Articles on this Page
- 01/31/14--16:14: _NEWS: TOWERS: New N...
- 01/31/14--16:16: _NEWS: THE WOUNDED K...
- 02/01/14--18:26: _Past Lives: Mount ...
- 02/02/14--18:29: _Doomsters At the Dr...
- 02/03/14--18:59: _Funeral Circle – Se...
- 02/03/14--19:08: _The Lamp of Thoth –...
- 02/03/14--19:15: _Mist - Demo 13 ...
- 02/04/14--10:53: _News & Video: Sabba...
- 02/05/14--07:45: _News: Massive 3 Day...
- 02/05/14--17:44: _NEWS: Fen Vocalist ...
- 02/06/14--12:00: _All Them Witches – ...
- 02/06/14--12:03: _Magister Templi – L...
- 02/06/14--13:11: _Past Lives: Kyuss L...
- 02/07/14--04:50: _NEWS: Mountain God ...
- 02/07/14--04:53: _NEWS: TAURUS: Psych...
- 02/08/14--08:28: _NEWS: SECRETS OF TH...
- 02/09/14--19:45: _Mount Salem – Endle...
- 02/09/14--20:20: _News & Video: Road...
- 02/10/14--20:22: _NEWs: Robert Lowe's...
- 02/12/14--18:41: _News - Tube Cult Fe...
- 02/03/14--18:59: Funeral Circle – Self Titled Debut ...
- 02/03/14--19:08: The Lamp of Thoth – Demos 2013 ...
- 02/03/14--19:15: Mist - Demo 13 ...
- 02/04/14--10:53: News & Video: Sabbath Assembly’s New Video, “Jehovah on Death” ...
- 02/05/14--07:45: News: Massive 3 Day doom, psyche, stoner fest ...
- 02/05/14--17:44: NEWS: Fen Vocalist Launches Solo Project: Slug Comparison ...
- 02/06/14--12:00: All Them Witches – Lightning at the Door ...
- 02/06/14--12:03: Magister Templi – Lucifer Leviathan Logos ...
- 02/06/14--13:11: Past Lives: Kyuss Lives 9/23/11 ...
- 02/09/14--19:45: Mount Salem – Endless ...
- 02/10/14--20:22: NEWs: Robert Lowe's New Project ...
- 02/12/14--18:41: News - Tube Cult Fest at its 6th Chapter ....
"Hell" is here, as the opening track to the second LP from Portland's apocalyptic bass-and-drums duo TOWERS, II, is now audible at the Cvlt Nation portal.
Filthily disbursing a completely creeped-out style of grimy, sludge/noise-coated, oscillating madness, the Portland, Oregon-based gruesome bass-and-drums twosome known as TOWERS' sophomore album is virtually a solitary audio segment, the more than thirty-six minute-long loop of II only broken into its four individual segments for aesthetic reasons. Opening up the auditory collapse of the album is the mammoth freakout, "Hell," the second longest of the four chapters, aptly rolling in at a fully iniquitous 11:34 (yeah, look at it upside-down). Cvlt Nation happily took on the task of channeling this cerebellum-warping slab of disharmony on the masses, stating with the stream, "Hold on, I just dropped a dose of sonic acid and smoked a huge bag of weird as fuck!"
Get on it. Go to "Hell"... ENTER HERE.
Eolian Empire will aid in humanity's de-evolution with the digital and 180-gram vinyl release of II on February 11th. The shit just got real; preorders for II are now live HERE
Just days before its release, Friday, on February 7th, TOWERS will punish their Portland townspeople with a show celebrating the unveiling of their new realized audio hallucinations on February 7th, with support from first-wave Eolian band Order Of The Gash and first show from Left Blank (ex-Black Elk, Rapids).
TOWERS II Record Release Show:
2/07/2014 East End - Portland, OR w/ Order Of The Gash, Left Blank
Formed following the demise of psych-garage act The Troglodytes, TOWERS melds elements of doom, no wave, new wave, industrial, noise rock, and soundscapes into rough-hewn monolithic monstrosities simultaneously disturbing and tantalizing. Both primitive and futurist, TOWERS transcends musical movements, molding Promethean monoliths out of doom, sludge, no wave, new wave, industrial, and psychedelia. Recorded in full analog, at the same studio as the Shins and Decemberists, TOWERS' II LPpurposefully shifts through a procession of primal mutant grooves, oscillating hooks, sludgy crawls, cavernous experimental explorations, and haunting, swinging marches marked by the barked Teutonic invocations and ghostly incantations of the wounded and beaten. IIis a huge, enveloping beast of a record that captures the unique crushing intensity of their live sets.
Get your TOWERS promos and that other hot Eolian swag over at The Earsplit Compound: email@example.com.
Source: Earsplit PR
The latest canticle comes courtesy of the band's forthcoming new long player, Consolamentum. Dubbed "unspeakably dark" and the "richest listening experience the band has concocted to date from any of its lineups," by popular riff portal The Obelisk, who listed Consolamentum among their most anticipated albums of the year, the record was produced by sound sorcerer Chris Fielding (Electric Wizard, Primordial, Winterfylleth et al). Recorded and mixed in just six days completely live during one of the most scalding weeks of the year in a studio miles away from civilization, the seven expansive tracks that comprise Consolamentum capture a true sentiment of isolation, gloom and looming misfortune. Led by the consuming vocals of front woman Sharie Neyland, who seemingly casts spells with her dark, prophetic words, THE WOUNDED KINGS dispel a singular heaviness that's difficult to dismiss. In a poignant review of the record The Sleeping Shaman fittingly relays, "A dense cloud of ominous riffs floats across the void with subtle, sad melodies slithering through the thick fog. Droning dirges soaked in occult vibrations, guided by the enchanting clear voice of the high priestess of doom, emerge from this cloud. Enraptured and hypnotized I stand, my mouth opened in awe of this colossal monster that is coming to devour me. Yet I refuse to turn and run. I want to be swallowed up in this hungry, monstrous mist and be torn to shreds by the siren in its center."
