Articles on this Page
- 07/16/13--14:42: _Live Review: Atrago...
- 07/18/13--12:07: _NEWS: ORCHID Announ...
- 07/19/13--07:31: _NEWS: IRON MAN To R...
- 07/21/13--08:16: _LIVE REVIEW: DAYS O...
- 07/21/13--10:07: _DOOMMANTIA COMPILAT...
- 07/23/13--08:42: _NEWS: MONSTER MAGNE...
- 07/25/13--08:50: _NEWS: San Diego Ps...
- 07/25/13--14:28: _NEWS & VIDEO: LOCRI...
- 07/28/13--08:37: _ADAMENNON - MMXII ...
- 07/28/13--08:49: _NEWS: BRITISH DOOM ...
- 06/27/13--12:46: _NEWS: TROUBLE Guita...
- 07/30/13--16:14: _NEWS: Iron Man Sign...
- 07/31/13--10:19: _More Doom For Your ...
- 08/01/13--20:59: _NEWS: ELLIOTT’S KEE...
- 08/04/13--16:15: _TRAITORS RETURN TO ...
- 08/04/13--16:27: _News: UK psych-ston...
- 08/05/13--13:29: _BLACK TUSK – Tend n...
- 08/06/13--19:20: _Video: CANDLEMASS: ...
- 08/09/13--17:36: _NEWS: New WHEN THE ...
- 08/11/13--10:10: _CHURCH OF VOID - "D...
- 07/19/13--07:31: NEWS: IRON MAN To Release 'South Of The Earth' In September ...
- 07/21/13--10:07: DOOMMANTIA COMPILATION VOLUME II - LAST CALL FOR SUBMISSIONS ...
- 07/23/13--08:42: NEWS: MONSTER MAGNET To Release 'Last Patrol' In October ...
- 07/28/13--08:37: ADAMENNON - MMXII ...
- 07/30/13--16:14: NEWS: Iron Man Signed To Rise Above Records ...
- 08/01/13--20:59: NEWS: ELLIOTT’S KEEP COMPLETES RECORDING OF THIRD ALBUM ...
- 08/04/13--16:15: TRAITORS RETURN TO EARTH - Betting on a Full Collapse ...
- 08/05/13--13:29: BLACK TUSK – Tend no Wounds EP ...
- 08/09/13--17:36: NEWS: New WHEN THE DEADBOLT BREAKS album info ...
- 08/11/13--10:10: CHURCH OF VOID - "Dead Rising" ...
Local Edinburgh five piece, Atragon, kick off the proceedings. They suffer a bit due to the show starting late and have to make do with a hurried line check, when they could have done with a bit more time to soundcheck and warm up. This results in the first song sounding like a scrappy roadhouse blues number and the vocals sound weak. Thankfully, they hit their stride with the next song, the singer has a stentorian bellow and an adept way with audience engagement. The whole band kick it up a gear and tear into a heavy, doomy metal style… right down to the guitarist’s bell-bottoms, 70’s jacket and big metal cross pendant. Talk about wearing your influences! Thankfully, they back it up musically. Next, they launch into a more psychedelic groove and keep it locked on through a fairly lengthy instrumental mid section. It always stays pretty well riff based thanks to two guitarists. A last song comes and goes pretty much in the same vein as the second track and they’re done. Definitely worth checking out their EP on Witch Hunter
Witchhunter Records | Bandcamp
Glasgow’s Headless Kross take the stage next and have no teething problems, going straight into an extended psychedelic stoner instrumental section that sounds pretty spacey but never loses it’s groove. They build a slow burn tension until finally the vocals come in the form of a crazed howl. This just adds to the dynamics and we’re all locked into the groove. With no let up and not even a vague acknowledgement of the audience, the band slide into the second song… or maybe a different section. It’s hard to tell. Any pause for reaction would probably just detract from the tension they’ve built. The drumming is absolutely stand out, fluid, dynamic, propelling the song forward. Elements of space rock come swirling into the equation in the form of shimmering phasing, but still heavy, HEAVY sludgey stoner riffs. They launch straight into the third and final number/section, again starting out with a slow burn that uncoils into some wild necksnapping tempo changes, sometimes almost verging on power-violence. Martial snare and two floor toms, the drums create a dynamic trail that the guitars follow, perfectly. Over too soon!
Headless Kross | Bandcamp
Coltsblood are an interesting prospect, their demo tape combines a couple of disparate elements to create a mournful, icy funereal doom. Live, it’s maybe more than three people can fully recreate, but they manage to hit moments of it. The most obvious doomy elements here are the fluid but oh so heavy drums, like a river of lead, and the monstrously downtuned bass. It’s an incredibly heavy, bleak sound. Morbid bass! Combined with an anguished, irate yell of a vocal, these elements combine to shape an inconsolable howl of rage at the universe. The element that seems to be harder to recreate live is the incredible guitar leads that are such a stand out feature on the demo. Coming into the sound at a strange tangent, they sound reminiscent of 4AD. More akin to the early days of Goth, Joy Division etc. The usual adjectives apply – icy, spindley, cold shards of glass. Live, they are just too elusive, too fleeting to create the same impact as the recordings. Which is a shame, because live they absolutely crush, but knowing that they can bring that whole extra dimension is slightly frustrating.
Coltsblood | Bandcamp
Ommadon. Ommadon are stunning. A lazy comparison would be Sunn O))). Not in terms of theatrics but in terms of the immense unholy riffage they create. It’s a testament to the two guys that make Ommadon that there’s no hint of struggle to create such a full sound. The drummer sets up a laptop and a midi controller and leaves it running a big crunchy droning chord and some trebley chirps and burbles, then takes his own sweet time playing with the amp settings until he get these elements sounding just right before taking up position behind a stripped back minimal kit. The guitarist starts cranking out a massive chunky chord, swimming in a filthy rich stew of distortion. The pace is impressively slow, the dynamics building from the shifting harmonics in the distortion. Riffs are clawed down from the Moon and ooze through the amp at a glacial rate. Huge, almost-dub like chasms loom out of the haze, while the drums dash to and hither, perilously close to collapse into the abyss, but then taking off at tangents to the edge. Again, as with Headless Kross it’s impossible to tell if there are a number of songs or one massive extended track, but it doesn’t matter. I have to take off about three quarters of the way through Ommadon’s set to catch my train back to the rural hinterlands. This is disappointing as I’d love to feel the collective pressure release when they finish. I spend the following day sitting in the sun, drinking cider, with the gig still ringing in my ears.
Ommadon | Bandcamp
All in all a pretty decent and varied cross section of the current state of play for doom and stoner scene in Scotland. Three of the bands hail from the Central Belt of Edinburgh and Glasgow and if there’s enough of a vibe to attract Colts Blood to come up from Liverpool for a couple of dates then it would seem to indicate a reasonable state of health.
Words: Gordon Cameron.
ORCHID will be supporting their recently-released 2nd album, ‘The Mouths Of Madness‘ which was released via Nuclear Blast and ORCHID singer Theo Mindell commented: “We’re really excited to be returning to Europe for this tour with such great bands supporting us. We’re so blown away by the love and support everyone has shown us and can’t wait to play these shows. Looking forward to seeing you all on the road.”
