parts of my vocals tend to be either mumbled or whispered; touching on the melodic at times, but never exactly sung. I prefer the more musical aspects of what I do to be handled by the guitars, treating the voice as more of a threatening presence. That said, as my work develops I cannot rule anything out. I‘m not even sure I can claim a place in the genre…

    What are you plans for nearby future? Will you spend a whole summer behind black curtains composing another monolith of funeral and blacky doom metal or would you like to head on to countryside or some southern beaches?

    On the visual side of things I have an extremely busy end to this year, with three exhibitions that will run concurrently. The summer will therefore be a flurry of paintbrushes to get everything ready in time. Musically I already have enough new material for two new albums, but the drive to write and record is constant so, whilst I won‘t exactly be sequestered behind black curtains, I will surely have a guitar on my lap for a lot of the time. All that said, I will be heading towards the sea for a short period to continue a photographic project… does that count as a holiday?

    Well, I’m not sure… But I have one more question: how does new stuff of Dispersed Ashes sound? I’m meaning a whole conception of your forthcoming work and some new musical ideas which you of course embodied in it.

    The new work… well, to my ear it is much more varied. The hard parts are progressively more aggressive and angular, yet there is much more space and expression. I‘m trying to leave more room for the songs to have their own personalities, yet obviously to still sound like DA. I hope the next album with be a denser, fuller, and ever more emotional work.

    Mark, that was my last question for today, thank you for your time and patience. I wish you productive and interesting summer; please let me know when you’ll be ready to return spreading new Dispersed Ashes.

    Aleks, I shall make sure to keep you fully informed! Thanks for your continued support of Dispersed Ashes – it is very much appreciated. Something to look out for in the future is a new project that I have become involved in. I am the designated guitarist and melody writer for a new post-metal/doom band, with members from As Autumn Calls, and black metal act Lebensnacht. It‘s a different challenge for me, and it‘s starting to sound ‘interesting‘…

    Interview By Aleks

    Dispersed Ashes | Official Website
    Mark Thompson | Artist Website

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  • 05/14/13--14:54: Moss - "Horrible Nights" ...
  • Slow, bone crushing, dark Doom in the vein of ELECTRIC WIZARD, or WITCHSORROW? After joining Rise Above Records, MOSS don’t sound much like their past “horrible” selves. In their new album “Horrible Night”, the band decided to move in much more approachable paths so this time forhet about noise/drone stuff, now their riffs are clean and strong. Forget about extreme vocals because in this album you will only find spaced out ones. Their flavor of Doom may be less extreme and by all means less unique, but make no mistake this is still not music for pussies. Obviously, this is not the best Doom record I’ve heard and in truth there is much room for improvement in the songwriting department but the mix of heavy riffage and dark psychedelic tunes is definitely rewarding. You better consider this as the first step of a new exciting era for one of the most beloved underground acts on the extreme Doom scene.

    Words: Dr Doom Metal ( Dr Dooms Lair )


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    Fanttasma is a name of new intriguing doom band from Sao Paulo, Brazil. These men gathered just a year ago and look – they already have full-length album “Another Sleepless Night”, a true and complex monolith of death doom with post and avant-garde vibes. It’s highly energetic, enigmatic, dark and sinister, but one of most interesting elements of Fanttasma music is jazz influences, so you may wonder when you’ll hear sax or female vocals in some songs yet touch of death doom prevails above all extraneous effects in “Another Sleepless Night”. It was necessary to spread a word about this band, so look – here comes that guy…

    Salute comrade! Who’s on-line today? Won’t you mind if we start with questions about Fanttasma’s creation? How did you create the band?

    Hey comrade! This is Rafael Augusto Lopes, guitar player. When I left my former band (Torture Squad), I had many songs  recorded that I wanted to finish and release, so  I took the time and did it, then I called Rafael Galbes, our drummer and Thiago Andrade our vocalist to play the songs on the record, and now we three are Fanttasma.

    Oh, Rafael, let me clarify one thing: is Fanttasma still a trio or did you finally get rid of third guy who always wears that funny pack onto his head?

    Haha that guy is Thiago our vocalist, he needed a new life, so we killed him. We killed him so he could reborn, he needed a rebirth!

    Hah, then that’s okay ‘cause I was starting to think that you have a criminal background! Brazilian doom-mafia who chasing critics and listeners which leave negative responses in forums… Such a strange idea, right? But I bet that you still got only positive reviews, and one of them was written for “Roadie Crew Magazine”, don’t you miss those times when CDs, audio tapes and paper magazines rule?

    I actually really liked your idea! The Brazilian Doom Mafia should be an interesting group! But to be completely honest our reviews are way better than what we expected. So far many great reviews and opinions about our music, which makes us very happy. I miss printed magazines and physical albums, but this is our time, we live in the digital era, so what matter most is the message not the medium.

    I see that your debut album of Fanttasma “Another Sleepless Night” still exists as a digital release, what is the latest news from the band? Did you find any worthy label to release that great piece of nontrivial doom metal?

    Thanks for the words! Yeah, actually our physical record is coming, we’re just waiting for the copies to arrive, here it should take about a month. The label is called Warlock. They’re from Brazil.

    Glad to hear it! How did you find this label and did you get offerings from abroad?

    That label is Brazilian. I know them for many years now, it’s called Warlock. And we are glad to know we’ll have the physical copies very soon. There were many labels from abroad that showed some interest in us, but they all asked for physical copy, which we couldn’t provide.

    “Another Sleepless Night” is seven great songs in a vein of doom metal with post- and even jazz-elements. What did drive you to create such interesting combination?

    I don’t know actually, I just like tons of different genres of music, I like Black Metal, Thrash, everything in the Extreme Metal side, but I like Jazz, some electronic, darkened electronic stuff. I like Hard Rock, I just like a lot of stuff so I think it reflects on our music whether I choose it or not.

    As I understand jazz-influences are most original feature of your music – what’s about this side of Fanttasma?

    I think my major influence on guitar is blues, actually all rock came from blues, so guitar and blues go along together perfectly for me. And I always liked the saxophone, it’s just so expressive and have an amazing texture, it adds another dimension for us. So I think these things combined make what our music is.