Get down with your sinister self with "The Silence," now playing at Revolver at This Location
And if you missed it, you can still check out the the title track, currently streaming at Vice/Noisey HERE
Overcoming numerous lineup shifts since their formation in 2005, THE WOUNDED KINGS - Neyland, guitarist/keyboardist Steve Mills, guitarist Alex Kearney, bassist Al Eliadis, and drummer Myke Heath - have continually stunned audiences with their commanding stage personae. The two-time Roadburn alumni are adored by attendees and popular festival promoters, who call the band, "British doom of staggering power that is made all the more distinct by the unsettling presence of singer Sharie Neyland, who stands on stage almost trance-like, invoking her lyrics in a chanted voice that holds the entire venue in thrall." To date, the Dartmoor-based five piece has released three full-length studio albums and a well-received split album with Richmond, Virginia's Cough. The band has been finding a growing American audience since the release of 2011's In The Chapel Of The Black Hand, the first offering to feature Neyland.
Consolamentum will be released in North America via Candlelight Records February 25, 2014. Digital preorders are currently available via iTunes HERE
"Alternating between otherworldly interludes like the strange and shivering 'Space Conqueror' and slabs of spacey doom like 'Lost Bride' and the title track, THE WOUNDED KINGS craft a soundscape that is part coven, part Sci-Fi epic." - Exclaim
"One of the strongest assets of English doomers THE WOUNDED KINGS is the soaring gothic vocals of Sharie Neyland, who's croon sails eerily over the band's massive riffs and ominous keyboards. It's clear that elements of My Dying Bride's massive sound is a strong influence, one that sustains in the title track from the band's LP Consolamentum." - Vice/Noisey
"Sinister atmosphere, occult/fantasy themes, wistfulness and sorrow all combine to give a very complete record that no enthusiast of the doom genre should be without." - The Sludgelord
"THE WOUNDED KINGS sound is so organic that the room actually starts to feel damp and musty..." - Blabbermouth
The Wounded Kings | Facebook
For review links and interview requests contact firstname.lastname@example.org.
Source: Earsplit PR
This was the second show I've ever been to where my Dad also went. Our first gig together, also my first gig, was over 14 years ago; Sabbath at the Spectrum RIP in February, '99. It was too loud for him. He HATED Pantera. My dad isn't exactly into metal, the closest thing to stoner rock he's ever owned was Master of Reality on vinyl, which I have confiscated, naturally, since it's original Vertigo goodness and deep vinyl grooves sound fucking amazing spinning on our table.
That said, this show last night was our second outing together, and he had a great time, got to sit and enjoy the sounds, while I was upfront hurting my neck.
Arbouretum got going about an hour after they should have, due to technical issues; the old man and I each had a Yeungling and waited.
I've been digging on Arbouretum's Bandcamp, and they are really interesting. There's a review of their latest that describes them as having a doom-laden fok rock sound, which if I can suggest anything that's remotely similar, I'd probably say Neil Young with Crazy Horse is the closest comparison. I picked up Coming Out Of The Fog directly from Dave, the guitarist/vocalist, because he said that album has some slower/acoustic songs/moments, and suggested that my Dad may be able to groove on it. I really dug what they were playing, but because they started so late, their set was cut short by at least 3 songs probably. I look forward to catching them again and digging into the back catalog, which appears to have a good four other albums for my listening pleasure.
15 minutes later, Mount Carmel come on and brought their blues rock boogie stew to Philly. I'm going to try to type this: imagine Ten Years After and Cream, spinning the first 2 Free albums, throw in a little of the first 2 Zeps sexiness, a dash of Mountain, a hint of EARLY Grand Funk, hell maybe a little Canned Heat, and you're somewhere close...maybe even a little of the first Sabbath LP aesthetics, minus the evil factor.
Needless to say, this band is on fire. Their guitarist is as fast as Alvin Lee, and the band is so tight, they have to be in order to sound so loose. The bassist's tone, hell his bass, was Jack Bruces. A tobacco SG 4 string, the thing sounded so unholy, and there were fills and runs up and down the neck during every gutiar solo, keeping the songs together possibly in spite of the drummer, who also added his own glue to the stew.
I went up to the stage right after they finished seeing as no one else (of the 30 people that were there), was going to, and i said my thank yous and was handed for my appreciation, the guitarists pick, which is so righteous, i wasn't expecting that, like dude, I just wanted to say you swayed my neck back and forth and up and down, just a thank you was all I had in mind and heart.
My dad survived his second stoner rock experience, and he says he had a good time. He said I was the only one banging, which is like that at a lot of shows I go to, everyone just stands around. It's foreign to me, this music moves you in many ways, live it's just cathartic to cut loose and show the band your appreciation. It looks unnatural to me to just be standing around while that much boogie is happening around you. How can you not move?
If you can dig on blues rock in say 1969, you should probably go see this band. Their guitarist is one soulful, quick blues player. Really fun to witness. Pick up Real Women while you're at it, it's amazing.
Words: Sabbath Jeff
Mount Carmel | Facebook
Some of this article appeared previously as “Gothic Yellow: A Mario Bava Retrospective,” which was published on June 19, 2013 by Ravenous Monster (www.ravenousmonster.com)
This is it - the unintentional beginning of doom metal. As they have recounted numerous times in interviews and in books, the members of Black Sabbath (Ozzy Osbourne, Tony Iommi, Bill Ward, and Geezer Butler) were inspired to move their heavy blues rock in a darker direction after seeing a poster for the horror anthology film “Black Sabbath” (which was released in its original Italian as “I tre volti della paura,” or “The Three Faces of Fear”). Bemused by the very idea that people would pay good money to be scared witless, the men from Birmingham, who would soon create the sound, style, and image of doom metal, decided to put a little fear into their music.
While this may be a very concise and surface-level interpretation of doom metal’s birth, nonetheless the film “Black Sabbath” is an integral part of the heavy metal story. Shot and released in Europe in 1963, “Black Sabbath” would be eventually picked up for North American distribution by American International Pictures in 1964. Between those years, some fairly significant changes occurred between the Italian and American versions, although ultimately the effectiveness of the film was left intact. Almost all of this power belongs to Mario Bava - the film’s brilliant director.
Bava, a Ligurian by birth but a Roman in temperament, first began working in the Italian film industry in the 1930s. For the most part, Bava was a cinematographer - a position that suited the former painter well - and a special effects artist. Before directing his first feature film, Bava worked with the likes of Roberto Rosselini, and before long the Italian world of cinema was abuzz about Bava’s stirling camerawork.
While Bava began directing dramas and science fiction films in the early 1940s, international fame did not reach him until 1960. In that year, Bava’s “Black Sunday” (“La maschera del demonio”) was released in Europe and abroad. “Black Sunday” is often regarded as one of the last great Gothic horror films, and from its shocking opening to its grand closing, “Black Sunday” is an almost pitch-perfect horror film.
