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    Ripple Music is proud to announce the latest in their ongoing series of rare test pressing auctions for charity, this time benefiting the medical needs of Doommantia founder, Ed Barnard.  The long-running site, Doommantia (Doommantia.Com) is one of the leading forces bringing CD Reviews, Interviews, Authorized free downloads and Promotion for bands in the Doom, Stoner, Psychedelic, Drone, Sludge Metal genres.  The site also has an active forum (HERE) for heavy rock maniacs to share ideas and views, creating a solid doom rock community.

    For those unaware, Ed had been forced into homeless by a medical condition but still manages to keep the Doommantia site viable online. Ed suffered a series of  heart attacks that forced Ed to become unemployed.  Those events, plus the exorbitant cost of cardiac medications made paying the rent an impossibility and he was evicted from his place in Aberdeen, Washington. Now homeless, the doom and metal community has been rallying around his cause with benefit concerts and a compilation of 39 heavy bands that all donated their music to help Ed’s cause. "Doommantia Vol. 1” - (BandCamp)

    Now Ripple Music offers their assistance to help a musical brother in need.  After establishing an ongoing company policy of giving back to the community, Ripple Music has auctioned off some of their rarest test pressings to help the BP Spill Gulf Clean Up, Wounded Warriors, Sloan-Kettering Cancer Research, and Joplin Missouri Tornado Relief, amongst others.   The auction of the extremely rare test press for Devil To Pay’s “Fate is Your Muse” will continue that tradition, offering heavy rock/doom fans a chance to get one of only two test-pressings ever to be released to the public.

    Fate is Your Muse was unleashed upon an eagerly-waiting audience, April 9th, 2013 and immediately garnered critical rave reviews, leading to boast, “If you love Rock music, you have to check out “Fate is your Muse” and Devil to Pay. If these guys aren’t rock legends already, they will be for sure soon.”

    The “Fate is Your Muse” Rare Test Press Auction is live on eBay.

    100% of proceeds from the auction will be used to help help Mr. Barnard regain his self-sufficiency.

    Don’t miss this chance to own a unique Doom Collectible LP and support the heavy rock community.

    Press raves about “Fate is Your Muse.”

    “If you love Rock music, you have to check out “Fate is your Muse” and Devil to Pay. If these guys aren’t rock legends already, they will be for sure soon.” --

    “I  really feel I can’t recommend this enough to the Stoner Rock/Metal heads out there.  From the album’s aggressive opener “Prepare To Die” till the Doom-tuned “Beyond The Ether”, you’ll deal with head-banging Stoner-laden riffs, kickass hard-hitting drumming (hail Chad!), and on top of everything, Steve’s essential Grunge-like vocals who definitely sounds like Josh Homme in fluoxetine (prozac).  DEVIL TO PAY deserve our total respect..” -- Metal Kaoz

    “That is what you get with Fate is Your Muse. A hard-rocking collection of great Sludge/Stoner Metal tracks to rock out to. Hugely entertaining from the word go. Devil To Pay have lost none of their magic. They simply get better with age. If you are already a fan of this great band then you are going to love this album. If you are a new visitor to the world of Devil To Pay then this is a great place to start. If you are a fan of Kyuss, Thin Lizzy, and Black Sabbath then you will be right at home here.” -- The Sludgelord

    Todd (Racer)
    Ripple Music
    Ripple Music

    The Ripple Effect
    The Ripple Effect

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    It's well-known that the metal scene today is weighed down by unoriginal bands imitating the innovations of others. The doom/sludge scene especially is infested with a bunch of followers instead of leaders. Well, here is a band that is different, a band that can make a difference...Venomous Maximus.

    If you find it hard to describe a band easily, that's a sure sign they are on to something unique. VM draws upon well known influences and styles, yet manages to come up with a take that is all their own. In "Beg To The Light", I hear traces of bands like Candlemass, Mastodon, Thin Lizzy, Down and Neurosis. But none of it is very overt.

    There are a lot of ornate twin guitar melodies woven with doomy, chugging riffs and an unpredictable progressive feeling. Vocals are also unique...very emotional and dramatic, with a lot of melody but sometimes venturing into bellows of outrage and angry snarls. They can be hard to absorb and some may call them overdone, but they also help to make Venomous Maximus an original band.

    The album starts strong with the eerie intro "Funeral Queen" and the bomastic "Path of Doom", which is a good introduction to the VM sound. Lots of variety on this album..."Give Up The Witch" is anthemic, "Father Time" is acoustic", "Battle For the Cross" brings the doom and "Venomous Maximus" is very aggressive. The all-out showstopper is "Moonchild", which is a crunchy prog metal jam of the type Mastodon used to be able to do. This song is chock full of killer riffs. Also take note of the very sad "Mother Milk", full of weeping cellos and utter gloom.

    "Beg Upon the Light" demands careful listening and attention for all its secrets to unfold. This is quite a mystical piece of metal mastery and a band that ought to make a big impact on a flagging scene.

    Words: Dr. Mality

    VenomousMaximus | Facebook

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    Singer/bassist Kevin McDade of the Los Angeles-based stoner/doom outfit BEHOLD! THE MONOLITH was killed in an auto accident on Friday, June 21. He was 29 years old.

    Commented BEHOLD! THE MONOLITH's Chase Manhattan and Matt Price: "We are deeply saddened to report the loss of our band member, friend and brother Kevin McDade in a car accident early Friday evening. Needless to say, we are absolutely devastated by this. Our hearts and thoughts go out to his parents, family and girlfriend. Thanks for the time we had and the music we made together. We will, and already do, miss you terribly."

    BEHOLD! THE MONOLITH's latest album, "Defender, Redeemist", was recorded and engineered by Billy Anderson (HIGH ON FIRE, SLEEP, NEUROSIS) at North Hollywood's Skull 7 Studios.

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    Recently The Moon Mistress new EP titled 'Simla' has been released on CDR but it is limited to 71 copies. You can listen to it via their Bandcamp

    You won't want to miss out on this exceptional recording by one of the best doom acts from Russia.
    Listen Here | Bandcamp
    The Moon Mistress | Facebook

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    With food, beer and America at the forefront, it only makes sense guitar player/vocalist Christian Gordy and drummer Taryn Waldman would meet at Gordy’s 2011 July 4th cookout in the Bushwick neighborhood of Brooklyn, New York. Waldman, a former Hooter’s waitress turned big time commercial film editor, and Gordy, a one-legged bartender/artist/BBQ enthusiast were an oddball couple for NY’s heavily-styled metal scene. The duo began rapidly banging out monolithic snail-paced riffs that could party as much as they could crush. BLACKOUT — referring to blackout drunk, the absence of light, or a mobster hit on an entire family — was the only appropriate title for the band.

