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DOOM * STONER * SLUDGE * DRONE * PSYCHEDELIC ~ HOME OF THE DOOM METAL ALLIANCE REVIEWS AND INTERVIEWS FROM THE UNDERGROUND

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    There was a time when Katatonia was bold and either by accident or design made some rather remarkable music. Depending on your point of view that ended on or around Tonight's Music. While it was a step forward using the blueprint established by Discouraged Ones it was just a dull album. Its followup on the other hand was excellent.

    Sadly no longer doom the band instead became a hybrid of alternative/Gothic metal in Last Fair Deal Gone Down. Katatonia was a new band at that point, sadly the redeeming qualities of the aforementioned album were lost on the audio atrocity that came immediately after.

    According to Katatonia, a band quoted on several occasions as never wanting to repeat themselves, Viva Emptiness was nothing more than a heavy version of Last Fair Deal Gone Down. In short this album is a mess.

    There are brief moments when it tricks the listener into thinking things will stop sucking but it never happens, save for the last track on the album.

    The guitars sound more or less the same as the prior album with perhaps slightly more distortion. They are primarily effects driven and should have been better. One of the aforementioned hints of almost brilliance would be in the subtle fading in of guitars and effects on 'Criminals'. Other than that this is more modern rock than metal. As far as general musicianship goes the drums are probably the best instrument on here.

    Jonas blandly moans his way through each track as well. His Gothic crooning doesn't add much to the songs either. The lyrics are the same.

    According to a recent interview with the band they called this album a fluke. They were messing around in the studio and what you hear is the result. Thankfully the album that came after more than made up audio insult that was Viva Emptiness. This gets a 0/10.
    Original Release date: March 24th, 2003
    Words: Grimm Doom

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    Profound Lore Records is planning for the label's introductory release from Chicago's anti-life quartet, LORD MANTIS, today officially dispatching the full details on the band's rancid new audio virulence, Death Mask.

    The four depraved individuals who form the LORD MANTIS cult -- bassist/vocalist Charlie Fell, guitarist/vocalist Andrew Markuszewski, drummer Bill Bumgardner and newly inducted guitarist/vocalist Ken Sorceron -- have culminated their contempt for humankind and some of the most horrific personal experiences over recent years into an exceptionally malevolent entity on Death Mask. Unleashing something far darker even than their already iniquitous prior LP's -- 2009's Seventh Rule debut, Spawning The Nephilim, and 2012's Candlelight-released Pervertor -- the visceral punishment one will endure on the seven works of Death Mask is not for the weak. Dredging forth their most disturbing works yet, born forth from some of the darkest recesses of the human psyche, LORD MANTIS recorded the fifty-minute album with Sanford Parker (Twilight, Voivod, Eyehategod, Yob) at Chicago-based Electrical Audio and Soma Studios, who is also responsible for engineering both prior albums. Indian's guitarist/vocalist Dylan O'Toole also contributed additional vocals on two of the tracks on Death Mask, adding yet another dose of nihilism to the mix.

    The cover art for Death Mask, from the warped visualization of tattooist/musician Jef Whitehead (Leviathan, Twilight), has been released along with the full track listing and more ahead of its street date of April 29th, 2014.

    Following the Springtime release of Death Mask, LORD MANTIS will tour out to the East Coast this Summer, as the henchmen have now been confirmed to raid the third annual New York City-based underground fest, Martyrdoom. Running from June 27th through July 1st at Brooklyn's Saint Vitus Bar, LORD MANTIS is now locked to perform the final night of brutality alongside Mournful Congregation, Lycus, Vilkacis and Evoken that evening alone. A full tour routing based around the Martyrdoom set will be announced in the coming weeks, amidst additional live events.

    Death Mask Track Listing:

    1. Body Choke
    2. Death Mask
    3. Possession Prayer
    4. You Will Gag For The Fix
    5. Negative Birth
    6. Coil
    7. Three Crosses


    Review copies of Death Mask and interviews with LORD MANTIS will be available worldwide in the coming weeks via dave@earsplitcompound.com; stay frosty.