    I know another bloody good doom band from Sao Paulo, it’s Abske Fides. Did you ever share the stage with them? And do you know them at all? I was trying to contact with them once but I failed.

    I know at least one of the guys from Abske Fides. I also like it a lot, it’s very depressing and has this hypnotizing vibe I enjoy. But we never shared the stage yet. Maybe one day in the future, who knows…

    Fanttasma “Faith In Vengeance”

    So Fanttasma plays live time to time, does it? How often do you play and what is a common situation with doom gigs in Brazilia?

    Since I left my former band (Torture Squad) I choose to not do that many gigs, because I spent the last years of my life in the road and I needed time to to build my life back here. But later this year we should start focusing on live activities. There aren’t that many Doom Metal gigs around here, but overall is getting better.

    It’s obvious that such qualitative can’t be record by those who just came into studio straight from the street, I’m sure that all of yours know how to deal with your instruments. But I know only that you (guitars, bass) did play in other bands before Fanttasma, what’s about another Rafael (drums) and Thiago (vocals)?

    Our drummer, Rafael, is rebuilding his band, Thrash/Death Metal stuff. Thiago plays in a band called Deadly Curse, more modern Thrash with some very cool melodies, worth checking out.

    I always consider that question as a kind of cheating in interviews but I really would like to ask you give comments to songs of “Another Sleepless Night”. I hope it’s not too difficult and boring for you, isn’t it?

    Corona – This was one of the last songs to be composed for this album, it’s a late one. I think it shows a bit what Fanttasma is about so it was a good choice for the first song.
    The Passing Of Nibirus – This song features one of the greatest voices I ever recorded, the guy is called Daniel Wergan has an amazing range and did some very atmospheric voices.
    Metropolis – This song is about consumerism, life in big cities can get pretty pointless sometimes.
    The Night Fever – I love the saxophone in this song, originally that melody was created for the guitar, but it was not fitting at all. When the sax player played it for the first time, it was like “This is it!” Also a song that portraits what Fanttasma is.
    Life Is War – This song has a bluesy lick that repeats throughout the verses and features the voice of Fernanda Lira from the Thrash band Nervosa. This song is problably our most popular one on our Bandcamp.
    Faith In Vengeace – This one is a bit more aggressive maybe, with two leads, first the guitar than the sax. The saxophone player did an amazing job on this one, really cool solo, simple and effective.
    Seven Valleys – Our most Doom Metal song, I really like this one, actually like all of them, it’s pretty hard to write about our own music, is just so difficult.

    How did you find such astonishing art-work for the album? I couldn’t believe that I see it as cover for death doom album, such impressive and fresh it is!

    I also love it! The artist is a friend of mine, I produced his former band called Imminent Attack, which is Thrash, crossover. I always liked Impressionism and specially Van Gogh, I asked him a cover artwork inspired in that movement and he gave a amazing work of Art. I’m very happy with it too.

    Fanttasma “Another Sleepless Night” teaser

    If I get you right the theme of loneliness in the city is one of motives in your songs, it’s one of most popular themes in lyrics of underground bands; how does this problem touches you?

    Well, I’m borned and raised in monster, because that is what São Paulo is, a monster, and living inside one takes the energy out of you, life is very stressing in cities like ours. But there are many cities like São Paulo around this planet where state of the art technology meets inhuman living conditions.

    Rafael, thank you for your time! Wish you all the best on your way and be careful with Thiago in a future! Good luck!

    Thank you Aleksey! Thanks so much for this interview, I hope that everything goes according to our plans and Fanttasma is able to play in Russia as soons as possible. When touring,  I’ve been so close, went to many east Europe countries but unfortunally I never had to privilege to play in Russia. Can’t wait to bring our darkenes music to your land. Cheers!

    Interview By Aleks


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    Chicago doom-metal legends TROUBLE will release their first studio album in six years, "The Distortion Field", in North America on July 16 and in Europe on July 26 via FRW Records. The 13-song follow-up to 2007's "Simple Mind Condition" is being helmed by veteran producer Bill Metoyer (SLAYER, W.A.S.P., ARMORED SAINT, DARK ANGEL, SACRED REICH, CRYPTIC SLAUGHTER, D.R.I.) and marks the recording debut with TROUBLE of lead singer Kyle Thomas following the departure of the group's frontman of four years, Kory Clarke (of WARRIOR SOUL fame).

    Says TROUBLE founder and guitarist Rick Wartell: "Kyle is one of the most impressive singers I've ever heard, and by far the most extraodinary singer I've ever had the pleasure of working with. He's got incredible range, incredible power, and an incredible knowledge of TROUBLE, as he's been a fan for 20-something years. We've known him forever, and he innately understands what TROUBLE is about. He's like the perfect guy to come in and do this job. It's awesome."

    He adds: "Musically, I think this album is a true TROUBLE record.

    "In the early days, we used to just write what we felt and didn't really care about what anyone said. We just wrote heavy riffs and played our music our way. But outside influences can kind of get a hold of you and start telling you what to do.

    "When we were writing this album, the thinking was, we don't care what anybody thinks. We're going to write what we write. So this is basically a return to our roots, while combining some reflections of our band's long history as well.

    "With the two different music writers, Bruce [Franklin, guitar] and myself, we have a slight variation in our writing; Bruce has more of a '70s groove to his writing, and I'm more the old-school doomy metal thing. And when you put it together, you get TROUBLE."

    Thomas, former lead vocalist for EXHORDER, FLOODGATE and ALABAMA THUNDERPUSSY, was no stranger to TROUBLE as he previously fronted the band for four live shows between 1997 and 1999, including Stoner Hands Of Doom festival in Maryland and Expo Of The Extreme in Chicago. Thomas has also collaborated on projects with members of SLIPKNOT, DOWN, OBITUARY and DEICIDE.

    In an interview with Metal Kaoz, Bruce Franklin stated about Kyle's addition to TROUBLE, "We didn't need to change any of the [new] music [to suit Kyle's vocals]. He really knows how to sing to TROUBLE stuff because he was a fan from way back."