01.11. D Essen – Turock
02.11. B Vosselaar – Biebob
03.11. UK London – Dingwalls
04.11. F Paris – Glazart
05.11. CH Zürich – Mascotte
07.11. D Lindau – Club Vaudeville
08.11. D Köln – Gebäude 9
09.11. D München – Backstage Halle
10.11. NL Kerkrade – Rock Temple
12.11. D Trier – ExHaus
13.11. D Hannover – Faust
14.11. D Berlin – C-Club
15.11. D Würzburg – Hammer Of Doom
16.11. D Weißenhäuser Strand – Metal Hammer Paradise *ORCHID only*
Source: The Sleeping Shaman
Orchid | Facebook
Blues Pills | Facebook
Nuclear Blast Europe
Recording and mixing took place at Hudson Street Sound in Annapolis, Maryland with producer/engineer Frank Marchand III.
"Every time IRON MAN goes into the studio, we treat it like a blank canvas. As things progress, the art form takes shape," says Al Morris on the band's creative process.
"We wrote this album in about 2 months. Then we practiced our asses off to perfect the performance of the songs.
"This CD was done with Frank Marchand, an engineer/producer with a head full of ideas! He enhanced every element of this CD.
"We have great trust in Frank and followed his ideas. This is what came out!"
Rising out of the same Maryland/Washington D.C. mean streets as fellow U.S. doom pioneers PENTAGRAM and THE OBSESSED, IRON MAN formed in 1988 as a BLACK SABBATH tribute band by guitarist Alfred Morris III, whose musical career began in 1977 with mysterious proto-doom cult FORCE. Al's legendarily heavy, unearthly guitar tone was already much in evidence on FORCE's ultra-rare 1981 debut EP — and it has only deepened, hardened, improved and refined in the ensuing 32 years.
IRON MAN 2013 is:
Al Morris III - Guitar
"Screaming Mad" Dee Calhoun - Vocals
Louis Strachan - Bass
Jason 'Mot' Waldmann– Drums
"South Of The Earth" track listing:
01. South Of The Earth
02. Hail To The Haze
03. The Whore In Confession
04. The Worst And Longest Day
05. Aerial Changed The Sky
06. IISOEO (The Day Of The Beast)
07. Half-Face/Thy Brother's Keeper (Dunwich Pt 2)
08. In The Velvet Darkness
09. The Ballad Of Ray Garraty
The venue was once again the Blue Pig in beautiful downtown Cudahy, WI. When I see the cerulean hues of the Pig and the giant neon BLATZ sign, I get a very comforting feeling and I know good times are ahead. You get greeted at the door right away by promoter Mercyful Mike Smith, lovely wife Christine and are made to feel very welcome. And they do this for EVERYONE, not just aging weirdo journalists like Dr. Abner Mality.
The DOTD experience makes for quite an interesting contrast compared to my last big concert experience, which was Maryland Deathfest. I love the hugeness and the hustle and bustle of MDF, but it is nowhere near as cozy and intimate as Days of the Doomed. This is by design. I got to talk to cool metalheads and friends at both fests, but here in Wisconsin, I didn't have to put with bullshit at the airport and I got to personally have a beer and yap with band members, journos and fans with zero pressure.
It's a perplexing paradox for Mercyful Mike because everybody who attends the fest just loves the atmosphere, yet really there should be more people there. Seeing the big lineup this year, the best every put together, I had serious doubts if the Blue Pig would be able to handle everybody. In the end, there was no danger of people getting mashed together, which is very relaxing in comparison with the monstrous crowds of MDF.
Fortune smiled upon me this year and for the first time, I was able to attend both days of the festival. I put some miles on the Mality-mobile but I much, MUCH prefer that to the hassle of flying..
When I got to the Pig, Gravedirt was a couple of songs into their set. These guys play the nasty kind of death-tinged sludge that is hugely popular now, complete with tortured grumbles and growls. They were among the heaviest bands of the entire weekend, but I think the barstools had more energy and charisma. Dudes, you need to occasionally look at the human beings in the crowd instead of your gutiar strings or shoes once in a while. That being said, I enjoyed what I heard of Gravedirt.
Even more of a revelation was Milwaukee's own Moon Curse. This power trio played a complex and epic kind of doom that reminded me a lot of the great Black Pyramid and anybody who knows how much I like Black Pyramid will realize what a compliment that is. I would really like to hear a studio version of these songs because they made a hell of an impression on me. Being the sexist swine that I am, I must make mention of their attractive blond bassplayer, who grooved along sinuously with the music in a way that no guy could ever do, at least without looking stupid. I hope Moon Curse doesn't turn out to be one of those local bands that plays a couple of great shows and then implodes.
The pace picked up considerably with the hotly touted Kings Destroy. Even though this is a doom metal festival, that doesn't mean that every band crawls along like a slug. No indeed, quite a few played with intensity and Kings Destroy was one of these. Originality was not their strong suit, as a lot of their tunes had that scuzzy Southern groove to them, but to make up for that, they really jammed hard and got a good response. Some tracks were thunderously heavy while others bordered on Southern rock. An energetic frontman kept things rolling pretty good. We'll be hearing more of Kings Destroy.
If Kings Destroy can be considered up and comers, then I don't how how you would describe Venomous Maximus. This is a band of the future...or should be, in a world where justice prevails. At a show where many of the bands wore their influences on their sleeves, Venomous injected some real originality. They have their own sound, that's for sure, but they back it up with a tremendous live show that shook the rafters of the Blue Pig. Singer/guitarist Gregg Higgins is an exciting presence and has the charisma natural to that rarest of creatures in the 21st century...the bonafide rock star. He's got a wild and emotional style to him that comes out best live. The band themselves seem a bit mispalced at a doom metal festival...they opened up with the sweaty, hammering "Moonchild" and rarely let up from there. They covered the length of their new album "Beg Upon the Light" with songs like "Path of Doom" and "Dream Again". Something really special is happening with this band, Mercyful Mike showed a sharp eye in signing them for DOTD. I managed to snag not only a great interview with Mr. Higgins, but I got some pretty cool prints from the prolific tattoo artist as well as a bottle of "Eyehategod" hot sauce concocted by bass player Trevi Biles. The night was full of "WIN" for me!
While Venomous Maximus are a fresh face, Penance is considered a legendary band in the doom metal scene, having got their start in the notorious Maryland doom explosion of the early 90's. Appearances have been sparse in the last decade, but DOTD managed to snag a set from them. Featuring the extremely strong vocals of Brian Balich, Penance pleased their fans by playing a lot of tunes from their classic albums "Road Less Travelled" and "Parallel Corners", including standards like "Words To Live By" and "Monster I've Become". One highlight was "Cloudless" from the later "Proving Ground" LP...on record, it's very much a grunge song, but here the band transformed it into a much heavier doom classic. Very strong set from the veterans!
On the subject of veterans, nobody has been through more war than IRON MAN! It was my pleasure to see these guys for the first time at the debut Days of the Doomed in 2011 so I was definitely looking forward to seeing them again. Goddamn, how does Al Morris get that guitar tone?! So warm, fat and heavy...when you hear it, it's like being smothered in electric butter! When that tone is backed up by Louis Strachan's equally huge bass and put in the service of the monster doom riffs Iron Man specializes in, you just can't beat it. We also have the awesome vocals of man-mountain Screaming Mad Dee to contend with.
A couple of notes on Iron Man. With their newer material, it is obvious that this band is growing and expanding their sound. Tunes are becoming more complex and even progressive and Al's guitar work is getting more versatile. If he just played those fat fuzz riffs alone, he would still be great, but there's a lot more to him than that and this set demonstrated it. It is crazier than a pitbull on crack that these guys are not signed to some label like Metal Blade or Relapse. Wake the fuck up, labels!