“Black Sunday,” which is very loosely based on Nikolai Gogol’s 1835 short story “Viy,” tells the tale of the Moldavian vampire-witch Princess Adja (who is played by the British actress Barbara Steele) and her Satanic curse on her accusers. The first three minutes of “Black Sunday” are some of the most memorable in film history, with the most often cited being the moment when Princess Adja is forced to wear the so-called “mask of Satan” - an iron maiden-like veil that contains imbedded spikes on the inside. Making this scene all the more potent are Bava’s cuts between first - and third-person perspectives, with the first-person view being a shocking glimpse inside of the mask’s torturous interior.
Like the later “Black Sabbath,” “Black Sunday” was released and distributed in the U.S. by AIP, a company that would soon purchase and dub many more European and Asian horror films for their numerous double-dills during the 1960s. AIP also acted as censors of a sort on “Black Sunday” by trimming and editing out many scenes that were deemed too violent. This would prove to be a consistent theme throughout Bava’s career, and despite the fact that “Black Sunday” received mostly positive reviews upon its release, critics and cultural tastemakers alike often agreed that Bava’s work bordered on the grotesque and pornographic.
Later in his career, Bava upped the violence level in his films, with the giallo/slasher hybrid “Blood and Black Lace” (1964) and the splatterpunk “Bay of Blood” (also known as “Twitch of the Death Nerve,” 1971) being the gory standouts. Not only did Bava do much to popularize the bloody and erotic giallo genre throughout the world, but it can also be argued that Bava is the originator of the slasher genre. “Bay of Blood” in particular is not only one of the first movies to combine extreme gore with zany hijinks (a marriage that would be later adapted in Wes Craven’s “The Last House on the Left”), but director Steve Miner felt so compelled by the film that he turned “Friday the 13th Part 2,” which is the cinematic debut of Jason Vorhees as the lone terrorizer of Camp Crystal Lake, into an almost shot-by-shot remake.
When “Black Sabbath” was released, Bava’s bloodiest work lay in the future. In many ways, “Black Sabbath” is the last true Gothic that Bava would ever make (although Gothicism plays a huge role in 1965’s “Planet of the Vampires” and 1966’s “Kill, Baby, Kill”), but even then “Black Sabbath” contains the elements of giallo and noir. In particular, “The Telephone,” which is the second story in the American version and the first one in the Italian, forgoes the antiquated horror of its peers in favor of a thoroughly modern revenge tale.
In “The Telephone,” Rosy (played by French actress Michele Mercier), a high-class call girl, is tormented by the voice of Frank (played by Milo Quesada), her former pimp and lover. Driven to hysterics by Frank’s phone calls (which indicate that he is and has been watching Rosy for some time), Rosy seeks comfort and security in the arms of her friend and lesbian lover Mary (played by Lydia Alfonsi). After putting a tranquilizer in Rosy’s drink, Mary stays up to pen her confession. It was she who called Rosy pretending to be Frank! Despondent over their breakup, Mary thought that a frightened Rosy would once again find her, so she concocted the Frank angle as a desperate ploy to rekindle their lost relationship.
Unbeknownst to Mary, the real Frank creeps up behind her and strangles her with nylon stockings. Realizing that he has killed Mary instead of Rosy, Frank corners a seemingly defenseless Rosy in her bed. When Frank goes to strangle Rosy, her gets stabbed for his trouble by the very same butcher knife that Mary had put under Rosy’s pillow as a small token of protection. Now left in the same apartment with the corpses of her former lovers, Rosy has a break down and her harried shrieks end the segment.
This synopsis captures the original Italian version, but it only grazes the American one. In the AIP version, the lesbian subplot is missing, Rosy’s occupation is more subtly alluded to, and, instead of being a former pimp recently released from jail, Frank is a ghost who died three months prior. This version of “The Telephone” is more supernatural, but it is also more confusing. Instead of being a simple noir-like vengeance tale, this version of “The Telephone” is a paranoia-fueled ghost story set against the backdrop of modern appliances.
As much as this different scripting of “The Telephone” waters down the original, it does however keep continuity with the other stories in the film. Both “The Drop of Water” and “The Wurdalak” are more or less ghost stories, and by making “The Telephone” into a ghost story itself, the AIP rendition of “Black Sabbath” is at least a unified whole.
Before “The Telephone,” “The Drop of Water” opens the American edition of the film (but it ends the other version). In “The Drop of Water,” Nurse Helen Chester (played by Jacqueline Pierreux) commits a crime against the dead by stealing a sapphire ring from the cold finger of a recently deceased medium. According to the medium’s maid (who is played by Carla Mignone, better known simply as “Milly”), the woman died during one of her Friday night séances. While possessed by one of the spirits that she had earlier conjured up, the medium perished with a unbelievably ugly visage, almost as if killed by fright itself. If you haven’t seen “Black Sabbath” yet, then be prepared for one terrifying make-up job.
After having a few close brushes with the dead woman’s hand and the intermittent sounds of dripping water, Nurse Chester returns to her East End flat. Home is definitely not her castle, for the angry spirit of the medium returns to haunt Nurse Chester in her own apartment. Driven mad by the incessant sound of dripping water, Nurse Chester eventually finds the medium’s corpse in her own bed. From there, the ghost moves throughout the apartment and it eventually forces Nurse Chester to strangle herself.
When the police come the next day, a neighbor testifies to her involvement whilst standing next to the twisted deathmask of Nurse Chester. When it’s discovered that one of Nurse Chester’s rings is missing, the detective (played by Gustavo de Nardo) casts his eyes upon the suddenly nervous neighbor. As with “The Telephone,” “The Drop of Water” is a revenge tale that ends with the suggestion that evil has yet to be vanquished.
Still, considering Bava’s love of Russian literature (especially its more fantastic strains), it’s not hard to imagine the “Chekov” ploy as just another way of grounding Bava’s work in the older forms of horror literature. “The Wurdalak,” the film’s best known segment, does have legitimate claims to literature, for it is based on the 1839 novella “The Family of the Vourdalak,” which was penned by the Russian poet, playwright, and novelist Count Aleksey Konstantinovich Tolstoy. While “The Telephone” is set in contemporary Europe and “The Drop of Water” is set in Victorian London, “The Wurdalak” takes place in the wilds of Eastern Europe during the time of the Ottoman Empire.