    Added Kyle: "They had given me four songs to work on when I was jamming with them in anticipation of possibly doing the album that came to be 'Simple Mind Condition'. I did demo one song, but nothing I did ever made it to the album. Things turned out the way that they have between then and now, and here I am."

    He continued, "Bruce and Rick [Wartell, guitar] have always been great to me as people and business partners. I was made to feel an equal back then, and the same goes for now. That is monumental for me — I grew up listening to these guys and now I am a member of one of my favorite bands. You can't beat that."

    TROUBLE 2013 is:

    Kyle Thomas: Vocals
    Bruce Franklin: Guitar
    Rick Wartell: Guitar
    Mark Lira: Drums

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  • 05/16/13--18:51: Ocean Chief - "Sten" ...
  • OCEAN CHIEF is one of the most underrated Sludge/Doom/Stoner bands in the scene. Started as Doom/Stoner band in the vein of SLEEP they quickly evolved into something much more heavy, aggressive and…did I say heavy? Oh well, double heavy. This year the uncrowned kings of dark fuzz return with their fourth full-length “Sten”. “Sten” carries on from where “Den Forste” left off but has more clear brutal orientation. In this album OCEAN CHIEF slightly deviate from their SLEEP worshiping roots to add new exciting features. I don’t know exactly how to describe it but if you think of SLEEP’s “Dopesmoker” being played by members of AHAB (without the death growls) then you’ll have a good idea of what this record is about. The dominant element of “Sten” is without doubt the heaviness. However, under the tons of fuzz, the tower-high stacks of amps and the unbearable heavy riffs you will find some damn unconventional epic (both in character and duration) compositions. Actually, “Sten” may easily make a sane man wanna grab an axe and chop some heads off, for no particular reason. Additionally, the use of stoner touches which relieves the songs structures from their agonizing Doom bulk adds more interest to the “difficult” giant-size compositions.

    Still, “Sten” is not an album for everyone…the combination of “too long/ too heavy” has never been mainstream, but hey, something is not right if you claim you like heavy music and you turn a blind eye in the bone-crashing majesty of songs like “Stenhog” just because it spans a little more than 15 minutes.

    “Sten” may not be the band’s best album to date but f**k…this is some of the heaviest shit you can find out there. Personally, I was expecting something a little extra from a band with the history of OCEAN CHIEF but make no mistake “Sten” impresses just with its volume, heaviness and brutality. If you don’t know them just make sure to check out “The Oden Sessions” and the more approachable, “Tor”.

    Words: Dr Doom Metal ( Dr Dooms Lair )


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    Kings Destroy is a twisted, thundering gang of musicians. The doom metal unit takes its name from an infamous late ’70s/ early ’80s Bronx-based graffiti crew, which make sense, as the principle members of Kings Destroy have been playing together in New York City hardcore bands and heavy music projects since as far back as 1986. Guitarist Carl Porcaro is a founding member of the New York hardcore/punk bands Breakdown, Electric Frankenstein, and Killing Time.  Guitarist Chris Skowronski also plays with Killing Time and first met singer Steve Murphy and drummer Rob Sefcik in 1988 when he joined their NYHC outfit, Uppercut.

    Kings Destroy on tour:
    Jun. 07 Brooklyn, NY – Saint Vitus (Record Release Show w/ Clamfight, Windhand, Belus)
    Jun. 20 Chicago, IL – Reggies (w/ the Swan King and Yakuza)
    Jun. 21 Milwaukee, WI – Days of the Doomed Fest
    June 22 Columbus, OH – Cafe Bourbon St (w/ Tank Destroyer)

    Buy Here

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    When the whole metal movement was started and as it slowly started to gain momentum the attitude that embodied this music form was that of an unhinged expression of self and not really caring what others wanted. It was all about the music and the joy of being a miniscule part of something huge. However as time went on, all the various sub genres of music slowly got submissive towards the lure of money and instead of being an unadulterated and pure outpouring of one’s deepest emotions  turned into producing that what others wanted, and thus turned into everything that the metal movement was opposed to.

    However amidst all this doom metal stood its ground, reminding them what the genre was all about and stayed away from trends and this is possibly the biggest reason why the doom genre is as big as it is today. The hallowed grounds of doom remain so because of the fans and the numerous bands those remain true to themselves and to metal. Also, another reason why the genre continues to flourish is the continuous emergence of new bands that with their, often unique take on this genre expand the fan base of doom and the keep the current ones proud to be hardcore fans of the genre, and joining the army of this doom metal movement is three piece Bay area based band collectively known as ‘Cardinal Wyrm’.

    Looking at the artwork that adorns this unique piece of music which as described by its creator and bassist Marcelle Marais in her words as "inspired by what is beneath the surface of the human form. That was my main driving force. My artwork is inspired by the recomposing and decomposing cycles of life, the journey of the soul through suffering, despair, hope, faith, love ecstasy, betrayal, lust, reparation and strength. So, I find it fits in well with our music.” leaves the onlooker enthralled to say the least. While most bands create artwork that almost instantaneously bring to mind what kind of music is encapsulated within it, this is the kind that keeps the beholder guessing and thinking. It is the kind of expression one can create not by following one’s peers and predecessors but is only possible from an unabashed emotional outpouring stemming from the deepest entrails, a trait that most bands seem to be missing nowadays. To call Cardinal Wyrm another doom band in the hordes present today would be a gross vituperation, the music itself being as unique and often as hard hitting as the artwork.

    Necessity, they say is the mother of creation, and in this case certainly was. Tired of black metal influenced crust bands with tinny riffs and continuous screaming the band set out on creating something that reeked and permeated doom metal through and through and after a few line up changes put out their debut album entitled ‘Another Holy Trinity’ in the April of 2013. Describing this peculiar piece of music that stretches over 5 tracks and lasts 49 minutes isn’t exactly a cakewalk since the band have done some major thinking out of the box and in the process stayed away from conventional music tags. The music that the band play not only revolves around the nucleus of doom metal but also acts as a portal between the past and the present with influences from 90‘s sludge to the occult drenched doom of the 10’s to name a few. The way the band concocts this unique mesh wherein you can hear the malevolent aggression of Church Of Misery as well and long drawn out passages that take the listener into the stoner influenced unknown expanses of the unknown is laudatory. Cardinal Wyrm bastes with utmost repose into this already unique mix influences ranging from epic doom styling of early Solitude Aeternus and maddeningly gargantuan sludgy riffs. Though mostly mid paced the tempo changes often ranging from the snail paced lumbering advances on tracks like ‘The Procession of the Gilded Wyrm’ to all out ragers like my favorite track on the album ‘The Circle’.  Another thing that grabbed my attention here was the immense out of variation present here.