Also, I gotta say, Louis Strachan has to be one of the coolest guys around. He's a ton of fun to watch not only on stage, but just hanging out. It's obvious he's a huge fan of this music, as he could be seen headbanging to many of the other band's sets. Metal scene could really use more dudes like this.
|SCREAMING MAD DEE|
I drove back home from day one through a torrential downpour and a lightning storm so humongous that it sometimes felt like I was driving in daylight. Probably one of the biggest storms I've ever seen.
There was no trace of raging heavens when I woke late the next day. Instead, it was absolutely beautiful out and I couldn't imagine a more pleasant or ideal day. This was the first time I made both days of the Fest, but I did miss the first three bands on Day Two, Whaler, Gorgantherron and Beelzefuzz. My apologies to them.
I was pleased to see a decent crowd at the Blue Pig even in the early afternoon. The first band I really sunk my rotting teeth into on Saturday was a three man outfit from the East Coast called Chowder. Featuring members of Earthride, these guys were one wild trip! Their music featured everything from thick doomy riffs to aggressive almost thrash chunkiness to synth-soaked spaciness. I sensed a lot of old Rush in some of Chowder's music, along with bits of Mastodon and King Crimson and Hawkwind. They were strictly instrumental, but their music was so fascinating that I immediately headed to their merch booth after the set and bought their debut album. I recommend it to any fan of great instrumental rock or progressive doom.
Mr. Tony Spillman is getting to be a busy dude. He's heavily involved with the up and coming band Earthen Grave (who also played later today) and now he's got the band Spillage to rock out with as well. This was the first I had seen or heard of Spillage and again they didn't fit the strict definition of "doom". What they did fit was the definition of ass-kicking classic hard rock. Yup, it's another "retro" band but this one has a lot more authenticity than most. Not only does the band feature Tony, but also Trouble's Bruce Franklin and other seasoned veterans of the Chicago rock scene. They played a smoking set that touched on everything from Lynyrd Skynyrd to Kiss to Sabbath to old Nugent to Bad Company. Singer Lothat Keller is right out of 70's Rock Star central casting with long hair, silk shirt and shades. Spillage had the presence that separated them from the army of 70's retreads clogging up the scene and I would strongly suggest checking them out live to get a touch of the real deal.
Some of that aura also extended to next act King Giant, who hailed all the way from Virginia. If these guys were any more Southern, they would have been dressed as Confederate shock troops and waving old Dixie. Instead, they had the baseball cap, beard and short hair thing going on. They played music as dusty and greasy as an old Camaro on a dirt track. Lots of bluesy swagger and swampy stomp. They did what they did extremely well, but the Southern sludge sound is one that has never been a biggie with me. Too much Yankee blood, I'm afraid.
I took a brief hiatus to get stuffed at a little Thai place up the road called Thai Flare. Hope these guys get some business, because their Drunken Noodles were outstanding. I was sorry to see that the little greasy spoon Packard Cafe had closed since last year. Oh well...
When I came back, it was just in time to see California's Leather Nun America take the stage. A three man outfit, these dudes played doom as pure as it gets. Not much above a mid-paced chug from these guys. That suited me fine. In fact, they were the first band I had seen on Day Two playing doom and nothing but. They did a killer cover of The Obsessed's "Streetside" which showed exactly where their loyalties lied. I had frankly never heard of these dudes before the show but I will keep an ear out for them now.
Some very familiar faces were up next, but with a twist. I've seen Earthen Grave a number of times in the last few years, including at the very first Days of the Doomed, so their set was no mystery to me. However, this time there was a difference because previously I had never been lucky enough to see their acclaimed and classically trained female violinist Rachel Barton Pine play with them. I remembered seeing Ms. Pine play years ago when I attended Rockford College, playing a mixed set of classical and jazz numbers. Now she was on stage in front of me dressed in a kind of black leather dress with a ton of straps and buckles and sporting an electric violin that looked almost more like a weapon than an instrument. Unfortunately, there were some sound problems in the early part of Earthen Grave's set that prevented her violin work from being clearly heard. Even so, she fit in with the rest of the band, which includes Trouble's Ron Holzner on bass, Tony Spillman on guitar and Jason Muxlow from The Living Fields on second guitar.
Tonight, the band even brought a second young lady to accompany Rachel on violin. The result was quite a wall of sound, with these two gals sawing away furiously on their instruments while the rest of the band headbanged and thrashed away. It was noticeable that Earthen Grave can play fast and aggressive material as well as slow and doomy. Hefty vocalist Mark Weiner was on overdrive as well, unleashing some high pitched screams that just about blew the windows out. It was a massive set from Earthen Grave, almost exhausting to listen to.
Gotta give a shout out to gravel-throated Don Adam from the band En Masse. He is THE great character in the Midwest metal scene. Watching this guy freak out in ecstasy over various band performances is as entertaining as the bands themselves and listening to him growl out wisecracks and insults is a scream. Every scene needs a guy like this. By the way, MOST of the crowd was happy to see the Chicago Blackhawks beat the Boston Bruins during the downtime between sets. GO HAWKS!
The name of Pale Divine often comes up in discussions of underrated doom bands. I am ashamed to say I had no familiarity with their material until tonight. I would absolutely declare them as the revelation of the festival! This band is ASTONISHING! Perfectly played doom metal touching on all aspects from the ultra-heavy to the soulful to the mystic and ethereal. Their songcraft was immaculate and the songs featured not only great riffs and solos but real heartfelt emotion. Greg Diener has a picture perfect voice for this kind of music and can also crank some heavy duty solos as well. It is absolutely NUTS why this band has to suffer in the shadows while CRAP is King! Do your duty and track down their stuff! I know I will!
While Pale Divine was the big surprise of DOTD III, the major reason I was here tonight was to see the return of DREAM DEATH! I don't think any band in history put out a single album that crushed me the way these guys did with their debut "Journey Into Mystery" in 1986. That was one of the cult metal releases of all time. I thought any chance of me seeing them play live was absolutely absurd. Thanks, Mercyful Mike, for making a dream come true. Singer/guitarist Brian Lawrence looks about as metal as the guy who does my taxes, but his genius remains. The set started with "Divine Agony" and touched on such classics as "Back From the Dead", "Black Edifice" and "Bitterness and Hatred". The band has such a unique sound, mixing doom, thrash and an off-kilter, almost jazzy kind of chord progression that they can be mistaken for no one else. They also played some tracks from their new album "Somnium Excessum" and believe me, that album is almost the PERFECT follow-up to "Journey Into Mystery". New cuts like "Feast" and "Them" stood toe-to-toe with the old chestnuts, but if you are talking about Dream Death, there is one song above all that crushes the rest and that is "The Elder Race". When the dudes swung into that unbelievably catchy lick, the whole bar pretty much exploded. This is one of the absolute classics of the entire doom genre.
Now, as much as I enjoyed Dream Death's set, the analytical side of me did detect some rustiness in their playing and some timing issues during the more awkward moments. I could see Lawrence was visibly disturbed a couple of times, but he was playing in front of a crowd of fanatics and friends, so no problem there. I strongly advise all death/doom freaks to grab a copy of "Somnium Excessum" and welcome Dream Death back into the pantheon of great bands.