    With a three-song demo recorded at the now defunct Headgear Studios in the bag, Waldman set out on the task of stalking and acquiring drum wizard Justin Sherrel for the bass position. The sound filled out and quickly grew like Chuck Berry’s mustache. Now with Sherrel’s nitty-gritty, rhythm-heavy mud beneath an electrical tide of riffs and explosions, the mighty river of sludge was primed to lurch forward.

    In November 2012 BLACKOUT recorded their debut LP, We Are Here, at Vacation Island studio with engineer/producer Rob Laakso (Diamond Nights, Swirlies, Kurt Vile). It’s a six-song relentless banger from beginning to end: no interludes or acoustic wankery. Fittingly described as “thick, riff-led heavy psych that blends Sleep‘s stoner heyday and classic Melvins stomp with a touch of Rob Crow‘s vocal compression in Goblin Cock,”by The Obelisk in a recent live review, the band is ready for a full-fledged takeover BLACKOUT will soon be knocking on your door like a hairy, black clad Jehovah’s Witness who wants to smoke you out and listen to Sabbath records.

    Until then, rape your speakers with the band’s foundation-crumbling behemoth of a three-track album sampler, currently streaming below and on their official BandCamp page at THIS LOCATION.

    In related news, the trio will be bring their bottom-heavy audio pillage to the stage this Saturday, June 29, 2013 at Acheron in their hometown of Brooklyn. The FREE daytime party features barbeque from Slam Pigs and Perry Ave. BBQ, additional appearances by Skullshitter, Hector’s Pets, Zoned Out and Cold Ones and DJs spinning rock into the night! For more info, point your browser HERE.

    Source: The Sleeping Shaman

    0 0 recently conducted an interview with guitarists Bruce Franklin and Rick Wartell of Chicago doom metal legends TROUBLE. A couple of excerpts from the chat follow below. There's one question a lot of TROUBLE fans still want to know the answer to — is it true METALLICA checked out your backline rig to get a similar guitar tone?

    Bruce Franklin: It is true that James Hetfield looked at our onstage guitar amps in 1984 when we played in San Francisco. Anything beyond that fact is just speculation. TROUBLE has managed to survive hiatuses and lineup changes. I know you have Kyle (Thomas, vocalist) who's come back, but would you ever want to ask Eric [Wagner] to get back on stage with you for a one-off or more?

    Bruce Franklin: You never know what the future holds. Right now we have a new record with our new singer Kyle Thomas who is going to turn some heads. This type of a reunion is not in the plans for the near future.

    Rick Wartell: I have learned in this life to "never say never," but as Bruce said, we are focused on working with Kyle and recording the new album with him was a great experience. So we are looking forward to getting the record out and playing some shows. What keeps you guys going?

    Rick Wartell: Music is big part of who we are. As a musician, that doesn't ever go away and you can't really separate yourself from it, unless you make a choice to do so. We have never measured our success based on its commercial appeal. We write and play what's within us and what we like, and in doing so, we've stayed true to who we are and we still love what we do.

    Bruce Franklin: Well, for me, music is my life. I like to think in terms of a next album, whether it is TROUBLE or a solo type thing like SUPERSHINE. Speaking for myself, I think that there is plenty of music left in me to write. As for performing live, I love that too. I don't feel that I have lost anything in my playing yet. Maybe in five or 10 years, I won't be at the top of my game as a musician, but right now I feel like I've written some really good riffs and songs. I am sure that I can deliver in a live setting as well as I ever have done also. As for people leaving the band, the guitar riffs and sound has always been the signature of TROUBLE. That is still there today. What's the word on your new album that was once called "The Dark Riff" ? Is it as heavy and doom as the name sounds?

    Bruce Franklin: The name of the new record is "The Distortion Field". It has moments of heavy doom and also some uptempo crunch songs. A little psychedelic flavor here and there and some of the famous heavy groove riffs we are known for. Also, I might add, some really powerful vocals that are adding dimension to the music.

    Read the entire interview from

    Source: Blabbermouth

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    A band who continually embarks on tours across the globe, France’s avant sludge coven MONARCH will head to the Australian continent for the fourth time in the coming weeks.

    From July 18th through 21st MONARCH will dredge the Brisbane, Sydney, Melbourne and Perth metropolises laying down an oppressive and ethereal wall of noise-filled opening support for doom legends Saint Vitus. Just days later, on July 27th the quartet will return to Sydney to headline Slaughterfest VI over thirteen other underground acts on the decimating bill.

    MONARCH Australian Tour:

    7/18/2013 The Hi Fi - Brisbane w/ Saint Vitus

    7/19/2013 The Hi Fi - Sydney w/ Saint Vitus

    7/20/2013 The Hi Fi - Melbourne w/ Saint Vitus

    7/21/2013 The Rosemount - Perth w/ Saint Vitus

    7/27/2013 Spectrum - Sydney @ Slaughterfest VI

    A thirty-four minute down-tempo/down-tuned funeral dirge comprised of three tracks, MONARCH's sixth full-length Omens was released via At A Loss Recordings in February 2012, surging with the band’s caustic, trademark style of slow-motion apocalyptic doom, writhing with haunting moans and layered, ghostly shrieks. Stay tuned for more updates on MONARCH and At A Loss Recordings in the coming days.

    Monarch | Facebook
    Monarch | Twitter
    At A Loss Recordings | Official Website
    At A Loss Recordings | Facebook

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    If your band happens to be named BongCauldron, you are not supposed to be a bunch of sissies and you have to be bearded, minimum.
    Being these basic requirements duly  fulfilled, Leeds-based, British trio BongCauldron have been hooked by UK label Superhot Records to release their sludge soaked debut EP.  UK swampy sludge-doom metal panorama is alive and kicking.  The Superhot Records guys can sniff yummi tunes from a distance, as their roster includes some of the coolest heavily rocking and groove-drenched UK bands, like London-based Trippy Wicked & the Cosmic Children of the Knight and Stubb. The motto of the label is “ Bringing you the best from all ends of the underground heavy music spectrum”. So it’s time to throw alcoholic groove, filth, and raw fuzzy heaviness by the shovel in that boiling hot cauldron and to smell the dense, caustic, venomous vapours emanating. Side effects? Slow, compulsive headbanging, to start with …

    BongCauldron will release the debut album they are working on later during 2013. You can listen to the teaser track, Pissed Up, (sure!) on Bandcamp.  Or else you can look at these pounding beards in action in a live studio session posted in the label’s Youtube channel. The video  (below) was recorded during last April 2013, when Superhot Records invited Corky (bass, vocals), Biscuit (guitar, vocals) and Jay (drums) to their HQ for celebrating their mutual agreement with one of their “Super Hot Sessions”.
    “Despite making the long drive to Superhot HQ in the small hours of a Monday morning, having just played and partied at 'kin Hell Fest all weekend and one of the lads not having even made it to bed the night before they had no problem blasting out 5 minutes of oppressive sludge.” Keep the website of the label and of the band for the release of the debut album as well as for BongCauldron’s upcoming gigs, only in UK (Yorkshire and Bradford), at least for the moment.