    On one hand if you have the well channeled grit of inordinately copious riffs on ‘The Rope’, you also have the long forgotten art of the art of dirty, aggressive, angry, filthy and violent attitude of the punk influenced, feedback drowned sludge of the early ‘s ala Noothgrush and Acid Bath on ‘Ruin’.  As the oppressively down tuned guitars of Natan are bolstered the brutally heavy plodding basswork by Marcelle the band moves forward with a swagger that sometimes resonates of utter destruction and at other times is reminiscent of some unholy ritual in full flow in an abandoned forest. The performance that warrants special mention though is that of Pranjal Tiwari who along with supporting the band with his drum work has slapped us with some of most versatile and unique vocals I have ever heard. With influences from the authoritative epic doom preaching of Messiah Marcolin or Robert Lowe, he also wanders into territory so well established by Hour of 13‘s Phil Swanson’s occult drenched vocal delivery only to morph into an alter ego spewing forth some of the most mephitic and toxic guttural vocals which with its hostility acts as the glue to create a sound that Cardinal Wyrm an call its own.

    With a continuous undercurrent of emotion permeating throughout this release, the band has created a varied release which at times abrasive and other times slightly melodic makes sure the attention of the listener never meanders elsewhere throughout the album which flows foreword with extreme fluidity where each tempo change, each riff and each section of each song has been placed only after utmost thought to aesthetics and so as to have the greatest impact possible on the listener. There is nothing much like this out there at the moment and ‘Another Holy Trinity’ deserves your attention and is something that the connoisseur of doom will certainly enjoy....8.5/10

    Written by : Vaibhav Jain


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    In 2012, backwoods psychedelic doom band Windhand released their self-titled LP & it was met with critical acclaim.The band is putting the finishing touches on their second LP for Relapse, due out this fall, which was recorded & mixed by the band’s own Garrett Morris at The Darkroom & mastered by James Plotkin, in their hometown of Richmond, VA. The band will trek across North America this summer ushering their audiences into their menacing grooves & showcasing songs from their upcoming album.

    About Windhand
    Formed in 2009, Richmond, VA’s Windhand (Asechiah Bogdan – Guitar, Parker Chandler – Bass, Dorthia Cottrell – Vocals, Garrett Morris – Guitar, and Ryan Wolfe – Drums) play what has been described as a tinnitus inducing mix of eerie psychedelia and haunting ambient doom. 2012 saw the release of their critically acclaimed, self-titled debut LP via Forcefield Records. A subsequent heavy dose of East Coast touring followed, culminating with a four week U.S. tour in August of that year.

    06/05 – Baltimore, MD – Ottobar
    06/06 – Philadelphia, PA – Golden Tea House
    06/07 – Brooklyn, NY – St. Vitus Bar
    06/08 – Providence, RI – AS220 !
    06/09 – Boston, MA – O’Brien’s
    06/10 – Cherry Valley, NY – Steve’s Koi Pond
    06/11 – Buffalo, NY – Vault Art Space
    06/12 – Pittsburgh, PA – Gooski’s
    06/13 – Columbus, OH – Ace of Cups
    06/14 – Chicago, IL – Ultra Lounge
    06/15 – St. Paul, MN – The Turf Club
    06/16 – Milwaukee, WI – Quarter’s Rock n Roll
    06/17 – Indianapolis, IN – The Sinking Ship #
    06/18 – Newport, KY – South Gate Revival House
    06/19  -Nashville, TN – The End %
    06/20 – Knoxville, TN – The Pilot Light %
    06/21 – Raleigh, NC – Slim’s $
    06/22 – Richmond, VA – Strange Matter $

    ! = w/ Elder and Morne
    # = w/ Skeletonwitch
    % = w/ Generation of Vipers
    $ = w/ Inter Arma

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    Venezuelan psychedelic sludgers CULTURA TRES are pleased to present to the world their new album “Rezando Al Miedo“, out now on CD through Devouter Records which can be purchased HERE, while the digital download is available from CULTURA TRES bandcamp page HERE as well as all usual digital outlets and can also be streamed below.

    With “Rezando Al MiedoCULTURA TRES further explore their own mesmerizing brand of South American Sludge, blending classic psychedelic rock, 90′s death metal and gloomy grunge. The eight tracks of the album entice the listener to embark on a disturbing journey from anger to desolation. The music is more dynamic than ever, digging into the harshness of the thrashing roots of the band and the polyphonic movie soundtrack approach that characterizes CULTURA TRES. Perfectly complementing the mood of the album, the cover artwork for the band’s third full-length is taken from the painting “Judgement Day” by Damian Michaels. “Rezando Al Miedo” was produced, mixed and mastered by Alejandro Londono and recorded in CULTURA TRES studios by Juan De Ferrari and Alejandro Londono.

    Next CULTURA TRES European live appearances are as follows:
    12.06 Dresden, Germany @ Chemiefabrik w/ MORKOBOT & ZAAR
    13.06 Warsaw, Poland @ Fonobar
    14.06 Wroclaw, Poland @ Madness
    15.06 Germany TBA

    Official Website
    Devouter Records

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    Festival founded in 2001 and located in the very geographical center of Germany, in the area of Erfurt (Thuringen): Stoned From The Underground grew from a one day indoor event with 400 visitors in 2001 to a 3 days outdoor event with 3000 visitors last year ! Located a few kilometers away from the city, in a nest of nature bordered by the Alperstedter Lake, the festival is the perfect location for a very first relaxing summer weekend ! Whether you want to sit in the grass, puffing up clouds of smoke, sipping a beer while checking out the best Rock & Stoner acts of the moment, Or whether you want to chill out laying on your belly on the sand of the beach with your toes cooling down in Lake's water.....STONED FROM THE UNDERGROUND is the place where all your dreams will come true.