Speaking of great bands, Mr Victor Griffin is one of the guys who started the entire doom/stoner rock genre with the immortal Pentagram. Tonight he graced the stage of the Blue Pig with his new band In-Graved. I was real impressed with what I saw from Mr. Griffin and In-Graved tonight. The classic rock sound is strong with these guys and a heavy keyboard presence runs neck and neck with Griffin's stunning guitar work. The keyboards worked in such a way that they enhanced the heavy riffing while adding their own melody and atmosphere. This was the way the great rock bands of the past worked. Griffin himself was energetic, focused and absolutely on point. I have to contrast his appearance and demeanor with that of his long-time Pentagram bandmate Bobby Liebeling, who I recently saw perform at Maryland Deathfest. While the years have taken a very obvious toll on Bobby, Victor played and sang like a man 20 years younger than his actual age. I had little familiarity with In-Graved's music, but the soulful heavy rock was a soothing balm to my mind.
That left the mighty Gates of Slumber to put the cap on it all. As unfortunately seems to be the case at my advanced stage of life, the needle empty on my gas tank by this time. I bid adieu after the first couple of thunderous tunes from these Indiana heavvyweights. No need to worry, I feel pretty safe in saying they caved in the skulls of those remaining. You can't get much heavier than these guys. I recall having to bow out during their last headlining DOTD set a couple years back. Someday I shall witness them in all their glory.
No raging storms ripped the skies as I made my way back home. I was left to bask in the glow of a weekend full of fellowship and good music. This is a good tradition to have. I think this was a pretty good year for Days of the Doomed. The word is spreading further about this cozy little fest. I hope future editions will bring more success, yet not forget the warm feeling the show is known for.
See you next year...
Words: Dr. Abner Mality ( Wormwood Chronicles )
Thanks to everyone who bought and downloaded the last compilation but this one is shaping up to be even better, heavier, doomier, all that yummy stuff. Support new music, support Ed and download both compilations ASAP. Thanks...
Words: Tony C
In support of "Last Patrol", MONSTER MAGNET will embark on a full-blown North American tour. Although the band has toured Europe relentlessly over the past decade, this is MONSTER MAGNET's first full North American tour in over 10 years. Support will come from Prosthetic artist ZODIAC. The tour is scheduled to kick off November 14 in Grand Rapids, Michigan and will run through December 14 in New York City.
Frontman and MONSTER MAGNET mastermind Dave Wyndorf checked in with his thoughts about "Last Patrol": "'Last Patrol' is a return to our roots in terms of vibe and recording style. It's full-on psychedelic space-rock with a '60s garage feel, recorded almost exclusively with vintage guitars, amps and effects in our hometown of Red Bank, New Jersey. The songs are a kind of space-noir, tales of cosmic revenge, peaking libidos, alienation and epic strangeness. It's a weird trip through the back alleys of a dark, retro-future, which not by coincidence very much resembles my own life. [laughs] The lyrics aren't fantasy really, rather a recounting of my musings on, observations of and general emotional reaction to my life and environment during a 1 week writing period in February of 2013. But I tend to use the vernacular and imagery of science fiction and surrealism to express myself and that's where these lyrics get trippy. There's also our cover version of DONOVAN's 'Three Kingfishers', which I thought fit the mood of the album."
He continued: "'Last Patrol' was produced by Phil Caivano and myself with an effort to bring a homegrown feel to the whole affair. We had been doing smaller projects out of Phil's Studio 13 recording space and I really felt comfortable there so it was the natural choice on where to record the next full-scale MONSTER MAGNET album. Phil and I grew up together and have a shared love of some very particular vintage music and styles. And everybody in the band played their asses off on this one."
"Last Patrol" track listing:
01. I Live Behind The Clouds
02. Last Patrol
03. Three King Fishers
06. Mindless Ones
07. The Duke
08. End Of Time
09. Stay Tuned
Award-winning San Diego power rock band EARTHLESS has completed work on its brand new album From the Ages. The first new studio album from the globally celebrated trio since the release of 2007′s critically acclaimed Rhythms from a Cosmic Sky, the LP was recorded in San Francisco with producer Phil Manley (Trans Am, The Fucking Champs, SubArachnoid Space). An hour-long double LP, From the Ages will see an October 8 release date via Tee Pee Records
Formed in 2001, EARTHLESS prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, EARTHLESS‘ sound has been called “A sonic kaleidoscope of lava and lightning”, earning it the title of “California’s loudest band”.
The group delivers “one of the best live shows in all of modern, heavy rock,” leading to one reviewer stating that the band’s “epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn’t afraid to take its listeners on a ride for which they may never return.”Each member of EARTHLESS has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and has also occupied the drum throne in Rocket From The Crypt and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin’ Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove — through sheer rock power — why they are considered the cream of the modern day heavy psych scene. “We feel this is some of the strongest material that we have ever created and we cannot wait to get out there and share it with everyone in a live setting,” said the band when asked for comment. From the Ages‘ sprawling, epic cover art was created by renowned rock music poster artist Alan Forbes (Queens of the Stone Age, SWANS, Black Crowes) while the record’s surreal inner design was brought to life by the band’s own Mike Eginton.
1.) Violence of the Red Sea (14:44)
2.) Uluru Rock (14:08)
3.) Equus October (5:42)
4.) From the Ages (30:55)
EARTHLESS is: Mario Rubalcaba (Drums), Isaiah Mitchell (Guitars) and Mike Eginton (Bass).
Earthless | Facebook
"Exiting The Hall Of Vapor And Light", the new video from the experimental, dark ambient/noise trio LOCRIAN, can be seen below. The clip is an abstract interpretation directed by George Moore of the instrumental track that appears on the band's new new album, "Return To Annihilation", which was released on June 25 via Relapse Records. The CD was recorded by Greg Norman (PELICAN, RUSSIAN, CIRCLES, SERENA MANEESH) at Steve Albini's Electrical Audio Studios in Chicago and was mastered by Jason Ward at Chicago Mastering Service.
A two-part concept album inspired by LOCRIAN's love for prog-rock progenitors GENESIS, YES and KING CRIMSON, "Return To Annihilation" is described in a press release as "the group's most ambitious recordings to date."
LOCRIAN lyricist/multi-instrumentalist Terrence Hannum comments on the album's concept: "I think for the album concept we were inspired by GENESIS' 'Lamb Lies Down On Broadway' and how it is a surreal narrative telling a story. We sought to make our own but we wanted to give our nod to the prog bands that inspired us; KING CRIMSON or YES with the multi-part songs. So we had looked at the novel 'Dhalgren' by sci-fi writer Samuel Delaney as a big influence too. How it is a circular narrative, ours is more of a mirror of itself, one that changes and shifts. It also borrows extensively from Walter Benjamin's 'Arcades Project'.
"Our story is about a cataclysm that changes the world and all manner of perception in two parts. I would say the real and the perceived. And it is all told to you through a narrator, one who you cannot tell if he is asleep or dreaming or sleepwalking through this shifting landscape. Part 1 begins at the end of a song whose lyrics discuss a dawn in which all of our monuments dissolved, the next track the wrath of heaven (a massive cataclysm) visits earth, then two moons appear in the sky (perhaps the most direct reference to Delaney's novel but also an homage to Nick Drake). It ends with the first multi-part track 'Return to Annihilation', a more metaphysical description of the changes apparent in the world. One in which minerals work against man, there is only evolution. We also gain insight into that what we've been told may be unreliable as the narrator admits to 'noctambulism' (sleepwalking). But it is intentionally unclear if this is his state or the state of everyone. Part 2 is a view back through this mirror or lens of Part 1. We exit the hall or vapor and light and enter a panorama of mirror, the entire world as reflection. It ends with a four-part piece about worshiping equilibrium in a world where it has been extinct (isostasy), discussing the qualities of the air that is now poisoned, witnessing the burial of urns (hydriotaphia) and finally awaking to awareness.