    Words:  Mari

    Bong Cauldron | Facebook
    Bong Cauldron | Superhot Records Bandcamp
    Superhot Records | Official Website
    Superhot Records | Facebook
    Superhot Records | YouTube

    Video: BongCauldron -  Pissed Up  (“Super Hot Session” version)

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    Do we need more heavy rock from UK? Of course we need!  Especially when a band has adopted such an evocative monicker like Gringo while dwelling in the emerald-green, mossy British countryside! Cleobury Mortimer, Shropshire (near Kidderminster) …
    And especially if the rockers involved have some cool professional/artistic connections …

    “Gringo are the twisted end result of a combination of influences ranging from Iommi to Einstein, hangovers to horsepower, space cadets to space exploration; unhindered by genre cliches whilst remaining true to the heritage of Midlands heaviness.”
    Four guys: Andy 'Bootsy' Baldwin - guitar/vocals, Gray Bryans – drums, Dave Reynolds – bass and Marc Temple - guitar/lead vocals.

    Gringo retro stoner/hard rockers signed with Catacomb Records, the cool UK label devoted to “Stoner / Doom / 70s / Psychedelia / Sludge”, for the debut album, called "The Cold Burn", due out in Autumn 2013.
    As reported by the label, the album was engineered by Gringo's vocalist and guitarist Marc Temple, and mixed/ mastered by Matt Richardson of Bastard of The Skies.
    The album also features guest vocals from Soph of Brummy doomsters Alunah.

    Try the flavour of the Midland rock by visiting Gringo's Bandcamp page to listen to track "Decaying Orbit", the first of the 13 tracks in the debut album "The Cold Burn".
    Rock aficionados at those latitudes and/or on those shores might keep a look out for news of a release party! Keep the band’s and on the label’s pages under your radar  …

    Words: Mari

    Gringo | Facebook
    Catacomb Records | Offcial Website
    Catacomb Records | Facebook
    Gringo | Decaying Orbit

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    Our good old friends Fister are hyper active and like to infect the world with their crushing, slow, corrosive, painfully nasty doom-sludge ballads.  Year 2012 saw tons of stuff released by this band from Saint Louis, Missouri. Year 2013 started with the same overwhelming trend, with the ultra dark album Gemini, unleashed in March 2013, and the Good Friday live album out during April 2013 (as cool tape version, btw …). Beside writing killer music and looking after their own life issues, earning everyday bread and auto-producing their fine solid releases, these guys (Kenny Snarzyk, Kirk Gatterer and Marcus Newstead) found the time also for organizing a summer tour that is about to start and will involve also their mates The Lion’s Daughter. As indicated in the stylish tour poster, the tour will start on July 4th 2013 right in Saint Louis, will go through big cities in the North Eastern States and will end on July 12th in Cincinnati, OH. However the guys are working on additional dates next August together with Pallbearer.

    Keep Fister’s pages under your radar for dates and venues.
    And if you cannot grab these guys and their stuff during their tour (because you are not dwelling at the right latitude), also check their merch page out for cool releases and, recent addition, the monster-looking  Infernal Paramount LP decorated with some trvly occvlt decorations!

    Words: Mari

    Fister | Facebook
    Fister | Website / Bandcamp
    Fister | Bandcamp
    Fister Merch | Big Cartel

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    Not long ago (End Of Last March) we had caught the announcement done by our mates out at the cool Ukrainian blog Dimension of Sonic Excellence, aka Robust Fellow, about the imminent release of the DVD illustrating and, I would say, duly celebrating the second edition of the international, hard hitting and heavily rocking festival organized by the Robust fellow guys: the RobustFest.

    It is not the first time that I declare my appreciation for the hard work done by the Robust Fellow team. These guys have been able to establish one of the most involving and well organized international underground festivals in Europe and, especially, in Eastern Europe. Eastern Europe is a gold mine for the undisputably high quality of the underground music scene (metal and heavy rock) as well as for the enthusiasm and passion with which the fan base are still able to meet the foreign bands coming to play.  No wonder that after the first successful debut back in 2011, the second edition of the RobustFest, held in Kiev in early September 2012, turned out to be a great achievement indeed. So let’s hope that further and even wider editions of this cool event will come!

    The teaser video shown in the previous post (and that you can see below) is mouth-watering. Now the complete DVD is available and will make you plunge into a great parade and hard rocking feast involving some great bands indeed.  Let's remember that the RobustFest Vol. II involved 9 bands from 6 countries and covering genres ranging from heavy psychedelia, krautrock, fuzzy stoner, southern heavy blues rock, drone, doom and sludge metal: Samsara Blues Experiment (Germany), Frogskin (Finland), Le Scimmie (Italy), Brand Band (Russia), Methadone Skies (Romania), Mozergush, Krobak and Johnny B Gut (Ukraine).   The super-cool high-quality graphic design and features of the package is guaranteed by the magic artistic touch of legendary blogger and fuzz rock musician Stonezilla, that many of you will remember from the old Sludgeswamp days!

    For ordering the DVD just shoot a message to naming the theme "Robust DVD".
    But I advise you to go and check out the original and Quite Descriptive Post by the Robust guys for details about this cool release which comes out in two different versions, "standard" and "deluxe", with heaps of exclusive bonus musical and graphic features and tricks!

    Words: Mari

    Robost Vol.II – Teaser video

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    The pairing of Japan and heavy music is a often well matching. The pairing of Japan and crushing doom is perfect fitting. Think about a name of probably one of the darkest and heaviest sludge-doom band ever, and a name like the  mysterious Japanese act Corrupted will easily come to mind.  That’s probably why I was insanely attracted by Japanese act Begräbnis when one of them was selling their debut demo out at the Nuclear War Now! Festival in Berlin last November. Begräbnis was not included in the bill of that festival devoted to black and death metal, of course. But it was possible to lay one’s hands on the self-titled demo by this new Japanese band because one of the members Begräbnis, Yoshio Hasegawa, is militating as guitarist and vocalist in the doom-death metal band Anatomia, on stage in the second day of the festival.