    EARTHLESS ( Usa)
    MUSTASCH (Swe)
    POTHEAD (Ger)
    LOWRIDER (Swe)
    ISOPTERA (Ger)
    LORD VICAR (Fin)
    ACID KING (Usa)
    PELICAN (Usa)
    SARDONIS (Bel)
    HYNE (Ger)
    DEVILLE (Swe)
    TRECKER (Ger)

    Official Festival Website

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    Today, SVART RECORDS announces June 14th as the international release date for CANDLEMASS' vinyl-only Epicus Doomicus Metallicus - Live at Roadburn 2011 album. CANDLEMASS' debut album Epicus Doomicus Metallicus is a genre-defining classic if there ever was one - the starting point of modern epic doom metal, even. In 2010 and 2011 CANDLEMASS invited the original Epicus vocalist Johan Längqvist back into the fold for a few select shows celebrating the album's 25th birthday. This vinyl-only release captures the band performing Epicus Doomicus Metallicus album live at the sold-out Roadburn Festival in Holland, April 2011. Mixed from a professional 32-track recording and mastered vinyl under the supervision of band founder/mainman Leif Edling, this is the ultimate live version of the classic.

    The SVART release has the album spread over three sides of vinyl and an etching on side D. The two LPs are wrapped in a gatefold jacket, and the set is available on black or white vinyl. Both versions are limited to 400. Comments Leif Edling: "No volcano could stop us this time to perform the Epicus album at the Roadburn festival in Holland. It was a very special day, filled with great music, incredible fans, and a band that had a lot of fun doing this! After 25 years original, Epicus singer Johan Längqvist is onstage with us to perform something that people say is one of the doom metal classics. And I think we did a pretty good job there at Roadburn. We played well, and the show was a total success! So here it is, CANDLEMASS live at the Roadburn festival…as it was, no overdubs…recorded on 32 channels…a fine slice of legendary doom released on big, fat, double-packed vinyl!"

    Svart Records | Official Website
    Svart Records | Facebook

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    Now it is my turn for pushing you towards Blut.
    Blut have been among the fave bands here at Doommantia. Maybe because these two guys from UK, i.e. multi-instrumentalist S.M. (in charge of guitar, noise, drums, vocals) and N.B. (in charge of bass, noise, vocals), are among the most blood-curdlingly heavy, painfully slow and skin-scarring abrasive bands around. Blut entered the scene with their crushing and misanthropic debut album Ritual and Ceremony (2010)  and further consolidated their style in their second album Grief and Incurable Pain (2011). Like a seasonal disaster Blut came back in 2012 with a new album, Drop Out and Kill, in line with their established scheme: few long tracks soaked with intoxicating rawness and black heaviness unrelentingly raping your brain cells for what will sound like an unbearably long time.

    During mid-2012 Blut released the new album as CD via the Portuguese label Bubonic Productions. However someone, namely Mike and Kyle of the Canadian underground label Major Destroyer Records, had the idea of transfer Blut’s music onto the most appropriate solid medium, a cassette tape. So during late 2012 Blut’s Drop Out and Kill was out as tape edition (limited to 100 copies) with a bonus track, Ultimatum (Yog-Sothoth), their cover of the eponymous song by one amongst Blut’s main sources of inspiration: Nightstick. And a bit like with Nightstick, Blut are not that easy to categorize in short. You have to listen to them; no, sorry, you experience them, so you can absorb the wealth of shades in their incredibly raw and only apparently minimalistic sounds. Then you read their interviews (HERE or on the Obelisk), and you see how these two guys work hard for blending and merging the wide spectrum of influences they are subjected to.

    If you knew and liked Blut before, you are already proudly possessing Drop Out and Kill in either solid form. However I must say that the tape format is ideal for this band. For the review I had told Mike at Major Destroyer Records I would be happy with a digital version of the album. He said “No way, you have to experience its sickness at its best, from the tape”. Apart from the coolness of the object “per sé”, any sound in Blut is suffocated or else sort of filtrated by a sickening or suffering state of mind. Call it lo-fi, definitely, but not all lo-fi music sounds the same. Blut’s lo-fi music is scarringly sick, gut-smashing and ancestral, and requires an adequate medium with its typical sound “grain” and its and ancestral “rituals”. So let’s explore this one hour-long tape and see how these new tracks resume Blut’s style.

    The Drop Out and Kill tape includes the two suites Aeon-long Death /Alcoholic on Cloven Hoof  and Murder Hallucination on Side A, and the suite Skulls.Coffins.Nails. plus Nightstick’s cover Ultimatum on Side B.
    The sample from movies at the onset of suite Aeon-long Death /Alcoholic on Cloven Hoof in side A is the trigger to a labyrinthic, foggy, murky, hypnotic trip in a pathologic state via a ritual drone-doom-noise funereal march somehow hinting to Electric Wizard. It may be the common origin, Dorset, with its inspiring marshland atmospheres. However Blut’s ritual doom style is much more asphyxiating than Electric Wizard’s. It is true that there are a few unexpectedly groove-laden, almost hendrixian guitar solos that seem to escape or materialize like fragments of a dream, or shots from a past life. But in general the Wizard-esque plodding rhythms in Blut eat their way through a magma of pitch-black atmospheres and raw, dense, rotten and evil sounds encompassing blackened sludge and much blackened industrial noise locally morphing into some kind of infernal black space psychedelia. You can taste all this, for example, in the core and in the second part of the first suite, a true alien nightmare reminding me of Hell, Reclusa (also for the vocal parts), obvious SunnO))), the darkest, chaotic moments in Gravetemple, etc.

    The Blut duo like to employ any possible noise and electronic elaboration of sounds for creating a chaotic flow which may easily be the sonic description either of the passage of a hurricane, of the slowed-down equivalent of the shock wave of an atomic bomb, or else the progressive destruction of body and mind intoxicated by drugs. Or else they simply put nightmares in music. You realize you are sort of coming out of this nightmare when the initial, ritual drone-doom leitmotiv comes back and is accompanied by some heavy breathing, which is almost relieving after that long, hallucinating noise cacophony. But also this return back from the nightmare is painfully long. The feedback is coarse and abrasive and the distorted, noisy drone-doom leading “melody” is extremely dragged and monotonous. It’s pure distressing intoxication à-la-SunnO))) but possessing subtle variations and sporadic, but perceivable sabbathian touches.