"One of the things we wanted to accomplish was a sense of texture with mirrors, prisms, lenses, etc. being referenced in the sounds and tone. I think it does."
Formed in late 2005, LOCRIAN consists of André Foisy (electric and acoustic guitars, arp avatar, electronics), Terence Hannum (vocals, synthesizers, piano, organ, mellotron and tapes) and Steven Hess (drums, electronics). The group, located in Chicago, Illinois and Baltimore, Maryland, has released over 20 recordings on an eclectic array of labels in their relatively short but prolific career, including a recent split with labelmates HORSEBACK.
01. Eternal Return
02. A Visitation From The Wrath Of Heaven
03. Two Moons
04. Return To Annihilation
a. Into One Light
c. All Mineral in Upheaval
05. Exiting The Hall Of Vapor And Light
06. Panorama Of Mirror
07. Obsolete Elegies
b. Digression of Air
d. In Felsic Splendor
Adamennon, the Italian solo artist and multi-instrumentalist wholeheartedly devoted to misanthropy and dark music (refresh your memory here) entered this year with a new album conceived and elaborated during 2012 and named MMXII. The album was aactually released in its digital form on December 12th 2012 on Bandcamp. All this is a totally solo, self-supported and also truly solid hand-made project. So no wonder that the physical birth of the album in its unique, limited edition features, ended up taking place during March 2013. Ready to poison springtime and the rest of the year … The album was actually released in its digital form on December 12th 2012 on Bandcamp. All this is a totally solo, self-supported and also truly solid hand-made project. So no wonder that the physical birth of the album in its unique, limited edition features, ended up taking place during March 2013. Ready to poison springtime and the rest of the year …MXII is an experience starting before putting the disk into the reader. It involves a ritual that almost parallels the religious attitude while unfolding a vinyl disk, laying it on the deck and listening to it while being captured by the spires of the rotating disk. Almost …As written on the rigid silvery paper sheet listing the tracks, Adamennon’s opus MMXII is officially “devoted to Nothing and to the End of Everything”. But don’t expect an album filled with depressive black metal or the noisy dark ambient that has been a typical feature in Adamennon’s early production. Adamennon is a continuously evolving artist who has been doing much independent and boundless research into any field of music, and not necessarily restricted to metal. This lead Adamennon to getting inspiration from and incorporating many different components from different sources, last but not least the historical tradition of the Italian gothic, dark prog rock. Adamennon likes to practice extreme, crushingly heavy and gut-tearing metal while playing with doom-death metal band Black Temple Below ( SEE HERE ) and/or interacting with funeral doomsters in Fuoco Fatuo ( SEE HERE ). Other projects involving Adamennon are Habitantibus in Terra, Adahmer, Locomotor Mortis. Recently a split between Adamennon and Beta, a.k.a. Mike B. from the experimental grind-post/sludge metal band Viscera///, was released by he US label Auricular Records.
SEE HERE ) via his recording and mixing studio (SRF Studio) located in a secluded village in the Appennine mountains. There Adamennon’s aural sensitivity is able to draw masses of solid darkness from noises like a black magician. So no wonder that Adamennon’s production has been mutating its skin during these years. The first important metamorphosis had probably taken place with the creation of the 2011 album Nero (SEE HERE) where Adamennon started merging his own blend of extreme blackened doom, bleak to spacey drone, dark ambient and industrial noise with dark horror prog rock in the vein of Jacula, Goblin, Malombra as well as other authors in the tradition of the vintage Italian horror movie soundtracks. Album Nero was the amazing child of this unholy alliance. Album MMXII is a narration of how Adamennon has been going further into his sonic explorations and into experimentation with dark music. What is worth noting is that MMXII is extremely bleak and blood-curdling while probably being the most melodic among the many releases conceived by Adamennon. As a matter of fact, in its thirteen chapters MMXII is probably more homogeneous in terms of styles. Music there is almost devoid of the noise and industrial components previously heard, whereas the creative efforts are all focused into molding luring yet insanely sinister atmospheres where melody is the insidious bait.
As generally in Adamennon’s artistic production, track titles are in Italian, are often self explicative and sound like titles of chapters in a vintage horror novel where shivers come from expectation more than from revelation. In sequence we have: L’inizio della Fine (= the beginning of the end), Arriva il Buio (= here comes the Darkness), Presenze Occulte (= occult entities), Al Cospetto del Male (= in the presence of Evil), Abbandono della Lucidità (= loosing the clarity of thought); Il Sentiero Oscuro (= the dark path); Visione (= vision); La Grotta (= the cave); La Metamorfosi (= metamorphosis), Il Rituale (= the ritual); Il Limbo degli Specchi (= the limbo of the mirrors), L’ultima Traghettata (= the last crossing of the river) and L’Atto Definitivo – La Fine (= the closing act - the end).
The hallucinating tale narrated in the album is going to last for 47 minutes via rather short (2-3minutes-long) tracks acting like effective portraits of feelings and ambience, alternating with a few longer tracks or “suites” lasting between 5 and 7 minutes and marking some key moments of this evil tale. This trip into horror and alienation will develop by plunging into totally vintage, sinister darkness depicted by the combination of organ and keyboards occasionally coupled with a deep pulsating bass (like in Arriva il Buio and in Abbandono della Lucidità). Electronic effects are employed to deform and reverberate sounds and, thereby, to impart an impressive dynamic dimension to sounds while making them vibrate and wobble like ghosts moving swiftly across our solid body. This ectoplasmatic effect is particularly tangible in track Presenze Occulte where keyboards provide some surprisingly acute notes for depicting occult entities like restless souls (while one would expect dull gloomy sounds while dealing with occult things …). But Adamennon will set things in the “normal” way, as soon as suite Al Cospetto del Male starts. Evil is evoked by a deep, monotonous low growling feedback noise which sounds ancestral in spite of its being electronic and industrial. But this is just one of the “voices” of Evil, the primitive and most obvious one. Indeed Evil possesses another voice, seducing and keyboard-driven. The fresh crystalline-clear voice of piano emerges from the low industrial growl like a blooming flower, whose petals smell of the rot and incense evoked by the sepulchral, ceremonial voice of the organ swallowing everything up.
Melodies may be simple, plodding and hieratic (like, for example La Metamorfosi or in track L’ultima Traghettata) or else they may possess a complex, multifaceted structure, like in the intriguing jazzy-proggy track Abbandono della Lucidità, where each instrument (piano, bass, keyboards, electronics) follows distinct and apparently contrasting patterns organized in braided combinations. In this apparently inoffensive track Adamennon is able to inoculate terror via a vibrating noise simulating something halfway between the rotating barrel of a gun and the hiss of a rattle snake. The suite Il Sentiero Oscuro duly starts in a dark and supremely menacing way in spite of being driven by a remarkably simple melody: a single bass chord slowly vibrating in the silence and coupled with an insect-like, oscillating ghostly sound. A fake relief may come from tricky, soothing melodies like those heard in Visione, although the incursions of the snake-like hissing noise are poisoning the benign atmospheres and the light beams accompanying the Vision. Adamennon’s pictorial skill is further proven by track La Grotta (= the cave) where the sense of wet darkness and solitude evoken by noise samples of unremitting rain is coupled with the almost painfully echoing sound of the crystal-clear piano. Track La Metamorfosi is the quintessence of esoteric music: hieratic sepulchral organ, rants, sinister vibrating noise, bells, funereal blows, electronic effects … everything is echoing like across the vaults in a deconsecrated cathedral or in a secluded crypt where a final scary rant hints to some terrifying transformation taking place in the darkness. Piano played with remarkable energy is often competing with organ in this album and actually acts like a narrating voice, like in track Il Rituale.