In “The Wurdalak,” the young nobleman Vladimir Durfe (played by Mark Damon) stumbles upon a headless corpse with a knife sticking in its chest. The corpse belongs to the wurdalak (a type of Slavic vampire who only preys on loved ones) Ali Beg. The man responsible for Beg’s execution is Gorcha (played by Karloff himself) - the patriarch of a local family who returns to his cottage at midnight. When he returns, the horses in the yard dislike his smell, while his disheveled demeanor and funeral pallor all point to the fact that he himself has become a wurdalak. Giorgio (played by Glauco Onorato), Pietro (played by Massimo Righi), Sdenka (played by Susy Andersen) and the other members of Gorcha’s household (including Vladimir) realize that they must kill Gorcha before he turns the whole family into a vampire clan.
Through gorgeous technicolor cinematography that deftly uses unnatural and neon-like lighting,”The Wurdalak” is by far and away the film’s best story. And even though American censors cut back on some of the original’s blood and guts, “The Wurdalak” is still the film’s violent centerpiece - an atmospheric and moody tale that touches upon certain taboos (for example, the death of children and fratricide).
Although “Black Sabbath” predates the more cultish films of the 1970s (the period in horror cinema that has been very well represented in this column), its stylish take on supernatural sex and violence is quite appropriate for heavy metal music. One fan thought so, and currently on YouTube there is a version of “The Wurdalak” that is set to the music of Electric Wizard’s “Satanic Rites of Drugula.” It works well, and indeed the glossy production of Electric Wizard is a good analog to Bava’s lush film.
Since its release, “Black Sabbath” has been inspiring musicians from Birmingham, England to Birmingham, Alabama. While later Bava is much more gritty and nihilistic (and thus theoretically more in-tune with doom metal), the Bava of the mid-1960s is the ultimate auteur - a master who couples beauty with the baleful; the ungodly with the unbelievable. Bava, in many ways, is the genius who started doom metal’s aesthetic, and yet he was the first one to discard it. By the end of his career, Bava was a shell of his former self, and his final few movies oscillate between horrible and more horrible. As with many trailblazers, Bava’s legacy went mostly unnoticed until later revivals, and thanks in part to the heavy metal and doom metal movements, these revivals started to stick. Nowadays, Bava’s praises are routinely sung by Martin Scorsese and Quentin Tarantino, and it goes without saying that doomsters regularly pay tribute to the Godfather of Giallo with their merch, their music, and their movies.
Words: Benjamin Welton
On November 12 of this year, Port Coquitlam’s local doom metal band Funeral Circle released their self-titled debut. Although they have a huge influence by none other than the amazing Candlemass hailing from Sweden, they still write their own music with a sound separate from any other epic doom metal band around.
The only way to really describe this album’s artwork is just heavy. Clean lines, beautifully portrayed, shading in all the right places, with their title still easy to read. Looking at the artwork already shows that it’s pure doom and metal at it’s finest.
With their first track, “Scion of Infinity”, it starts off with a heavy Solitude Aeternus kind of guitar riff, long, accentuated, including a heavy atmosphere even when the vocals start. When Adrian’s vocals come out, it’s almost like Reverend Bizarre but with a hint of Lord Vicar during the softer parts.
This album in it’s entirety is not only a doom metal classic in the making, but something that we can all appreciate even ten or more years down the road. These guys are definitely climbing very high up the doom metal ladder very quickly, making fans wherever they roam.
I’m really glad to see “Corpus of Dark Sorcery” on their album this year. I remember seeing it released a single for their newest album a few years back. Like the rest of this self titled debut, it’s but a masterpiece.
Each track throughout this album blends into each other, progressively becoming more and more mind-blowingly heavy. As quoted on shadow kingdomrecord’s website about this newest album, “MEGAHAWK DUANE I I"Some velvety, delicious oldskool doom shreddage with a hint of The Cult. This shit ain't a gem, it's a fuckin jeweled fist goin up yer' ass! An excellent slab of witch-born metal doom glory for all headbanging scumbags! Favorite track: Black Colossus.”
It couldn’t have been said any better than that.
Review By Jasmine Hatton
Funeral Circle is:
MATTHEW “PILGRIM” K.B. - Scribe & Guitars
JEREMY HANNIGAN - Vocals
PHIL F. - Drums
MATTHEW K. – Bass
Hometown: Vancouver, Canada
Record Label: shadowkingdomrecords.com
Funeral Circle | Last FM
Funeral Circle | MySpace
Funeral Circle | Bandcamp
Overall Rating: 8/10
This amazing trio hails from the West Yorkshire region of England and has finally come back from a three year break. The band came up with their name from Marie Campbell’s books, “Curious Tales of Old West Yorkshire” and The Strange World of the Brontes”, both of which were based around a coven who operated out of their hometown Keighley back in the Victorian age.
The artwork of this demo says a lot about the band and their origin; the chaosphere(chaos magick), which was established in the heart of West Yorkshire in the 1970’s. The St.Peter’s cross and mini multi-coloured flowers. “Our mission as a band is to capture that black magical atmosphere whilst mingling it with a Victorian Christian sensibility, to produce a front of oppressive Christian virtues which can barely conceal the raging lusts which boil beneath.“
With their first track, “Demon Witch”, you hear a beautiful mixture of Simon’s vocals with Emily’s drumming, speaking of a scary, sadistic, insatiable, and powerful witch. “Maple eyes, softened smile…Put the fire to the pier, burn that bitch, we’re gonna go to the heart of the Demon Witch.”
Right after comes the doomy and heavy song, “The Slog”. Almost like the band Acid Witch but cleaner, with more occult and less stoner, that familiar and lovely UK feel attached, making you feel like you’re right in the middle of a ritual circle.
Although brief, one could listen to this demo on repeat and not get tired of it. They have certainly achieved their main goal as well, “We want to doom the doomiest doom that doom can doom!”
Review By Jasmine Hatton
Demos 2013 track list:
1. Demon Witch
2. The Slog
3. Issek of the Jug
4. This is not Doom!
The Lamp of Thoth is:
Simon Strange - Twilite Frequencies & Vain Warblings
Randolph T. Reaper - Defiant, Robust & Sometimes Rather Violent Notations
Emily Pentangle - Seductive Percussive Intensities
Label: The Miskatonic Foundation
Overall Rating: 8.5/10
Link for whole demo here: HERE
This is by far some of my favourite art work on any album that I’ve ever seen, although I may be a bit biased because of my love for animal skulls and horns. Simple and sweet, it’s titled Demo 2013.