    Another face of Blut’s style is shown in the second suite on Side A, Murder Hallucination. The opening vocal samples are more frenzied and the doomy rhythms linking the samples are a bit more dynamic and much more groove-laden than what heard before. As a matter of fact, an almost psych funky guitar solo and the vocal samples get hooked to the density of the pulsating drone-doom background as if they were insects on a flypaper. Then, surprise, the “normality” of the dull drone-doom feedback disappears. What is left are only the nervous vocal samples and the guitar solo indulging in a “weird”,  groovy bluesy jamming gradually deformed and eventually dissipated by pedal effects and echoes. With the suite Skulls.Coffins.Nails. opening Side B you get back to the blackened sludge-drone-industrial nightmare. In spite of the very “human”, female vocal sample announcing the suite, the noise industrial components are dominant. Noises of machines, saws, etc. are mixed with sounds of probably normal things made unsettling by the electronic elaboration. The background drone, which is the nest for everything, is wavy and granular, very coarse and dark, but never too monotonous. The drone background can change tone, sometimes it may get duller or just disappear or else expand and incorporate a slow, ritualistic, pitch-black and epic-sounding lithany populated by infernal, ranting and hissing voices and recalling what heard in bands like Void Meditation Cult. When the background drone stops all of a sudden you can appreciate the doleful repetitive leading riff which occasionally diverges towards epic solos.

    This lithany develops in the core of the suite. There the epic and the ritual features of the melody may gradually further grow to an almost apocalyptic intensity especially when the monolithic leading riff gets boosted by gigantic noise manipulations sounding like reverbered and deformed roars of a Godzilla-like monster. The monster and its obsessive lithany die out gradually into an absurdly monotonous black drone industrial magma made of obscure vibrations able to keep the tension high, until when silence swallows anything after a pulsation.The final track, Blut’s version of Nightstick’s Ultimatum, is gorgeous. It starts with the typical vocal sample followed by a fat Wizardian mammoth rhythm. After much industrial buzz it is cool to be able to headbang after a juicy super-heavy tune. Here Blut’s sound is extremely charged and monolithic, although with Blut, like with Nightstick, you have to expect some contrast. You get it, for example, when the guitar starts building up the cool, hyper-reverbered psych jamming over the heavily plodding mammoth dooom base. Blut’s Ultimatum is a titanic, toxic march where psych doom commands. Noise and samples only sporadically interrupt the march except for the final part where industrial noise chaos and the reverbered vibrations of the guitar take over and eventually lead to total silence.

    Earlier I mention that Blut’s music on the tape is lo-fi. But don’t think that the tape is bad quality. Not at all. Listen to this monster tape with headphones, get into Blut’s caustic vibe and your senses will expand.
    And for more treats to your battered ears and brain cells, you had better further explore the roster of Major Destroyer Records

    Words: Marilena Moroni

    Blut | Official Website
    Blut Tape | Major Destroyer Records
    Blut CD | Bubonic Productions
    Major Destroyer | Official Website
    Major Destroyer | Bandcamp

    Blut live at Dorset Noise  - Skulls.Coffins.Nails

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    Tombstone are a power-doom trio formed in the winter of 2011 in Paris, France. With obvious nods to 70's hard rock with a modern flavor that is all their own, the band has quickly gained a reputation for massive fuzzy riffs, catchy grooves and great solos. The 4 track EP available from the bands Bandcamp site is the kind of stuff that is instantly infectious with the kind of riffs and vocals that us doom fans crave and can't get enough of. Now there is a full length album that has been unleashed upon us and the band has got even more remarkable. Here now is Russian Doom Guru Aleks and a interview with the trio known as Tombstone. ....

    Hail comrades! I would like to ask you introduce Tombstone for our readers but let us imagine that some of them already know that the band is “a power trio created in winter 2011 in Paris."

    Clement : Hi man, we're just three metalheads who know each other for 15 years, We've played in several underground band, we used to play in some death, thrash and black metal bands before, It's been a while that we spoke about doing some doom as bands like Black Sabbath or Saint Vitus are some of our favorite stuff, I'd say we're fans of heavy music paying tribute to the bands they love.

    Why did you put your feet onto way of such vigorous blend of sludge and stoner doom? Are you too old to play such fast things as death, thrash and black as you did before?

    Clement : Ha ha, no of course. It's just that it's so good to play some heavy riffs. I mean all the stuff we did before was quite fast and the aggressiveness in our music was a result of this. But we thought we lacked some intensity. Now with heavier and slower parts, we probably do it better and we enjoy it more. Before we were too focused on our instruments to not miss a single note! And that's probably why we didn't enjoy it as we do now. Also, Black Sabbath is probably one of the few bands that we all worship, so it was quite an evidence for us to play some stuff in this vein.

    Your first full-length “Where the Dead Belong” was released in January 2013, how was it met by critics and listeners?

    Clement : Well, we only sent the album to a bunch of people and labels, the album is not released yet, But the responses were quite good, Some people always expect more but I think most people liked it, I only hope we'll record something ten times superior next year.

    Oh, metal-archives told me that the album was “self-released”… Anyway I think that these songs are pretty strong and interesting, and you surely have few catchy riffs. It’s said that the interests of the band are whiskey, music and movies. The question of music is clear for me. What’s about whiskey – how much and which sorts? We did a doom-quiz few months ago (HERE) and there was a question about hardest hangover – what was your most terrible “after party” morning ?

    Clement : Yes the album is self released but as we didn't get the copies yet, only a few of them were available. About the whiskey, of course we enjoy it! We like a lot of different sorts but I'd lie if I tell you that we are fine connoisseur. We just like to drink it until we get drunk. I can't remind of one precise terrible "after party" morning, there were so much!

    Let’s return to the music… What is a main motive of “Where the Dead Belong” and can you say that you fulfill it successful in those songs?