Adamennon’s music is instrumental, although vocals are not completely absent. Actually vocals are normally added like noise, be it either hinting to occult religious chanting (like in Al Cospetto del Male), sudden sigh of shock or deadly rants (like in Metamorfosi). Or even voices can be introduced as sounds of children playing, like in the amazingly odd track Il Limbo degli Specchi. The samples of childish voices are patched up and repeated in a crazy loop meant to merge and reinforce the relentless rhythm of the retro-sounding sinister keyboard melody. Sick …Track L’Ultima Traghettata goes back to slow, plodding and hieratic music by reintroducing the beloved organ but the passage towards the final track, duly baptized as La Fine, is via the beating rhythm of a living heart. Living? Well, the ghostly hisses starting the final track would cast some doubts about the nature of the living things at this point of the evil tale. The last word is for the interplay between the ringing notes of piano and the bleak organ feedback …
Well, if you like to experience archane, horror-filled atmospheres in music, if you like the ambience of doom but you are open-mined and/or just like to be surprised by intense and truly pictorial music, Adamennon’s art in general and MMXII album in particular, are not to be missed. You can get the tracks via Bandcamp, but get in contact with Adamennon and see if you can get hold of one of these marvelously evil-looking, handcrafted esoteric objects …
Words: Marilena Moroni
Here is a good news indeed for those who love powerful and passionate doom graced by that peculiar "something" British doomsters are able to infuse. A great, long-lived and tenacious band, UNSILENCE, is back into action and is progressing in the completion of their new album. I was happy like a kid at this news because I love this band and I am proudly owning all the solid CDs made by these gentlemen.
Here is the text of the announcement made by band member Kieron Tuohey on Facebook:
"This month, UK doom metal act Unsilence will start recording their next album at Full Stack Studio in Great Harwood, Lancashire with Matt Richardson engineering.
The album, as yet untitled, will feature seven songs which are:
A Fire On The Sea
A Thousand Seasons
On Wild Fields
Now in our twentieth year, this will be our second album and the first since 2009's 'Under A Torn Sky' (PsychDOOMelic/Labyrinth Of Thoughts). As well as Unsilence mainstays of Kieron Tuohey (guitar) and James Kilmurray (guitar/vocals), the line-up for this album is once again completed by former drummer Jonathon Gibbs. And James Moffatt will be playing bass, replacing the recently departed long-time bassist David Elliott. Both are members of The Human Condition along with myself (Kieron). The band are presently a studio only band due to James's college activity."
So, doomsters, keep Unsilence's page under your radar for updates!
Moreover please note that recently Unsilence guys started their BANDCAMP page with streaming and paid downloads of the band's previous releases.
This is a great opportunity (a) to support this excellent bunch of musicians, (b) to get hold of the last album, Under a Torn Sky in case you missed it, an last but absolutely not least, (c) to get hold of the older releases by Unsilence which are true doom gems.
This band has a long story well worth being explored.
Words: Marilena Moroni
RollingStoneIndia.com 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.
RollingStoneIndia.com: 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.
RollingStoneIndia.com: 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.
RollingStoneIndia.com: 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.
RollingStoneIndia.com: 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 RollingStoneIndia.com.
“The main thing for me is Al’s tone,” enthuses Lee Dorrian, owner of Rise Above Records and Morris worshipper since the late 80s. “It’s so brutal but in a natural way, no frills, straight for the gut. Listening to his riffs is like being stuck in a vat of molasses, unable to move with a rotating grinder lodged into the middle of your forehead down to the base of your stomach. It’s that heavy!”
“When I felt ready to be a live performer, I asked myself, who are the baddest guitar players out there?” says Al Morris of his earliest sonic inspirations. “I thought about it and came up with Jimi Hendrix and Tony Iommi! Being that they are both left-handed players, it was like looking into a mirror as their hands went up and down the fretboard. I dialled in the tone for soloing, but had to add some bass tone to get the Tony/Geezer sound combination!”
Signed to the legendary underground doom label Hellhound Records, IRON MAN released the stellar ‘Black Night’ debut in 1993 – “an absolute classic in the field of Sabbath-inspired Doom,” Lee asserts – followed by ‘The Passage’ in 1994, before line-up and label instability forced the band into a late 90s wilderness period. They re-emerged in 1999 with ‘Generation Void’, before another extended hiatus. This time it took a full ten years before Al reassembled the indestructible IRON MAN with yet another new line-up for the aptly-named return-to-form ‘I Have Returned’ on Shadow Kingdom.
In 2010, Maryland doom circuit veteran ‘Screaming Mad’ Dee Calhoun joined IRON MAN on vocals, recording two EPs before starting work on their latest masterpiece, the monstrous snorting rocking doom behemoth ‘South Of The Earth’. Bursting with inspirational tunes, from the killer anthemic rumble of the opening title track to the blissful elegiac blues-doom of the closing ‘Ballad Of Ray Garraty’, IRON MAN’s fifth album is shot-through with stunning soulful leads, gargantuan riffs, powerful throaty vocal melodies and a muscular, resounding rhythm section.
“Every time Iron Man goes into the studio, we treat it like a blank canvas. As things progress, the art form takes shape,” says Al Morris on the band’s creative process. “We wrote this album in about 2 months. Then we practiced our asses off to perfect the performance of the songs. This CD was done with Frank Marchand, an engineer/producer with a head full of ideas! He enhanced every element of this CD. We have great trust in Frank and followed his ideas. This is what came out!”
“I’ve loved all of Iron Man’s work,” says Lee Dorrian. “‘South of the Earth’ easily matches it and the band sound better than ever. Great musicianship all round and they have a seriously killer vocalist with Screaming Mad Dee.”
Asked how Al feels the latest incarnation of IRON MAN compares to the line-ups he’s worked with over the last few decades, his reply displays a heartening, positive renewed enthusiasm for the bullishly durable group he founded all those years ago. “I am not the only person pushing the band forward!” he beams. “Now all of the band is pushing in the same direction!! We can write great songs together and perform on stage with lots of energy!”
Tour details will follow, you lucky bastards – in the meantime, get familiar with ‘South Of The Earth’, surely IRON MAN’s finest, fullest achievement to date.
IRON MAN: ‘SOUTH OF THE EARTH’ (RISE ABOVE)
1. South Of The Earth
2. Hail To The Haze
3. The Whore In Confession
4. The Worst And Longest Day
5. Aerial Changed The Sky
6. IISOEO (The Day Of The Beast)
7. Half-Face/Thy Brother’s Keeper (Dunwich Pt 2)
8. In The Velvet Darkness
9. The Ballad Of Ray Garraty
Al Morris III – guitars
‘Screaming Mad’ Dee Calhoun – vocals
Louis Strachan – bass
Jason ‘Mot’ Waldmann – drums
Recorded and mixed at Hudson Street Sound, Anapolis, Maryland
Produced/engineered by Frank Marchand III
Mastered at Bias Studios, Springfield, Virginia
As a little teaser, I am presenting you will a list of bands on the new, Doommantia Compilation Volume II. The good news is it should be available for download by this weekend. As you can see, the selection of bands is truly amazing as it is one of the most EPIC doom metal compilations ever put together. Thanks to everyone invloved, especially with all the uploading that a moster compilation like this demands. It will be cheap and all proceeds will go to Ed Barnard who is down in Australia desperately trying to rebuild his life. His medical issues have improved due to the vastly better Australian healthcare but he is still very, very homeless so hopefully sales of this compilation will get him back on his feet. Stay tuned for more info .....