    Recently, end of April 2013, the band released a new demo called “Neunundvierzig”, that stands for "fourty-nine days”. So it is about time for stealing some time and writing about this weird, mammoth heavy band baptized with a German monicker and coming from the other side of the world. Well, Begräbnis are not like Corrupted, although there are a few features in common. One of the, probably least interesting, features is the adoption of a foreign language for tracks, album and chanting.  Other features that are more intriguing for me involve music.  Begräbnis started in 2011 in Sendai, Japan. At the time of the 2012 demo the band was including four members named as follows: Rosenkranz on death growl, Martyrer and Sargtrager on guitars and Grabraub on drums. Rosenkranz, a.k.a. Fumika, is a young lady possessing one of the most scary-sounding voices ever heard. Or maybe it is the contrast with the delicate-looking appearance … No no, the lady has got a true, nasty witche’s voice!  Forget the warm, luring voices of the ladies in the occult doom rock bands: here the competition is with singers likeVanessa Nocera of Wooden Stake/Skeletal Spectre, Sharon Bascovsky in Derkéta or Katherin Katz in Salome! On the Facebook page that the band started not long ago, the name of the band seems to have lost the Umlaut, the diaeresis, and the band members listed are three and carry Japanese names (or nicknames): Fumika (the singer), Harima and Kyo.

    I haven’t heard the new demo and there are no sample tracks to be heard on youtube or so, although pres notes on the website of the Japanese label distributing the new demo say that the new release is sounding more “pure" funeral doom, with “extremely slow low frequency guitar sound with funereal mood” plus those evil-dripping nasty vocals ….The less “pure” debut demo, Begräbnis, indeed encompasses various components that concur in making the overall sound extremely nasty and obscure as well as quite particular.The demo includes seven tracks in total, i.e. three 7 to 8 minutes-long suites accompanied by intro, outro and two short insets, for a total running time of 27:22 minutes. So, not terribly long, but enough for poisoning your mind … You can judge Begräbnis’ level of toxicity by yourself with the help of Youtube as there are videos of the band’s live exhibitions devoted to the three suites of the demo. The sounds in these videos are noisier than the demo CD but it’s fine: they get a sludgy noise and get even more toxic!

    The intro is short and dark and immediately engulf you into the nightmare of this nasty occult tale. The suite Fur zur Höle is lead by a plodding rhythm lead by slow ritual drumming and cymbals. The distorted and downtuned guitars make up a sinister, vibrating feedback where the unearthly raspy, vocals of the banshee sing a sort of ultra-sick dissonant lullaby. The sulphureous ballad has a short, central part wich is totally silent apart from a few funereal blows on the drum and a few suffocated rants by the nasty witch. This silent interval introduces the second part of the ballad where deviations from the funeral doom mood are introduced: tempos speed up progressively, and even some groove is introduced via a short heavy metal guitar solo nested into fast death metal riffing.  Awesome …The first untitled inset is quite exotic, very much “Japanese” and occult, with its ritual-sounding lithany and traditional percussions.

    Suite Begräbnis starts with a slow, sinister, absolutely Sabbathian funereal melody where guitars and the nasty witch sing together. The witch does not need to shout or scream for making your blood curdle. Some formulas of her occult  prayer are just whispered, and the quality of the demo is such that you think she is behind you back near your ear! But then the witche’s chant may rise to scary power especially when the riff-driven melodies turn to epic majesty, in the second part of the ballad. The second untitled inset is synth-driven and immediately evokes moods and atmosperes of retro horror movies, so that the long, soft, almost acoustic start of the last nasty ballad, Das Dunkel und Licht, i.e. the darkness and the light, sounds just like the expectation of something evil about to come. The witche’s voice is suffering, like a dying monster, maybe killed by the daylight. But it is a fake suffering: as as soon as the thundering doomy riffs and the occult percussions bring back the obscurity the monster gets back to non-life, and the nightmare starts again … In the few final minutes of this ballad the band again introduces some contaminattion via death metal with acceleratated and extremely downtuned riffing reminding of what heard in Father Befouled, Coffins, obviously Anatonia and similar acts. A short, ultra nasty blitz into death metal before the final Sabbathian vibration will put an end to the suite. But not to the nightmare, as suggested by the totally “cinematographic” outro  …

    So, Begräbnis are a quite promising funeral, or better sepulchral doom act indeed. In this demo they were able to craft some massive, pitch-black occult doom ballads with Sabbathian riffing and extreme distortion plus contamination by death metal, mainly. I didn’t perceived much the “industrial” components suggested by some posts I saw in the web. Anyway one of the elements of strength in this band is the coupling of the booming rhythmic section with the monster vocals in creating some amazingly scary tunes and moods, indeed. As to the contaminations, I enjoyed them very much. The live exhibitions on Youtube also show that the introduction of additional dirt and noise in the overall sound would be cool indeed. And would be something approaching this band’s sound a bit more to the “contaminated” but way dirty Corrupted. Useless to say, I am quite curious and have great expectations about the new demo by the trio Begräbnis, with or without umlaut …

    Words: Marilena Moroni

    Begräbnis’ new demo | Weird Truth Recs

    Begrabnis - Fur zur Höle (Live)

    Begräbnis -  Begräbnis  (Live)

    Begräbnis  - Das Dunkel und Licht  (Live)

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    If you find that the dose of psychedelia in Oak’s Mary is too much overwhelmed by tight riffing and the energetic rock vibes, and you are addicted to heavy psych to space rock jamming which is trippy, relaxing and intriguing at the same time, well, be aware that Da Captain Trips have a new album out! Da Captain Trips is the instrumental psych project involving guys in Oak’s Mary and Midryasi (Cavitos on guitar, Peppo on bass, Sappah on drums and Ema on synth).  The band started back in 2009 and gained much fans in Europe and elsewhere with their self-produced 2010 EP “AllJamed”. They shared the stage around Europe with bands like Samsara Blues Experiment, Yawning Man, White Hills, Vibravoid, Fatso Jetson, the Cosmic Dead, Golden Void etc. June 2013 is the time for the release of a proper, debut full-length album, bearing the mysterious title of “Anechoic Chamber Outcomes I”.  The album is a combined release of  labels Desert Fox Records, Phono Sphera Records and Vincebus Eruptum Recordings and is available as digital release, limited edition CD as well as black LP, for the old-school vinyl maniacs. A coloured version of the album is available via Vincebus Eruptum.