    Clement : I guess that, once again, we wanted to create something deeply rooted in what we love in heavy music, We wanted to play some dark and heavy stuff the way it was played many years before in the doom scene, Not so extreme musically (I mean now) but with some dark sides, Maybe it's going to change in the future,

    Then what is your ideal of sound? Maybe on examples of some bands, because true to say I don’t hear any extreme flaws into “Where the Dead Belongs”.

    Clement : Yes you're right. Where the Dead Belongs and the Devil's ride demo were both based on a very "classic" view of what you can hear in the doom/stoner vein. Maybe some parts are a bit "darker" but it was just in several songs like devil's ride or werewolf. In the future, we probably go further into the dark side of doom and sludge. We have a lot of influences and the new songs we are creating right now are darker, wilder and less predictable cause we want to have all our influences expressed in our music.

    What are your favorite songs on the album? Can you name some of them which you would gladly play to your grandma for example? :-)

    Clement : Werewolf is probably our favorite cause it has some intensity in it and we like the atmosphere of this song. Dance of the Dead and No Tomorrow are really cool to play though.

    Hm, by the way – so where do the dead belong? Not kidding, really?

    Clement : If you see the cover, which was created by Gustave Doré, you can see that it's not a place you'd want to live in, Like an hell in an abyss or something, really beautiful, I think the dead belong to nothingness.

    I see that you released “Where the Dead Belongs” by yourself, I know that Barabbas and Marble Chariot followed DIY way too. Don’t you see a reason to do a French doom-coalition to work together at least on promotion of bands?

    Clement : That would be great, we're in contact with a bunch of bands, like our friends in son of Zardoz, We do some concerts together, but you're right it would be cool to push things further.

    I remember that there was most vulgar question for such situation – it’s about inspiration. But I would like to ask you about it for another reason, not just to fill the space between other questions. Tombstone is based in Paris, and I remember that Hangman’s Chair (they’re from Crosne) have an album “Leaving Paris” – it’s full of depressive images of drug-addicted, doomed people from the bottom of the world. Did you see this side of Paris living there? And how did it influence upon you?

    Clement : We come from the east suburbs of Paris, the reality in the suburbs is sometimes really tough and depressing, We all had to face some very bad situations, We lost some friends and saw a lot of people ruining their lives.

    What kind of modern doom-trends do you like and which one do you dislike?

    Clement : Well, to be honest, we don't really know about modern doom trends or bands, Of course we know some, we love Ramesses for example, But we're liked stuck to the '70s, '80s and early '90s, We love the old school stuff, and that's nearly the only stuff we listen to, Maybe the most “modern” bands we love are Warhorse (“As heaven turns to ash “ is a fucking masterpiece) or Goatsnake... We're great fans of Black Sab, Vitus, Trouble, Candlemass, Cathedral, Electric Wizard, Sleep, Acid King... we love '70s heavy rock, classic doom, sludge bands like Grief, Eyehategod, Crowbar or Iron Monkey, and doom death from the early '90s like Winter, As we are metal and heavy rock fans we listen to a lot of stuff like black metal, punk hardcore or '70s prog rock for example,

    It’s early to ask about next album as you just did this record not so long ago, but can you say that Tombstone is ambitious band? Are you ready to put more efforts in the band to take a place onto world doom scene?

    Clement : As I said before, we're currently working on our next release. It's just the beginning but as we have some difficulties to find opportunities to play live, we have some time to write and work on new material. I can't say we're truly ambitious. We do the stuff we like and if people like it's fine. We all have a job and work a lot so unfortunately Tombstone is not our only concern. We wish it could be but we have to work a lot for the band. The band is only nearly 2 years old so we have to find our deep musical identity and concretize the way it should sound.

    Alex : There is an evolution in our music, i mean in the sound, we try to play more loud and with more control, we really work on it. We actually record each repetition to have a better point of view and adjust some new songs. Clement and Jo recently bought some amps and work on their sound too.

    Thank you for your time and patience comrade! I wish you all the best on the way to the Holy Mountain of Doom. If you have few more words for our readers then just bring it on! Here’s a right place for that.

    Clement, Alex, Jo : Thanks a lot for the interest man. Cheers to all doomsters and metalheads. Check out the album and let us know what you think about it. Hope to get in touch with you again when we record something new. Doom on.

    Interview By Aleks


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    Comments the band: “Behind The Mountains was recorded in various parts over a long period, so it took a while to get ready. But we are really happy with our second album, so it was all worth it. The songs were recorded in Subsonic Society here in Oslo, the same studio that we used for the split EP with Graviators. For mastering and mixing, we used Micke Nilson and Henryk Lipp from Music-a-Matic studio in Gothenburg – same guys we worked with for the debut LP. Now we just want to put it out for everyone to enjoy it as we do.”

    As a teaser for the new album, BRUTUS recently completed a video for “Personal Riot” the title track of a limited-edition single set for release by SVART on May 24th. The video for BRUTUS’ “Personal Riot” can be viewed in its entirety below:

    ‘Behind The Mountains’ is set for release on CD and LP on June 14th and Pre-Orders can be made via Svart Records from their webstore HERE.

    Official Website
    Svart Records | Official Website
    Svart Records | Facebook

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    UNDERSMILE and director M. Arthur Wickson are very happy to present the music video for the song “Soil” taken from the band’s recent split EP ‘Wood & Wire’, released on beautiful transparent purple 12” vinyl by Shaman Recordings.

    The video was filmed in the spring of 2013 at various locations, but primarily in and around Shaken Oak Farm where the band recorded their half of the split with acoustic alter-egos COMA WALL.

    Directed and edited by M. Arthur Wickson (who also produced the band’s previous music video for “Milk”), the “Soil” video attempts to capture more of the band’s live energy – apt for a song that has recently become a staple of their live set. Check it out below and the band hope you enjoy it

    Source: The Sleeping Shaman

    Undersmile | Facebook
    Undersmile | Bandcamp
    Undersmile | BigCartel
    Coma Wall | Facebook
    Shaman Recordings | Official Website
    Future Noise | Official Website

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    San Francisco Bay Area titans HIGH ON FIRE will release "Spitting Fire Vol. 1" and "Spitting Fire Vol. 2" on June 18. The track listing spans the course of the band's history with hits like "Fertile Green", "Frost Hammer" and "10,000 Years".