A Death Cinematic
A Sad Bada
Banda De La Muerte
Bastard Of The Skies
Beast In The Field
Blood Red Water
Camel Of Doom
Catapult The Dead
Dust Storm Warning
El Gran Temor
Evoke Thy Lords
In The Company Of Serpents
Land Of Doom
The Curse Of Wendigo
The Devil Rides Out
The Heavy Co.
The Jackpine Snag
The Whorehouse Massacre
As with their first two releases, ELLIOTT’S KEEP recorded again with J.T. LONGORIA (Solitude Aeturnus, Candlemass, Absu, Mercyful Fate, King Diamond, Volbeat). Primary recording was completed again at Nomad Studios in Carrollton, Texas.
Drums were tracked at Empire Sound Studio in Carrollton, Texas. Nascentes Morimur is currently being mixed by J.T. LONGORIA, with GARY LONG of Nomad Studios again mastering. In keeping with the band’s use of Latin titles, Nascentes Morimur means “from the moment we are born, we begin to die.”
Song titles for Nascentes Morimur are as follows:
Waves of Anguish
Days of Hell
Tale of Grief
In Medias Res was released in November 2008 on Brainticket Records.
Sine Qua Non was released in September 2010 on Brainticket Records.
Elliott's Keep | MySpace
EP Smoke Screen
back in 2011. Let’s remember the names of the “Traitors”: Chris Sherrod on vocals, Kevin Masters on guitars, Jordan Chasteen on bass and Justin Ringle on drums. Their new, stunning full-length album, Betting on a Full Collapse, “landed” or saw the light during late May 2013. Since then the band has been setting stages to fire during gigs around USA for promoting the new album and surely increasing the number of fans among sludge-doom maniacs with the charm of this new release. The fact is that by looking at the colourful cover art of the new album as well as the amazing ethereal-looking, water green colour of the transparent vinyl version, the new listener would not expect the amount of heaviness actually materializing from the album right at the first spin. Not a surprise for a band openly declaring heavy influences from “Sleep, Electric Wizard, High on Fire, YOB, Sons of Otis, Weedeater and many more” as well as coming from Ohio, one of the finest heavy scenes in USA and beyond. I mean, Fistula, Sollubi, Morbid Wizard, Ultralord, Bibilic Blood, King Travolta, Pennsylvania Connection, … In addition vocalist Chris Sherrod and drummer Justin Ringle are ex-members of sludge-doom act Tank Destroyer, and were in the line-up of that awesome album Head Of The Demon
The singing style, with Chris’ harsh and sick roars, is surely the most obvious feature linking Traitors’ style to that album by Tank Destroyer. But of course every band has its own character and peculiarities. Album Betting on a Full Collapse is further fulfilling the official “reason” for which this band started out back in 2010: “to play the heaviest music possible at the most unreasonable volumes”. Play the CD or the fancy green transparent vinyl out loud and the whole neighbourhood will be haunted. This album is so heavily dripping with Sabbathian blues that the waves that will disturb your vision are not heat waves but the vibrations of the guitar chords and your thrills to the surge of groove emanating from the Traitors’ propulsion. This is surely what happens by entering the almost 53 minutes of the album via its first track, which, by the way, is bearing a title that would fit industrial metal more than juicy heartful swampy sludge-doom metal: Human Drone. No problem. The whole album is lead by a dominantly downtempo rhythm with occasional accelerations, like for example in the refrains in EHM reminding of Weedeater and Down. In spite of the general and quite traditional American, steaming hot, blues-drenched swampy sludge-doom features in the Traitors’ style, the band is able to introduce minor but significant variations.
For example in track Wall Street Swan Dive the band shifts from a dissonant yet classic Sabbathian riffing to a rather syncopated rhythm and post-metal dissonance thereby turning the starting simple melody into a quite technical, abrasive and heavily hammering mid-tempo charge reinforced by Chris’ nasty barking and not so far from Mastodon. Tempo changes also work the other way round, i.e., when the band slows down dramatically and let the vibrations of the chords of guitar and bass as well as the hissing of the cymbal die out before a new wave of noise is built up, in a Sleep-like fashion. The blows on the drums keep the time and acquire a martial, or better ritual character. Your breath gets slowed down as well. This is, for example, what is happening again in track Wall Street Swan Dive after the exhaustion of the technical pumping rhythm. An equally slow and pounding rhythm dominates the closing track, the 11 minute-long imposing suite Betting on a Full Collapse. There Chris’ vocals get even more filthy but, above all, the sound departs from the typical swampy sludgy vibe, crosses the ocean like a restless creature of the sea and evokes the dark and heavy sound of War Iron, Slomatics, Conan and the like. Chris’ powerful vocals are, indeed, raw and filthy and, as expected, rather monotonic. However the chanting never gets boring because of the singer’s impressive ability in creating pathos, rage and a whole range of feelings. Maybe Chris’ roars are not as fierce as those by Bahb Branca in Fistula, but it does not matter.
But variations in style also involve the adoption of passionate, almost epic and groove-laden stoner melodies, like those driving tracks The Hollow and In Humanity in Your Name, where even warm organ-driven melodies are heard. Or else the band employs somber guitar solos creating the charm and the most atmospheric ambiance of psychedelic desert rock, like, for example, in track Clawing for Scraps. All these features are added like precious spices to a boiling hot mass of totally genuine, mighty sludge-doom metal which will please any sludge-doom fanatics and certainly contributes to further establish band Traitors Return to Earth within the awesome, world-known Ohio scene. And, again, one might ask: “what the hell are they eating / drinking / smoking up there?!?” Well, don’t further ask, just enjoy Traitors Return to Earth’s music and find out how many shades and features you will discover by multiple listening to their tunes! This band is great, we knew that already. This is one of the many cool underground bands still unsigned but proudly able to craft excellent solid music, in any sense. So, catch this killer band live if you can and, if you haven’t done it yet, get hold of any version - digital, CD, classic or fancy vinyl with some cool bonuses – of this new release and debut full-length album by these four metallers.
Words: Marilena Moroni
Trippy Wicked & The Cosmic Children Of The Knight a.k.a., Trippy Wicked, announce new EP and will be headlining a tour in August across Great Britain.
“The UK’s alt-stoner trio have been working on a 5 song EP exploring the sludgier side of their split-personality genre hopping style. The new EP is called Underground.
Full details with release date and pre orders will be announced in the coming weeks but for now check out the title track right here:
Wight and the British heavy psych rock band Bright Curse in support for all but the first date.
Wight have recently released their first live album ‘Live auf 603qm’ and Bright Curse have just released their self titled EP on Bilocation Records.
* With Steak and Kerela
August 21st Brighton - Sticky Mike's Frog Bar
# With Wight and Bright Curse
August 22nd Bristol - Exchange
August 23rd London - The Black Heart
August 24th Birmingham - Scruffy Murphy's
August 25th Cardiff - The Moon Club (HUB Festival)
August 26th Sunderland – Pure
August 27th (Private acoustic show)
August 28th Manchester - The Bay Horse
August 29th Edinburgh - Bannermans Bar
August 30th Cambridge - The Man on the Moon
August 31st Sheffield - The Three Cranes
Superhot Records is set to release Trippy Wicked’s new EP Underground in September on digipack CD featuring the incredible artwork of Daniel Schooler.