    “ Seven tracks for a total of 42 minutes of pure instrumental groovy psychedelic rock (…), influenced by all the blues and the psychedelic space rock of the 60's and the 70's.”  (press notes).

    Visit the Bandcamp page of Da Captain Trips and the Vincebus Eruptum website for details about the different versions of this new psych gem.

    Words: Marilena Moroni

    Da Captain Trips | Vincebus Eruptum

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    Sometimes California seems to be so close to Northern Italy … The trick is not involving Star Trek-like transporter but years of assimilation of rock music smelling of California as well as fruitful professional interaction with gurus of the Californian rock scene. Oak’s Mary, from Piacenza (Northern Italy), have by now become an institution in the Italian underground rock panorama, and beyond. As a matter of fact, many people in Europe will have caught these guys when they proudly supported the entire epic Euro tour of Fatso Jetson back in 2010. For example, how to forget that cool gig at the Little Devil pub in Tilburg, Oak’s Mary and Fatso Jetson, able to resuscitate energies after days of Roadburn full immersion ... After additional years of intense live activity these four funky desert rockers are back with the same energy and easy-going playful attitude typical of musicians who play for sheer enjoyment of themselves and of their friends. Let’s list their names: Pietro Seghini on guitar and vocals, Riccardo Cavicchia on guitar, Marco Sarracino on bass and backing vocals and Gioele Serena on drums. Oak’s Mary’s new album, the fourth one, is called “Say Hello To The President”. It was released in late February by indipendent label Desert Fox Records, but it belongs to a hot, dry summer by definition.   Album “Say Hello To The President” includes 13 tracks for almost 52 minutes of tight, fresh, dynamic, genuine, raw, thundering stoner/desert rock contaminated by retro heavy blues rock, by acid funky sounds in the vein of QOTSA, a bit of grunge as well as psychedelia.

    In the press sheet the band had announced this as the fourth and “most mature” album. I don’t know if word “mature” copes well with “desert/stoner rock”. I guess ideally the two terms clash, always! Or better, I feel a bit allergic to the word “mature” when dealing with underground music and especially raaaawk, eh eh …
    Anyway, especially since their hot album Mathilda, Oak’s Mary have been refining their own style which is, I would say, fully established and well recognizable. And they are able to involve listeners in their very enjoyable stream of rock both when seeing them live and while listening to their albums, as they are able to inject a generous part of the freshness and energy of their rock shows in their studio recordings. Let’s also admit that there is actually also some “solid”, physical Californian input in this new album. After being captured by Alberto Callegari at the Elfo Recording Studio (Italy), the record was mixed and mastered by Mathias Schneeberger at the Donner & Blitzen Studios in Los Angeles (Mondo Generator, Fatso Jetson, Sunn O))), Desert Sessions, Earthlings, Goatsnake, Masters of Reality, Brant Bjork, etc.).

    Moreover Mario Lalli (Fatso Jetson/Yawning Man) is back collaborating with his friends on vocals, guitars and lyrics in the third track of the album “Sand in the Teeth”. Also, the second track in the new album, “Wait”, comes from the 2010 split between Oak’s Mary and Fatso Jetson. So if the infectious bass-driven rhythm in trackThis Funky For You is opening the album in the due California rock party-like mood, it is the second track, the impressive “Wait”, that will definitely drag you into the pit with its blasting force, roared vocals and seducing slide guitar sound. So the following, beautiful “Sand in the teeth”, lead by Mario Lalli, almost sounds “meditative” and nostalgic, as lyrics too suggest. This overly charming psychedelic ballad makes you long to feel that Californian desert sand in your teeth, to be there for breathing that dry air, while enjoying the tunes that belong to that place. You can check out the cool video captured by the band in one of the live recording sessions for the track. Oak’s Mary guys will cheer you up with their following sequence of tight to easy-going raaawk ballads where they blend the sounds they like and as well as quote stylistic features from their previous albums. You can definitely grasp echoes of Mathilda album in tracks like the opener, The Khage, Blue Dimension,  Juliette, I Believe.

    Oak’s Mary guys too give some space to “romance” and melancholy, like, for example in track “I’ve Got The Sunshine”, where grungy, melancholic refrains alternate with energetic choruses where riffs get back to power.  Riffs, thunderous riffs like those heard in the ballad “Wait” dominate also in the eighth track “Running Away”, whereas the ballad Believe is opened by a very atmospheric intro that is the few moments of  pure psychedelia on this album.  Oak’s Mary guys can keep you busy til the end of their album, no problem. So they put another infectious and dynamic track, “No Answer”, gloriously recalling the acid sounds and atmospheres heard in the best albums by QOTSA. The closure of the album is via the funky and retro vibes in track “Walking Through The Night”.

    Oak's Mary’s new album “Say Hello To The President” is out as digipack version via the Italian label Desert Fox Records/Third Conspiracy Records and should be distributed in USA by Cobraside Distribution. You may also contact the friendly chaps of the band for getting hold of the new CD, as well as for the glorious Mathilda album, in case you missed it in the past. CDBaby is distributing the digital version of the new album.

    Words: Marilena Moroni

    CD Baby

    Oak’s Mary - “Send in The Teeth”, featuring  Mario Lalli – live preview

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  • 06/30/13--08:58: Hela - Broken Cross ...
  • Spain probably has one of the most under rated metal scenes of all times. Though its early grind and thrash scenes have legendary status in metal circles and the quality of modern death metal is laudatory, exports of other genres from this country have for some reason never garnered much attention. It’s one of those stories when failure of recognition was not because of dearth of quality or exiguousness of originality but quite probably lack of support or distribution channels which contributed to the ignorance towards this country’s metal exports. Like modern day Germany and Sweden, Spain too has developed a thriving, dynamic and competent stoner scene because of the paramount importance given towards quality and ingenuity, traits that are oft missing in the stagnant and redundant metal scene today, and thus more often than not getting efficacious results. From the country which has produced bands like Arenna, Horn of the Rhino and Great Coven which have appealed to our senses comes the new band on the block, Hela.

    Formed after splitting up of the band ‘The Sand Collector’, Hela contains members of the aforesaid band and another band Nahrayan, which concocted a unique sound by mixing doom, death and sludge metal. They released their debut album entitled ‘Broken Cross’ earlier this year. Seeing that the band’s repertoire consisted of such musicians who showed a proclivity towards innovation rather than blindly setting on paths paved by the grandfathers of the genres it was no surprise to me that Hela have a sound that they can call their own. Hela’s music can be described as an assimilation of a sound that was created by Subrosa on their debut album, the quixotic yet riff driven take on the psychedelic infused meanderings of Ufomammut, riddled with melodic sections and a penchant for female fronted occult themed doom bands and have the sound which Hela can call their own.