With the first track, “Phobia,” you can hear a lot of Coven-oriented instrumentals, with Nina’s vocals very defined and softer than most metal bands’ front women’s vocals. Much like Jex Thoth, her vocals may not be growling, but they are in perfect harmony with her band’s guitar riffs.
“Phobia” soon blends into their next single, “The Living Dead,” where Mihaela’s drumming makes for an impressive beginning of the song.
The only downside I have to say is that there isn’t more to their demo, which keeps you craving more of their music.
Review By Jasmine Hatton
Lead vocals: Nina Spruk
Rhythm guitar, backing vocals: Ema Babošek
Lead guitar: Nina Grizonič
Bass: Neža Pečan
Drums: Mihaela Žitko
Demo 13 tracks:
2. The Living Dead
Overall Rating: 7/10
It’s always nice to see some of your favourite doomy/folky bands up and at it again. In this case, Sabbath Assembly is already working on another LP, “Quaternity”. For a long time, Jex Thoth was their vocalist, but in this new video they now have Jamie Myers(ex Wolves in the Throne Room, sang on albums Diadem of 12 Stars and Malevolent Grain) on vocals.
Myers’ vocals accent the disturbing yet calming element of this whole video, alongside chimes and cellos(which slowly progress into twisted melodies). Think Dead Can Dance with an eerie undertone.
Haunting, beautiful, and off putting, an additional teaching that Dave Nuss has given to captivate his audience. A lovely introduction to what’s coming to us on March 28th.
Words: Jasmine Hatton
Fear me! Music is proud to announce DOOM For The DOOMED!!
A three day festival celebrating all this is down tuned, filthy, riff laden, and down right Doomed............
We are kicking it off with a SABBATH party themed night on the Friday...The forthcoming artwork and stage set up will be Sabbath themed, we will have some special guests on the Friday too - it will be incredible.
The headline acts will be :
Fri - SNOWBLIND (Premier Sabs tribute - to get you into the mood)
Sat - PURSON / WITCHSORROW
Sun - GOATESS (Sweden)
Complete day artist breakdown :
Fri 9th May (SABBATH themed party night!!)
BURDEN OF THE NOOSE
+ some special guests in attendance.
Sat 10th May
PURSON / WITCHSORROW
BASTARD OF THE SKIES
GODS OF HELLFIRE
Sun 11th May
TRENCH OF BONES
On Sat/Sun - hot food will be available. We will have an awesome merch/doom market, and.....we will have a prize draw each day!! Win a fully signed electric guitar!!
Fri 9th, Sat 10th & Sun 11th May 2014 - The Asylum 2, Birmingham.
Fri - £8 adv, Sat + Sun are all day events, and are £12 each in adv.
Advance tickets :fearmemusic.bigcartel.com/">HERE
Press/promo enquiries - email@example.com
Vancouver, Canada - February 6, 2014 - Doug Harrison, vocalist for Canada-based progressive rockers FEN, has launched a solo project called Slug Comparison, and the debut release is a music video for the song “Bringer of Doom.”
A dark collaboration between Harrison and Swedish director Peter Wiholm, the video depicts a woman (actor Kim Arklie) who slits her wrists and lowers herself into a bathtub, then enters the dream-like world of her subconscious. In the shadows of this world a mysterious man (actor Brad Hammerstron) keeps appearing, and the woman finds herself running for safety.
“The story wasn’t what I had in mind when I wrote the song,” says Harrison, “But when Peter came up with the idea, I was impressed by how well it matched the lyrics, so we went ahead with making it.”
“Bringer of Doom” is the first of a group of songs written at the same time as FEN’s Ripple Music release, Of Losing Interest. Harrison says, “Between writing sessions with the band, I found I had more energy to keep going, and more ideas kept coming out of me, so I’d work on those at home, piecing them together on my computer. Eventually I had enough of them that I realized I needed a new project.”
For “Bringer of Doom” Harrison wrote and performed and/or programmed all of the instruments with the help of long-time FEN producer, Mike Southworth of Creativ Studios. The song is available for $1 at bandcamp: HERE
For interviews/inquiries, contact firstname.lastname@example.org
Fen | Facebook
I’m digging the artwork because it’s not so fancy and yet the artwork is still eye catching and alluring. From what I can tell, it’s a chalk drawing. Nonetheless it’s a pretty rad contrast of colours and the title is small but easy to read.
The first track, “Funeral For A Great Drunken Bird” starts off with that bluesy guitar playing, and vocals that echo throughout.
Following the first track is, “When God Comes Back”. Great drumming, overall instrumental build up. The vocals once again begin that echo that’s heard on the first track. It’s a really beautiful sound, like overcoming an acid trip and going on a road trip.
In the third track, “The Marriage Of Coyote Woman”, one can hear the art of playing the violin in harmony with the guitars. A lot more based around continuing the story of this album comes the expected.
Overall an amazing and underground desert vibes gem. Instant favourite, and the best way to sum it up is that it’s grimy, southern, and dark.
Review By Jasmine Thordarson
Favourite Tracks: Swallowed By The Sea and The Death of Coyote Woman
Michael Parks, Jr: Vocals, Bass, Acoustic Guitar
Ben McLeod: Electric Guitar
Robby Staebler: Drums
Allan Van Cleave: Keys, Violin
1. Funeral For A Great Drunken Bird
2. When God Comes Back
3. The Marriage of Coyote Woman
4. Swallowed By The Sea
5. Charles William
6. The Death of Coyote Woman
7. Romany Dagger
Listen to “Lightning At The Door” Here: Bandcamp
The album art itself speaks to me so well because of how the band has mixed elements of the left hand path and ancient occult-like paintings of figures. Incorporating some Thelema and Magick influences in their very own logo, you know this is a keeper of an album.
“Master of the Temple” starts off with very traditional playing, Abraxas’ vocals speak of experiencing the void and feeling the wind of a thousand souls. Dark and sinister atmosphere whilst singing of the abyss. When “Lucifer” came on, a vivid memory came flooding back to me; when I bought my newer car earlier this year and plugged in a sample CD from MetalHammer’s magazine that’s called, “Doom or be Doomed”, I realized that this song is always stuck in my head, and little did I know that I had the single memorized before it was on a full album.