Be aware that the band will have CDs for sale on tour.
Words: Marilena Moroni
Black Tusk are Andrew Fidler on guitar and vocals, Jonathan Athon on bass and vocals and James May on drums and vocals. The trio is back to action with a new release, the EP Tend No Wounds, out via Relapse a few days ago, on July 23rd 2013. The guys are also embarking into a tour starting in USA and that will also land to Europe during next September 2013.
The new EP arrives after almost two years from the last, explosive album Set The Dial (on Relapse), after the split with band Dead Yet? and the promotional Relapse showcase. I had particularly enjoyed a definition of Black Tusk’s style reported on a review time ago, "Motörsludge", which adds to the better known tag of “Swamp metal”: a very dynamic style built up by often frenzied and always thundering guitar charges, rotten sounds yet ripping southern groove by the barrel, hardcore-styled shouted vocals (single, double, triple), pulsating bass and always tight drumming.
In the about 23 minutes of the EP Black Tusk do a strange thing: they open the dances with an instrumental intro called A Cold Embrace. This is a sort of prelude which is far from being atmospheric (like many intros are) and “cold”, like suggested in the title. No, the intro has a super-tight rhythm like the charge of the cavalry and makes you ready for the next real attack, Enemy of Reason. There the punk and rock’n’roll soul of the band is fully unfolded via a relentless pace. But the band is never abandoning the sludge metal background while keeping their riffs always pretty viscous. The wild party duly goes on with the longest track of the EP (5 minutes and a half), the surprising “ballad” The Weak and the Wise. I write “surprising” and “ballad” because this amazing track actually starts as a folk ballad, by means of the seducing melancholy of violin and cello just backed up by the bass. This scam will last almost one minute, but then your stereo device will turn into a steaming cauldron overflowing with the magmatic power of a spectacular infernal swing: bass, guitar, drumming and some great roaring vocals like in Hellhammer … The rhythm is fast while abrasive punk, super-groovy rock’n’roll and blazing hot southern metal are building up a nuclear reaction. One has just to listen to it … No wonder that the label’s promotional video about the EP employs that track in the background …
The following track, Internal/External, is slowing down the pace a bit but doesn’t slacken off. Black Tusk keep on hammering us with a sinister, raw track made of punk and, well, black metal (at least in the structure) molded with viscous and boiling hot sludge metal. Again vocals are particularly harsh and roaring as in the track before. The last two tracks, Truth Untold and In Days of Woe, gradually dilute the punk explosion in Black Tusk but they are pure enjoyment as well. Truth Untold is fast and sharp, a concentrate of punk aggression and groove conveyed from both southern sludge and stoner metal in the vein of Red Fang, even if vocals here are nasty. Indeed the track is perfect for an official Relapse video which is narrative like Red Fang’s and totally addictive!! The closing track, In Days of Woe, is more towards classic southern sludge metal, is slower and reminding of Down and Crowbar. It is a cool track but I got spoiled by the wild punk party above. I must say I loved Black Tusk’s drift towards punk! So I don’t know about you, but as to me, while writing these lines I still have my impromptu goat-like beard, my arms are still heavily tattoed (or is it because of the mosquitoes?) and I look really filthy!
Therefore I hope I’ll find more of these loads of punk and high-energy rock’n’roll in the album that, I guess, Black Tusk will soon unleash, as the EP Tend No Wounds does look like a “transitional” release … While waiting for more, let’s go and see these three swamp metallers on tour! Because during their gigs they play even harder and they look even nastier than in the promo photos! You’ll love them …
Words: Marilena Moroni
Relapse EP Vinyl
Relapse EP CD Version
Professionally filmed video footage of CANDLEMASS' entire August 3 performance at this year's edition of the Wacken Open Air festival in Wacken, Germany can be seen below.
CANDLEMASS played its first show with singer Mats Levén on June 5, 2012 at Debaser Slussen in Stockholm, Sweden.
Levén is a former member of YNGWIE MALMSTEEN, THERION and TREAT, who also plays with CANDLEMASS bassist/mainman Leif Edling in KRUX.
Also joining the group for CANDLEMASS' recent live performances was keyboard player Per Wiberg (OPETH, SPIRITUAL BEGGARS).
CANDLEMASS in June 2012 parted ways singer Robert Lowe. The band stated at the time that this was "a very difficult decision" to make and had "mainly to do with the quality of the live performances."
Lowe— who is still a member of SOLITUDE AETERNUS— joined CANDLEMASS in January 2007 and sang on the band's last three studio albums: "King Of The Grey Islands" (2007), "Death Magic Doom" (2009) and "Psalms For The Dead" (2012).
CANDLEMASS released its 11th and final album, "Psalms For The Dead", on June 8, 2012 via Napalm Records. A limited-edition seven-inch vinyl single contaning two album tracks —"Dancing In The Temple Of The Mad Queen Bee" and "The Killing Of The Sun"— preceded the full-length effort on April 13, 2012.
When the Deadbolt Breaks is releasing our 4th full length record with Ear One Productions. This record is close to 2 hours long on 2 cds. This record is our heart and soul, while we are currently writing for a new record yet again, we pushed ourselves with “Drifting Toward the Edge of the Earth”. Its dark, eclectic and honest.
After a ton of work, we are really psyched to have landed When The Deadbolt Breaks a record deal w/ Ear One Records… (Just in case you didn’t know When The Deadbolt Breaks is Aaron Lewis, Mike Parkyn and Rich Kalinowski). The record label is doing a really cool pre order special where you get the CD (it’s a double CD!) for $10… ($13 w/ shipping). If you’re able to swing ordering the CD, we would be hugely great full for the show of support. So, just throwing it out there… If you have the $13 to spare, we would really appreciate you doing a pre order.
“Drifting Towards The Edge Of The Earth” the new double album from CT’s When The Deadbolt Breaks A nearly two-hour-long diverse, debilitating doom/sludge metamorphosis taking place, the mammoth album is available as a limited edition double CD digipak.
This is a pre-order. Digipaks are expected to start shipping on or around Aug. 27, 2013
To compare Church of Void to the rockier moments of Saint Vitus and Reverend Bizarre would not be far off the mark at all. "Tristess" welcomes us to the service with an elemental doom rock riff performed with no frills or fat. Singer Magus Corvus has got one of those classic doom voices kinda reminiscent of Albert Witchfinder and Christian from Count Raven. This band doesn't overcomplicate things, but pounds out timeless groove. Listen to the cool little number "The Magician" for an example of how to rock out Church of Void style. "Winter Is Coming" is where the Reverend Bizarre feel emerges and the song is simple almost to the point of simple-mindedness, but in these guys' capable hands, it doesn't overstay its welcome.
There is that certain Finnish gloominess, almost bordering on Gothic, permeating the record. "Owls Are Listening", "Entity of Kalypso" and the mid-section of "Son Of A Witch" have a touch that is light but dreary to them. The title track is as somber as a Finnish funeral...before the heavy rock kicks in. The doomiest number, fittingly, is the album closer "Little Child Lost", which is ponderous and sorrowful...until the last minute or two kicks things up to end the album on a high energy note.
"Dead Rising" is an extremely satisfying listen from a band who leave the hype to big labels and prefer to let their music do the talking. This is one church sermon worth hearing!
Words: Dr. Mality ( Wormwood Chronicles )