    In Norse mythology Hela was the daughter of Loki the Trickster, who was half rotted, and though very compassionate and caring also exuded an aura of dreariness and anxiousness and this is the reason why this collective foursome work under this name. The music of Hela though of onerous girth never really batters your eardrums enough so as to provide a tempestuous listening experience though it is extremely capable of doing so. The artwork is very reflective of this unique trait as well. The artwork which shows a mortified and depraved figure is drawn in cool colours, which reiterates my earlier point, that though this band is very capable of doing serious damage, they choose not to by taking a laid back approach and instead of choosing to batter the listeners into pulp with their inordinately corpulent riffs choose to create a wall of sound that is more benevolent than malevolent.

    Extremely guitar driven, these six songs which last 46 minutes are testament of the originality of the band who have chosen to create their own path instead of following generally accepted trends. The song structures are masterfully created as well. The band keeps thing fresh by constantly reinventing itself and instead of sticking to a preconceived template introduce a lot of variation. Though there are extremely riff driven sections there are also sections which transfer the listener right to the psychedelia influenced expanses of the unknown. If there is catchy verse there is the long instrumental section as well. What is worth mentioning here is the prodigious amount of a variation present here not only on each track but on the album as a whole. While tracks like ‘Horns Of God’ or ‘Slave Of The Witch’ are all about the copious riffs wherein the drums bash forth the colossal riffs which are well bolstered by the bass which seems to strung by string strong and thick enough to hold up bridges, there is also ‘The Wicked King’ which produces memorable choruses and tracks like ‘March Of the Minotaurs’ and ‘Black Eagle’ which gyrate more towards the firmly driven roots of traditional stoner metal only for the band to subjugate you to music therapy with the album closer ‘Flesh Ceremony’.

    Though there exists such amount of dissimilitude everything seems to flow which crystal clear clarity and fluidity and seems to be part of a greater picture. Be it the operatic vocals of extremely powerful lead singer Isabel Sierras whose voice slightly reminds me of Alunah lead singer Sophie Day, or the furious drum fills of Miguel who knows when to up the tempo so as create maximum impact, or the intertwining goodness the bass and guitar played by Julian and Tano respectively, everything seems a perfect fit and ultimately ends up creating a sound and an experience that Hela can claim their own. This album here is the dark horse of the best stoner album of the year, and with half the year already gone remains my favorite in this category. If you want stoner music with is approachable, does not quickly fall into a boring self parody and different you need not look further. Hela has arrived....8.5/10

    Written by : Vaibhav Jain

    Facebook - HERE
    Bandcamp - HERE

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    Oakland-based harbingers LYCUS will unleash the ominous curse of their debut LP Tempest next week, set for release on July 9th via 20 Buck Spin. With a honed, masterful approach to their songwriting and delivery, LYCUS seemingly adds new vitality to the funeral doom genre with Tempest, the album’s three expansive tracks consuming nearly forty-two minutes of your soul with each listen. Recorded and mixed at hometown Earhammer Studios with Greg Wilkinson (Brainoil, Pallbearer, Samothrace, High On Fire), the album is literally drowning in an ocean-sized pool of incredibly descriptive accolades from media outlets. While references to Mournful Congregation, Ahab, Thergothon, Noothgrush and My Dying Bride are inevitable, LYCUS deliver both caustic and clean riffs and interject multiple vocal styles and additional instrumentation which elevate the material on Tempest to their own place among the scene’s veterans and forerunners.

    Let the surge of Tempest pull you to the depths via Cvlt Nation AT THIS LOCATION.

    LYCUS is just days from announcing their upcoming U.S. Summer tour, and will traverse the continent to wash away the East Coast in the Autumn months. Stay tuned. "Lycus see the hope in doom. The Oakland quartet’s debut, Tempest, comprises three dying-star anthems that billow from speakers like swarms of interstellar locusts. 'Coma Burn' opens the album with a symphony of cell-decaying hymns and chanted vocals that crumple under the gravity field of a vast, blackened, panicked interlude. 9/10" - Decibel

    “It’s difficult to make a subgenre like funeral doom feel fresh and vital, but Lycus are trying their damnedest to do just that... with Tempest they’ve harnessed the elemental power of an oncoming storm.” - Pitchfork

    “It’s that moment of cathartic victory right before everyone dies at the end of a Senecan tragedy - awful, but somehow satisfying. And Lycus achieves that here.” - Stereogum

    “Tempest is a grand and stately work, and Lycus, despite being a very young band, have constructed a debut LP that’s rich and full of effortless wonder and the dignified restraint to be found on the record belies the band’s youth at every turn.” - Cvlt Nation

    “This is one awfully, beautifully dark record. Wholly and unrelentingly painful, Lycus walk into grief with thick skin and mud-caked fists. Sit with the feeling, they'll tell you. It's the only way out.” - Heavy Planet

    “ album so full of loss, so full of depressive grief, that if you closed your eyes and stared into the darkness long enough you may lose yourself and never make it back…” - Metal Insider

    "The balance between heaviness and melody is pitch-perfect throughout, moves seamlessly from one to the other and makes for a textured album... 10/10" - Destructive Music

    Lycus | Facebook
    Lycus | Bandcamp
    20 Buck Spin | Official Website
    20 Buck Spin | Facebook

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    One of leaders of the prolific female-fronted, occult/ vintage Rock scene is BLOOD CEREMONY. I consider this band not only a fine example of what this scene is all about but also the most interesting one among a ton of this kind. Their third installment finds BLOOD CEREMONY having exactly the same passion for mysticism, yet this time they seem less interested in the psychedelic and folk aspects of their style. For example, “Witchwood” the album opener unleashes solid Rock/Blues vibes while in “Ballad of the Weird Sisters” and “Eldritch Dark” their Doom influences shine.

    Sean Kennedy’s guitar playing is probably the darkest to date while Alia O’Brien’s work on flute is exceptional. No doubt flute has evolved to a dominant instrument for the band through which O’ Brien achieves not only the creation of atmosphere but also frantic guitar-like soloing. Special mention should be made for the amazing duet with Lucas Gadke, on “Lord Summerisle” a song which might seem to deviate a bit from the trademark sound of the band yet it is one of the best compositions they ever made.