Their last track, “VITRIOL” is a lot slower and softer, like that of someone finally letting go of all the energy they’re withholding. A sense of exhaustion, the aftermath of a powerful ritual that had occurred the night before. These guys remind me so much of Witchfinder General mashed up with Saturnalia Temple, giving you a mix of Old school and Occult. It’s a perfect match and it’s timeless. Each song feels like you’re reading verses straight out of the works of Eliphas Levi or a book you bought off of Ixaxaar. Not only splendid, but a breath of fresh air to find something new and done a little differently. They don’t try to rip off their influence bands, but are inspired in the right way to create and stem off what they enjoy.
Overall lyrics and vocals are subtle, clean, but booming, with intense drumming and guitar playing that doesn’t take away from the Akoman’s bass strumming.
Review By Jasmine Hatton
Abraxas d’Ruckus – Vocals
Baphomet – Guitar
Patriark – Guitar
Akoman – Bass
Grimmdun - Drums
Facebook - HERE
Bandcamp - HERE
Record Label Link up - HERE
Last.fm - HERE
MySpace - HERE
1. Master of the Temple
3. The Innsmouth Look
Record Label: Cruz del Sur Music
Hear the album here: BANDCAMP
Whoa. Just got back and finished a double whopper. My neck's numb. Let me try and recount this. SPOILER ALERT - This won't be a good review like our taskmaster, but it's my fucking review. So read and enjoy.
Got to Terminal 5 early, maybe 15 minutes before doors. Had a cigarette and impatiently waited the festivities. They let us in, checked us a bit too closely, and off we went.
Last time I was at Terminal 5, which was the first time I was there, was for Sleep back in June. Then, they had the downstairs closed off, and they sent us all up the stairs to the third floor for smoking and drinking; then a wait, then they let us downstairs. There was a huge line for merchandise when I finally got downstairs that night.
This time, the downstairs was open, and right on the right side of the hallway was the merchandise. Very minimal line. I picked up a shirt and a beer cozy (in March I picked up a Saint Vitus cozy: what do I need with two beer cozies? Am I collecting them?) and then I stepped down to the end of the counter where Monstro's merchandise was, skipping over The Sword's area. Picked up Monstro's debut album (and will be listening to it after I type this thing for you).
Had a couple drinks at the main bar, then made my way up front toward the bass amps for Monstro. They sounded great; it was my first time hearing any of those songs, and I was glad I didn't skip them. The bass was not loud enough for my liking, but I'm glad I stood where I stood. Their sound was a mix of Torche mostly: slightly faster and crunchier riffing, Juan on the psychedelic guitar solos. There were two songs in a row that deviated a bit from the core sound: one sounded like something Queens Of The Stone Age would write, and one was very Alice In Chains-ish. I enjoyed both, and all of the set. The drummer had long black hair, remember that.
Had to walk to the third floor for a smoke as there's no re-entry, then came back down and waited. Now, The Sword. I'll tell you write off the bat: I'm not a fan. My ex turned me onto them; I bought their debut. She now owns it. I listened to it a few times, but not really at all after the initial why should I be listening to this phase. I find their riffs, their tones, and their songs to be generic. I feel like I've heard it before, and better. Live, I had the same feelings. The riffs weren't heavy, except for 15 seconds near the end of the second to last song where the room was vibrating. From what I recall, a paltry two guitar solos; I thought they could have used many more considering their lack in songs. Oh well. I'll watch 'em again live if they're on a bill with someone else I want to see, but I'm not buying any more albums. And hey, if that's all harsh, it's just one man's opinion. The drummer had long black hair, remember that.
Grabbed another smoke, and came back down for the main show. Place was packed. Could not for the life of me get up front. I settled for as decent spot in the middle closer to Bruno's side, who I really wanted to see. Finally, they came on. Don't know the names of any songs by heart aside from Green Machine, the closer, but I feel like they played an even mix of all three main albums. John was cool in his shades, and did quite a funny dance throughout the night. I can't even describe it. Sort of Cerebral Palsy-ish; but what the fuck, the man can SING, and that's all I needed from him. Nick was fine, knew all the songs, and laid down a pretty heavy backbone throughout their set. Brant was the man: just grooves on top of grooves. The drummer, you guessed right, had long black hair. I found that interesting.
That was the night. Good show, in spite of the second act. Next up, Boris in October at Irving Plaza. Yee haw.
Words: Sabbath Jeff
In addition, Mountain God will be road-testing material for their new EP, tentatively titled “Forest of the Lost”. The EP is a concept record, consisting of a single song broken down into different movements. The diverse track twists and turns over the course of 20 minutes, focusing on the plight of a medieval village, whose children disappear into the night searching for proof of a local witch, all the while their parents engage in acts of depravity and debauchery. The EP, slated for a spring/summer release, is a melding of 60s and 70s psychedelics with the heaviness, crunch, and shattering riffs of traditional doom and metal. The band will be performing this EP at the Grand Victory on April 23rd, along with bands Jovian Drifts, We are all Savages, and Eidetic Seeing. This is the first time the song will be played in its entirety.
Upcoming Mountain God Shows:
Thursday February 20 at St Vitus/Brooklyn NY w/Syphilitic Lust, Arsantiqva and Jotunheim
Wednesday, March 5th at The Acheron/Brooklyn NY w/Mortals and Immortal Bird
Saturday, March 22nd at O’Briens/Allston MA w/Throaat, Summoner, Second Grave
Thursday, April 23rd at Grand Victory/Brooklyn NY w/Jovian Drifts, We are all Savages, Eidetic Seeing
Recorded to two-inch tape at Portland's Cloud City Studios by iconic sound magus Billy Anderson, No/Thing was composed throughout the Summer of 2013 and delivers five frequently terrifying avant doomscapes set within a tranquil nightmare of awkward blackened death metal riff torrents.
Featuring guest vocal infiltrations by Anderson and Leviathan's Wrest, No/Thing is a spiritually godless journey in sound, mind and body.