    "Spitting Fire" was recorded live in two marquee New York City venues; The Music Hall Of Williamsburg on December 1, 2012 and the Bowery Ballroom on November 30, 2012. It was later mixed by Greg Wilkinson at Earhammer Studios in Oakland, California, with additional engineering by Kurt Ballou.

    Multiple pre-order options are now available, including limited-edition vinyl bundles and iTunes.

    HIGH ON FIRE cannot be defined by their sound on tape alone. "Spitting Fire" is a vivid snapshot of the band's massive sounding live show, which for fans who have yet to witness, are clearly missing out.

    "Spitting Fire Vol. 1" track listing:

    01. Serums Of Liao
    02. Frost Hammer
    03. 10,000 Years
    04. Devolution
    05. Last
    06. Fertile Green
    07. Speedwolf

    "Spitting Fire Vol. 2" track listing:

    01. Rumors Of War
    02. DII
    03. Fury Whip
    04. Madness Of An Architect
    05. Face Of Oblivion
    06. Hung Drawn and Quartered
    07. Blood From Zion
    08. Snakes For The Divine

    HIGH ON FIRE's latest album, "De Vermis Mysteriis", sold around 7,400 copies in the United States in its first week of release to debut at position No. 63 on The Billboard 200 chart. Released on April 3, 2012 via eOne Music, the CD was recorded in Salem, Massachusetts' GodCity Studios with producer and CONVERGE guitarist Kurt Ballou. The 10-song effort — touted as "direct, eye-opening and powerfully supernatural" — is the band's sixth studio recording and the follow-up to 2010's "Snakes For The Divine" which debuted at No. 62 on The Billboard 200 chart and has been called "wonderful" by The New York Times and "an exhilarating rush" by the Chicago Tribune.

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    Today, SVART RECORDS announces July 5th as the international release date for GOATESS's self-titled debut album. GOATESS are a Swedish quartet comprising Chritus, Niklas, Kenta, and Findus. Despite having no records out on the market, GOATESS have already created a massive buzz and appeared at such prestigious festivals as Doom Shall Rise in Germany, with more live appearances on the horizon. Goatess shall be released by SVART on CD, limited double LP, and digital download - tracklisting and cover follow below.

    GOATESS are also noteworthy for the presence of Swedish cult doom metal vocalist Chritus Linderson (Saint Vitus, Terra Firma, Count Raven), who has, after a few years off the grid, experienced a strong return to form in the new millennium. Best known nowadays for belting out classic doom metal at the helm of Lord Vicar, he has also been nurturing a more homegrown project which began under the working title Weekend Beast and then developed into GOATESS.

    The GOATESSS concept was born from Linderson's desire to create music that is based on atmosphere and the worship of the heavy riff, as opposed to the strictly structured doom metal of Lord Vicar. "It is basically the kind of music we would like the most to listen to ourselves," says Linderson. "Our sound is constantly under investigation, an ongoing process. What's there so far comes naturally when jamming at rehearsals, and we'll just go with it until we are content."

    GOATESS manage to carve a unique niche for themselves in the overpopulated doom metal scene by grabbing some doom influences, taking them out to the desert, and throwing them to the melting pot with some hypnotic stoner groove in the vein of Sleep and Kuyss. The result of these dangerous psychedelic experiments is simply, and fittingly, titled Goatess.

    Balder Sounds | Facebook
    Svart Records | Official Website
    Svart Records | Facebook

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    The Doom Death Metal combo will support the Death Metal legend in Tampa, FL. Druid Lord will support mighthy Obituary at The Orpheum in Tampa, FL on June 8th 2013. The US band will also perfom beside SinGod and the entire set of the Death Metal legend will be streaming in HD around the world. The Doom Death Metal combo, who as previously released a split vinyl with Wooden Stake on Altsphere Production, has also been interviewed by Masters of Metal Production.

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    They began drinking, writing and jamming in 2010, torn asunder by the hills and mountains of the Peak District. John (bass and vocals), Jem (guitar) and Steve (drums) have finally unearthed the being that is COLTSBLOOD. Inspired by dark myths, legends, history, death, and the human mind, the band is driven by a mutual love of beer and the calling forth of riffs to summon dark legends. With no pre-conceived ideas of how they should sound, recordings so far being doomed, primitive and raw, the band seeks their own path wherever it may lead.

    A demo (limited to 100 tapes) is set to be released on the 6th June and will be available online via bandcamp and at upcoming gigs. Self-recorded in a warehouse in Sheffield in May, the demo will consist of two tracks (Abyss Of Aching Insanity and Beneath Black Skies) spanning 28 minutes, including an insert featuring artwork and lyrics. The band are currently working on an album which will be recorded later this year with Chris Fielding (Winterfylleth, Serpent Venom, Electric Wizard, Napalm Death) at Skyhammer Studios, set up by Jon Davis of Conan.

    Now check out the video for the track ‘Abyss Of Aching Insanity‘ below.

    COLTSBLOOD will be travelling the lands to share their doom, beginning with a short tour with Space Witch in June , followed by a show in support of death/thrash legends Vomitor and gigs in Scotland with the almighty Ommadon in July.

    Rise Titans!

    COLTSBLOOD live dates:
    6th June ’13 – The Gryphon – Bristol – w/ Space Witch, Grim Iron Claw & Gorgantuan
    7th June ’13 – The Ducie Bridge – Manchester – w/ Space Witch, Wort, Bastard of the Skies & Ten Foot Wizard
    8th June ’13 – The 3 Cranes – Sheffield – w/ Bastard of the Skies, Space Witch, Let It Die, Hiram, Berserkowitz & Froth
    9th June ’13 – Royal Park Cellars – Leeds – w/ Black Mass, Space Witch & Trollkraftt
    11th July ’13 – Kazimier – Liverpool – w/ Vomitor, Funeral Throne & Burial
    12th July ’13 – Opium – Edinburgh – w/ Ommadon, Headless Kross & Atragon
    13th July ’13 – The Old Hairdressers – Glasgow – w/ Ommadon & more tbc


    Source: The Sleeping Shaman

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