    I’ll be honest here: with the first few spins on my turntable “The Eldrich Dark” left me a bit cold. This is not because the album is bad but probably because their previous effort is one of the best samples of vintage Rock one can find. Expectations were high and so is disappointment when one finds anything less than magical. Even so, “The Eldrich Dark” has the special gift of growing into after a couple of spins (O.K. probably a bit more).

    Not bad…could have been better…need to catch this band live…as soon as possible.

    Words: Dr Doom Metal ( Dr Dooms Lair )

    Blood Ceremony | Facebook

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    Doom done weird …
    Maybe the music in “Arriving Angels” is far from being canonical doom, but it doesn’t sound that weird for those who are into doom, a genre made not only of heaviness but also of dark atmospheres and introspection. So additional tags may apply. The really “weird” element here is the speciality of the front musician, Alison Chesley a.k.a. Helen Money. Alison Chesley is the Boston-based US cellist that is quite into modern, avantgarde, punk, post-rock and metal music scenes in spite of her definitely classical formation. Look at her on stage and you’ll see how well Alison’s professional look and apparatus express her polyedric roots!
    As a matter of fact Alison’s long career encompasses important and, well, strikingly diverse professional collaborations and interactions ranging from the alt-rock band Verbow to Bob Mould of Hüsker Dü fame, to the Japanese post-rock band Mono, to metal bands like Anthrax and Russian Circles, noise rock icons Shellac, trip-hop masters Portishead, drone monsters Earth, and so forth.

    Label Profound Lore Records released the new album by Helen Money, “Arriving Angels ”. This album comes after such multifaceted career and records a change in the type of performance, i.e., from basically solo performance to a real band setting. In Arriving Angels act Helen Money comes as a duo, as on some tracks Alison Chesley is joined by none less than Jason Roeder, drummer/ percussionist in Neurosis.  Arriving Angels includes 8 tracks for over 40 minutes of dark, heavy instrumental music where Helen’s distorted and downtuned cello is building up stories and knitting atmospheres with her fingers over those thick chords.  The acoustic voice of cello might be trembling alone in silence via soft touches, such as in Upsetter and in the charming intimacy of the stripped-down cover of Pat Metheny’s Midwestern Nights Dream.

     Or else cello may be wailing with its typical, emotional, mournful tones (as in the opening of Beautiful Friends).  But Alison’s cello may also be electrified, deformed by pedal effects, so that sounds not so distant from distorted electric guitars and bass may be produced. The interaction with Jason’s boosted and sometimes contorted drumming is not the only “contamination” of the leading cello sound. Touches of piano are added too. All this can be heard in tracks like Beautiful Friends and Radio Recorders.  Track Radio Recorders is probably the most dynamic, most “metal” track of the whole album and is the one I prefer. This track is where Jason’s  relentless, circular and syncopated drumming helps in turning Alison’s minimalistic cello into a “trve” metal instrument and, fortunately, in a different way as heard in some symphonic heavy metal bands. This track is also where cello is most deformed to produce dreamy, reverbered, delayed, dilated, psychedelic sounds that collide with Jason’s rambling drumming.

    Tempos, sounds, effects and atmospheres may change radically, like in the eponymous track, where a dominant drony, dark ambient mood made of subtle oscillating vibrations is periodically interrupted, or disrupted, by metallic bursts. In Shrapnel the previous “noisy” interruptions are somehow reprised by Jason’s slow, plodding drumming backing up the pulsation of the cello in its different voices. After the hypnotic, suffocating martial rhythm of Shrapnel comes the final track Runout, growing slowly but then developing into a beautiful emotional ballad lead by drums and piano possessing independent and contrasting patterns. A hint to a desert rock riff by distorted, electrified cello will be the last sound you’ll hear before silence will swallow everything up. Album Arriving Angels strays boundaries between genres: doom, folk, post-metal, drone, …

    The press notes refer Arriving Angels being recorded and engineered “with brutal precision” by the “iconoclastic” Steve Albini. Well, yes, the “brutality” probably resides in the fact that the many different elements and influences in this album are stripped down to a level of rawness and minimalism that may sound “brutal”.  Helen Money’s style is of course something unique. However what heard in this album made me somehow remember the sense of surprise and the pleasure in hearing such stripped-down “contamination” with classical instruments, including cello, coupled with a raw bass-driven and highly atmospheric black metal in Tulus’ 2007 album Biography Obscene, one of my fave metal albums ever. Also it was the occasion of refreshing memory about another case of “unusual” instruments successfully employed in extreme music, i.e. double bass in the awesome doom band  Hooded Priest. Yes, metallers are open minded!

    In case you are on the right latitude and longitude, don’t miss the chance of seeing Helen Money live next July 17th at the Five Star Bar in Downtown in Los Angeles for a gig with Lycus and Lake ov Blood, among others.  Alternatively, get some glimpses of Alison’s performances in the video below and the others collected HERE.

    Words: Marilena Moroni

    Official Website
    Profound Lore Records

    Video: Helen Money - Beautiful Friends

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  • 07/15/13--11:08: Lychgate – Lychgate ...
  • Never heard of Lychgate?  If you search on mighty Metal Archives you’ll see this as a brand new band based in UK starting in 2012 and devoted to black metal.
    But 2012 is the year of a rebirth, a magic one … Lychgate play a kind of epic, powerful black metal dominated by keyboards and organs. You may call it “orchestral” metal but imagine it as light years far away from the boring bloat of symphonic metal.

    Lychgate can do the miracle because this is a league of experienced metallers from awesome acts. The band originates from the ashes, or better from the metamorphosis, of Archaicus, an over 10 years-old solo project started by Vortigern, multi-instrumentalist and frontman in several black metal bands (e.g., The One).  For the rebirth Vortigern (on guitars, chants, keyboards and organ) involved none less than Greg Chandler (vocals and guitars) from doom monster band Esoteric, Aran (on bass) from the German atmospheric black metal band Lunar Aurora and, not least, T. J. F. Vallely (on drumming and percussions) from the dark and nasty creature Omega Centauri, among others.

    Basically a monster line-up …
    So you may expect Lychgate as being a hybrid beast because the bands where these fellow musicians militate are known to elaborate and do experimentation on sounds in spite of being firmly rooted in the so-called “old school” metal. Back to the tag issue, one option is to tag Lychgate as “atmospheric”, “progressive” black metal or “art” metal. But tags would miss the amazing richness in Lychgate. Lychgate is a sort of ancient magic cauldron where someone poured abundant doses of pathos and brutality, say, à-la-Bathory, Taake and Marduk (or at your choice!), side by side with the technics and the atmospheres of Death, Opeth, Edge of Sanity and Katatonia, the avantgarde-jazzy escapes like in Virus, archaic raw and occult keyboard-driven horror prog doom like that in Winter and Abysmal Grief respectively, noise, psychedelia, ecc. And, when the whole nasty lot starts boiling, there come lethal but ethereal vapours smelling of Alcest … This is basically the recipe of Lychgate’s self-titled debut album, 9 tracks for almost 38 minutes, a tormented trip into another time, into the pitch-black tunnel suggested by the gloomy cover art (signed by Manuel Tinnemans).