No/Thing Track Listing (song titles flow together as a parable):
1. No Thing Longing... Human Impermanence
2. Lives Long For Own
3. Set Forth On The Path Of The Infinite
4. Increase Aloneness
All music was felt by:
Stevie Floyd - guitar, vocal, Hammond organ, ukulele
Ash Spungin - drums, vocals, synth, samples
Wrest (Leviathan) - vocals (track 5)
Billy Anderson - vocals (track 4), producer, engine ear
No/Thing will be released independently on April 1, 2014 via TAURUS' official Bandcamp page and comes available in three options:
Record Box Set Option One:
- Wooden hand screen printed, stained and shellacked box with original Stevie Floyd art includes:
- No/Thing LP (colored vinyl), CD, download
- Life LP, CD, download (old record)
- 18" x 24" bleached black canvas tapestry/large backpatch
- lithograph lyric/art gold print on red linen paper
Record Box Set Option Two:
- Wooden hand screen printed, stained and shellacked box with original Stevie Floyd art includes:
- No/Thing LP (colored vinyl), CD, download
- 18" x 24" bleached black canvas tapestry/large backpatch
- lithograph lyric/art gold print on red linen paper
Record-Only Option Three:
- No/Thing LP (colored vinyl), CD, download
- lithograph lyric/art gold print on red linen paper
In related intelligence, TAURUS will bring their audio explorations overseas this Spring for a still-in-its-booking stages bout of live rituals which will include a special performance at the third annual Heavy Days In Doomtown festival in Copenhagen, Denmark. Further details to be announced in the coming weeks.
TAURUS defines rehearsed spontaneity; organized mathematical rhythms of the timeless organic. Their view, not of man but an abstraction. The abstract is real, the actual is invisible. It is their sense of space and time; seeing through the here and now, into the vast black deep beyond, the unchanging... Life is an interval. The cosmic process is hurrying on, crushing life back into granite and methane. The wheel constantly turns for all Life... yet all Life is temporary. All creating and recreating. Each movement so important. Each space equally as relevant. We are dust.
Preorder packages are currently available at THIS LOCATION (All preorders come with an 18" x 24" black canvas tapestry/large backpatch.)
Source: Earsplit PR
Following a brief silence after touring the West Coast through the latter half of 2013 in support of their debut album, To Sail Black Waters, Oakland-based SECRETS OF THE SKY, has been extremely busy locking down several new tours for the first half of the year.
SECRETS OF THE SKY has just announced an upcoming tour running from the end of March through the second week of April where the mammoth six-piece lineup will take their expansive and progressive style of atmospheric doom metal back out to new audiences up and down the West Coast. At press time, shows have been booked in San Jose, Livermore, Eugene, Portland, Seattle, Boise, Salt Lake City, Colorado Springs and Boulder, with several other locations are being scouted out for additional performances to be added.
Following this tour, SECRETS OF THE SKY will play locally over the next few weeks, with April gigs in Modesto and Berkeley confirmed, before heading back out on their next live trek, which is currently being finalized with Tucson sludge faction, Godhunter, where both bands will invade the Southwestern quarter of the country in June. Final dates on both tours will be confirmed and broadcast in the coming days.
SECRETS OF THE SKY Spring Northwest Tour Dates:
3/28/2014 Back Bar - San Jose, CA
3/29/2014 Black March at Dudes Garage - Livermore, CA
3/30/2014 Tiny Tavern - Eugene, OR w/ Ninth Moon Black
3/31/2014 Dante's - Portland, OR
4/01/2014 Chop Suey - Seattle, WA w/ Eye Of Nix
4/02/2014 Boise Shredder - Boise, ID
4/03/2014 Burt's Tiki Lounge - Salt Lake City, UT
4/04/2014 Triple Nickle Bar - Colorado Springs, CO
4/05/2014 7th Circle - Boulder, CO
4/12/2014 Sky Lounge - Modesto, CA
4/27/2014 924 Gilman - Berkeley, CA w/ He Whose Ox Is Gored
Italian label, Kolony Records, released To Sail Black Waters worldwide in October, exposing the planet to SECRETS OF THE SKY's expansive, powerhouse style of fusing progressive elements into their crushing doom metal foundation. Three of the band's six members each contribute with multiple instruments, layering synth/keys, violins and an array of vocal styles atop the crushing rhythm section and massive triple guitar attack, resulting in a dense and stunning forty-one minute opus. Bulldozing over doom, death, black, prog and post-metal genre boundaries, the expansive power of To Sail Black Waters was recorded over an eight month period of recording sessions at Trident Studios with engineer/producer Juan Urteaga (Testament, Machine Head, Cattle Decapitation), and appeared on over a dozen best of 2013 lists including Decibel, MetalSucks, Metal Injection, Metal Insider and more.
Watch SECRETS OF THE SKY's "Decline" video, which was filmed with Andrew Nethery (Melvins, Kyuss Lives, Dead Meadow) at THIS LOCATION , and explore To Sail Black Waters in its entirety HERE
"...overflows with that rare quality of sounding familiar while remaining wholly unique... TSBW is the universal cure for a dull day, smarmy suburban consumerism, and all varieties of weak-willed hack music. Do not miss this.9/10" - Decibel
"Imagine if you tossed Neurosis, more recent Immortal, and Porcupine Tree into a blender. Sounds like a fucked up mix, right? It's an awesome fucked up mix though." - Metal Injection
"...equal parts Insomnium, The Ocean, Agalloch, Type O Negative, Opeth and something all their own. It's dark, dark stuff with a tinge of progginess that crosses multiple sub-genres and it sounds fantastic." - MetalSucks
"...a strong and superb debut release... I was especially impressed with the way the band mixes doom with post metal and something that could be described as progressive rock... If anything, this band is expanding the sonic possibilities of doom metal without sacrificing its essential dark nature. 4.5/5" - Sea Of Tranquility
"Secrets Of The Sky though are quickly becoming masters of taking so many different elements and styles and weaving them into this unique tapestry of sounds and aural experiences." - Metal Insider
For review copies of To Sail Black Waters, live coverage or interviews with SECRETS OF THE SKY, in North/South America contact email@example.com.
Kolony Records Official
Kolony Records Facebook
Source: Earsplit PR
The cover art is gorgeous, sinister, and chock full of witchcraft. I’ve never seen anything like it, regardless of the naked woman. Black and white with heavy shading and energy in the form of drops. Their first track, “Good Times” has a similar sound to Blood Ceremony in not only instrumentals, but strong female elements in vocals. Following “Good Times”, is “The Tower” which reminds me of The Fields of the Nephilim this time. Powerful with a bit of a gothic rock feel mixed into their doomy sound.
A couple songs later comes in “Full Moon” with an acoustic start and soft vocals. Creepy and dark, like you’re being followed while walking through the forest on a full moon. Lastly, what impressed me most about this album is their two songs, “Mescaline” and “Mescaline II”. The two part journey takes you on a mescaline like trip, making you feel as if you’ve taken too much and you’re trip is turning a little sour, getting worse as the night progresses.