    Two tracks are about one minute-long and act as intro and relieving interval to a crazy vortex depicted by the other seven tracks. These tracks are incredibly multifaceted but never too lengthy, 6 minutes-long maximum. This band has a great ability in symthesys while writing music, a skill allowing them roaming across different genres, mix the latter into a chaotic-sounding tangle and eventually loose it and close in an almost natural and elegant way.   Often tracks start or else develop a core possessing the crypt-like sounds or the hellish and obsessive charge typical of classic black metal. However soon the guys unleash their love for technics by means of series of very fast and complex or else nervous riffs (like in track In Self Ruin). Or else riffs may develop via hypnotic and tormented circular patterns (e.g., in Sceptre to Control the World).  Technics is not going to intoxicate you, though, as slow and solemn doom will come as a balming intervals where the thundering melodies impressively build up from sounds elaborated on different parallel plans. Especially in these doomy sections organ is the king. Keyboard sounds echo in a solemn, menacing way and drown the raw brutality of black metal in occult and morbid atmospheres. However often the reverbered sound of the organ is what helps in turning the gruesome torment into liquid melodies and ethereal atmospheres heard in psychedelic post-black metal and shoegaze. There will always be the obsessive, martial beat of the drums in the background, though, reminding you that this is a nasty band …

    Like drumming, also Greg Chandler’s growled vocals are overwhelmed by the cacophony of guitars and drums, although this hellish mess is going to make singing even scarier, both when Greg is roaring like a beast during the black metal assaults and when he is letting his tormented doom soul speak. After the atmospheric central interval dominated by keyboards and occult chants, it is the time for two awesome tracks, Triumphalism e Dust of a Gun Barrel. These ballads broadly follow the scheme written above, although they are particularly haunting and deeply incorporate the influence of the old project Archaicus and of the bands from where the members of this super-group stem. Track Triumphalism is opened by a peculiar coupling between a syncopated drumming pattern and a dreamy, psychedelic combination of organ and reverbered guitars before the black metal nuclear explosion. Yet what comes after is a magnificent blend of bestial frenzy and complex and elegant melodies, crazy accelerations and breathtaking slow-downs. The pulsating, syncopated drumming beat will there, in the background before everything will dissolve into dreamy black shoegaze.

    The track Dust of a Gun Barrel, has a dissonant and jazzy avantgarde start before opening the cage and letting the beast and its evil soul out. But there is always space for atmosphere, like, for example, in the sudden, beautiful interruption halfway through the track, where the chords of an acoustic guitar are vibrating in a pre-storm silence. What will follow is actually a doleful and sometimes epic melody contaminated and “refreshed” by some dissonance and curious diversions.
    For closing this magnificent album, the band will leave bestiality and choose a proggy/shoegaze mood. As a matter of fact, the final track, When Scorn Can Scourge No More, tends to develop like a charming hybrid between Alcest and Opeth when lead by a rather mellow guitar sound.

    This is the way I experienced Lychgate’s debut album, although further listening in varying moods might surely reveal more and more details and features of this extremely rich yet quite concise album. Surely one of the side-effects of enjoying this album is the push to go and refresh memory about the fine bands related to Lychgate and, thus, prolongue the magic. So Lychgate is much much welcome for energetically adding to the group of the eclectic bands contributing to renew and enrich the international black metal panorama either with experimentation or by straying boundaries across genres. I am thinking about Negative Plane, Oranssi Pazuzu, Nachtmystium, Ludicra, Paroxsihzem, etc.

    Lychgate’s debut album is out on Gilead Media as LP and via Mordgrimm Records as CD/digital version. So there are no excuses for missing this beautiful release, which is malevolent and fierce, technical as well as very involving for its richness and inspiration drenching each track. I’m here, waiting for more to come, with my rapacious beak open like a baby vulture … 

    Words. Marilena Moroni

    Lychgate | Facebook
    Official Website
    Lychgate | Mordgrimm Records Bandcamp
    Lychgate | Lychgate @ Gilead Media

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    Hi doom crew,
    As some of you may have already read elsewhere, Doommantia's creator and still main inspiration Ed Barnard is relocating to Australia in order to get the healthcare he needs and should have gotten from this decaying cesspool known as the USA. He leaves on the 22nd of this month.

    Note From Ed:

    I just want to say thank-you to all the important people that have helped me in the past year. Some of you have helped me in ways that I thought wasn't possible given the cold and nasty world we all live in these days. Some of the support shown has been truly heart-warming and without getting over-dramatic, the reason I have still alive and breathing is due to your kind help, support and encouragement. There are people that I really should give a big Fuck You to but I am above all that and what goes around, comes around and karma is a bitch so that is good enough for me. Now with help and health relief in sight, (after a hellish and long plane flight of course) my only real battle is finding a new place to live and if at all possible, a job. These two things have been an almost impossibility in this country so I am excited at the possibilities.

    Doommantia.Com will live on and may even become even stronger once I am settled. Aussie doom bands beware, you will get some extra spotlight once I get back on my feet again. Again I thank you for all the donations and thanks for downloading the compilation. That helped me a lot and I hope it introduced you to some new killer bands. The new comp should land any-day now. I know that has been said several times already but I hope it will happen very soon. The proceeds of which will go to helping me get settled down again. Thanks to everyone that traveled vast distances just to bring me food or to visit me in hospital, I will never forget you. I haven't lived in Australia in many years and have no family and little in the way of old friends so it will be a totally new start. Hopefully this new chapter in my life will be more rewarding than the last and of course any help via a donation or download would be most appreciated.

    Thanks to the writers of Doommantia and especially to Tony who is the only reason the site is still going. I am not disappearing and I will be in touch with everyone as much as possible. Peace and doom on. Till we meet again.....Ed

    So that's the situation. If you can help in making this gigantic move to the other side of the world a smoother experience for Ed, please donate via the usual donate button you see in the sidebar. Ed's health is still a number one priority but seeing as he is going to get the treatment he needs, we can sleep a little easier knowing that will be taken care of. Thanks for putting up with our pleas for money over the past year but it was a desperate situation. Now we can move on......

    Words: Tony C

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