Really nice and clean album. Good beginning, climax and ending. Very great work, especially for their first full length release! You can hear their influences and similarities to other bands, but they still have their own twist, themes, and ideas in their work which makes them original and psych in their own way.
Review By: Jasmine Thordarson/Chylde of Fire.
Emily Kopplin – vocals & organ
Cody Davidson – drums
Mark Hewett – bass
Kyle Morrison – guitars
Record Label: Metal Blade Records
In keeping with tradition, Costin has also set the visual tone for some bands playing Roadburn Festival 2014 and they are proud to unveil his official poster for Candlemass. Feast your eyes and see what has sprung forth from the fertile imagination of this highly talented visionary artist.
Costin Chioreanu has been creating album artwork for over a decade. He started out illustrating his band’s demos, but would soon be influenced by circumstances in post-Communist Romania, too. In the mid-1990s, metal fans in Bucharest were lucky to find bootleg cassettes with badly photocopied covers. Undeterred, Costin simply made his own using Heavy Metal Magazine, the country’s sole heavy music publication, as a reference.
Today, he has emerged as one of the most talented artists in the realm of avant-metal and dark psychedelica, producing work for the likes of Darkthrone, Ulver, Triptykon, At The Gates, Neurosis and Opeth. Whether the images he conjures are disturbing, provocative or enchanting, they consistently show great finesse, sensitivity and depth.
Tickets for the traditional Afterburner event on Sunday, April 13th at the 013 venue in Tilburg, The Netherlands are still available. Get in on the action HERE!
Source: The Sleeping Shaman
Doom metal vocalist Robert Lowe (Candlemass/Solitude Aeturnus) has teamed up with composer and NS/STICK player Michael “Dr. Froth” Millsap (Six Minute Century/Well of Souls) to record a concept album entitled “Gathered In Darkness.” The music will be a blending of progressive metal with epic doom metal textures. Robert Lowe is most known for his work as the vocalist for Candlemass from 2007 through 2012, appearing on the albums “King of the Grey Islands,” “Death Magic Doom,” and “Psalms for the Dead,” as well as for his work with Solitude Aeturnus.
Dr. Froth is the bassist for Six Minute Century, whose latest album “Wasting Time” was released in October of 2013 on Nightmare Records. He is also the bassist for epic doom band Well of Souls. Several other musicians will be joining the cast of Gathered in Darkness. Confirmed guest vocalists at this time include Chuck Williams (Six Minute Century), John Calvin (Well of Souls), and David Gonzales (Fluid Frequency). Confirmed musicians include guitarist Joel Gregoire (Stride), Don LaFon (Six Minute Century), Simone Mularoni (DGM), and Marc Petillon. The project is wrapping up the writing phase and is scheduled to enter the studio in early March.
Big underground festivals like Roadburn in Holland, Heavy Days in Doomtown in Denmark and Desertfest with its German and British branches are grabbing much and well deserved attention. But there are many other events coming up which reflect the huge amount of bands from everywhere swarming across Europe in that part of the year as well as the affection of rock and metal fans to attending live gigs.
Moreover smaller underground festivals often retain a special "flavour" made of friendly intimacy and relax which are invariably backed up by great organizing skills. This mixture of ingredients is one of the things that allow experiences to repeat and underground festivals to come back year after year, and grow with time.
There are many cases of such friendly, eclectic, relaxing or super-loud, highly enjoyable and top professional festivals which have become like landmarks all over Europe: the Malta Doom Metal Festival, Stoned Head of Doom, Doom Over Vienna, etc.. The Robust Festival I and II in Kiev, Ukraine, is another example and I sincerely hope things there will go well soon for allowing new episodes of that cool gathering of fuzz rockers! Also there are new festivals coming up, like, for example, the “Kalifornia Crossing Festival” in Kiel (Germany), aiming to raise the temperature along the southern shores of the Baltic Sea with many stoner, psyched out and hard rocking bands.
For my own country, Italy, I may mention the super exclusive Duna Jam festival on the Sardinia Island. However I prefer less “exclusive” and more friendly and open festivals like, for example, Pietrasonica Fest in Osoppo (Udine, near the border of Slovenia) devoted to psych-freak rock tunes, or the crushing SoloMacello Festival in my own city, Milano, celebrating heavy, slow and wild, preferably bearded tunes. But now it's the right moment for speaking about another cool and very friendly, by now almost “traditional” event, this time right in heart of the Mediterranean Europe: the TUBE CULT FEST 2014. The TUBE CULT FEST, a.k.a. "Adriatic's Loudest Festival", is a long-lived festival taking place in the coastal town of Pescara, Eastern Central Italy. The shores of the Adriatic Sea on one side and the local, majestic snow-capped mountain chain on the other side. In the middle, hordes of happy psych, doom, stoner and post-rockers ...!!!
This year the motto is “The Cult Is Back”. Indeed, after one year of "sabbathical" interruption, the Tube Cult Fest is eventually and happily back in Pescara and scheduled for the Easter weekend, on friday April 18th and saturday April 19th 2014. Gigs will take place at the Orange Rock Café and Maze clubs in the town of Pescara, located in the overly charming region of Abruzzo. Twelve bands for two full days. The booking agencies and the organizers are still working hard for refining the line-up and releasing juicy announcements basically day by day! The very first yummi confirmations involved heavy psych monsters SAMSARA BLUES EXPERIMENT from Berlin as well as MOMBU, the grind jazz combo related to mighty Zu, and cult band ZOLLE, related to Morkobot. Subsequent announcements brought the confirmation for the crazy "garage/glam/prog/psych/ retro" rock band GLITTER WIZARD from San Francisco (California, USA), as well as the kraut rockers MANTHRA DEI on Nasoni Records, desert rockers THE WHIRLINGS and the sulphureous doomsters in CARONTE. New additions are for the fresh blues rockers SONS OF REVOLUTION and for mighty ZIPPO who will have the duty of closing the ceremonies. But there are three more bands still missing from the bill, and there is still much expectation. More announcements are therefore expected soon, in the next days.
So here is a good reason for crossing the Alps, and going south for enjoying choice quality heavy riffs and the magic of the Mediterranean spring time. This year and maybe also next year, for the 7th edition …
For more information check out the Tube Cult Fest webpages
Words: Marilena Moroni