    Lord Mantis | Facebook
    Lord Mantis | Official Website
    Profound Lore Records | Official Website
    Profound Lore | Facebook

    Source: Earsplit PR
    Posted By Ed

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    Portland, Oregon's PRIZEHOG is a swine like no other; a beast which rather than simply residing in its own excrement awaiting a reservation with the bacon-maker instead delivers an unclassifiable battery of intoxicated, celestial sludge thunder. This pig has been cross-bred with other varieties of suidae from their initial Bay Area surroundings as well as the surroundings in their current northern location, bearing similar characteristics of other champion Western American breeds including The Melvins, YOB, Wildildlife, Eagle Twin, Samothrace and others, yet emitting an incredibly distinctive, bizarre wail of its own.

    Having previously spawned offspring for riff-ranchers Gravity Records, Saint Rose and others, PRIZEHOG is now under the attention of Eolian Empire, who is readying the beast's third full-length enterprise, Re-Unvent the Whool, for delivery in early March. Recorded and mixed by Toshi Kasai (Melvins, Big Business, Tool, Russian Circles) at Sound of Sirens, the band's meditative grooves, punishing sludge, dazzling melodies, ultra-heavy psych, and crunchy riffs are aplenty on Re-Unvent the Whool. PRIZEHOG breeds its own bizarre universe of heaviness, and Re-Unvent the Whool is not your everyday sort of mammal-driven doom metal, as proven with the release of its first single. The third of the six monolithic roars corralled on the album, "Shed" is now playing at Decibel Magazine's online hub, who rates the sample as "Disconnected sludge floating in an abyss of fuzz," continuing, "'Shed' is a pretty good example of what you're going to get when you contaminate your turntable with the record. There are probably songs in here somewhere, but it requires digging pretty deep in the murk. And honestly, these guys make the search a pretty enjoyable experience."

    Hurry down to witness the spectacular specimen that is PRIZEHOG at the "Shed" over at the Deciblog AT THIS LOCATION.

    Eolian Empire will let PRIZEHOG out of the cages on March 4th via digital download and 180-gram vinyl LP. Preorders for the album are now live at the Eolian Empire fort HERE. The street date will be celebrated early at a hometown record release gala on February 28th at Portland's The Know, sharing the stage with Thrones and Polst. PRIZEHOG is also currently scheduling a full US tour for May, with those dates to be released in the coming weeks.

    PRIZEHOG Live:

    2/28/2014 The Know - Portland, OR - record release show w/ Thrones, Polst [info]

    Review copies of Re-Unvent the Whool and coverage of PRIZEHOG can now be secured via dave@earsplitcompound.com.

    Official Website
    Facebook
    Eolian Empire | Official Website
    Eolian Empire | Goods
    Eolian Empire | Facebook

    Source: Earsplit PR
    Posted By Ed

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    No, I'm not leaving the doom scene for psyche-er pastures.  Took my lady friend to her first psych show down at Union Transfer last night, and we had a great time together.

    This was all ages, which I usually shy away from due to god-damned moshing little teenyboppers ruining my headbanging good time, but this wasn't really a metal show so I figured I'd be alright.  Some young punk got bounced because he didn't know how to handle his shit, his loss.  Other than that this was really a fun evening.

    I've been trying to no avail as yet to get into the Golden Animals per their Bandcamp, and you know how sometimes the band needs to be seen to be heard?  That was this time.  Straight garage-psych going on, straight out of 1967.  Sounded like the Doors fronted by current Dax Riggs for my money, which was incredibly interesting to listen in on.  Their short set served me well enough to thank the lead axemen and purchase an album from him.

    Well, did he show?  Was he with it?  What happened?!  Hush yourselves.  Yes, Roky showed.  Yes, he played.  All electric set, with a big band filling out his sound.  An "oh Yeahhhh" introduced a famous song that streches back 5 decades practically, and the crowd erupted.  I've not heard much outside of Elevators stuff, but man, this 70? something was on vocally last night.  Sort of some concoction of blues, psych and garage, again, with a full sound.  Roky had an electric on him the entire set, which he played sparingly, choosing mostly to sing lead or harmonize.  I don't know what kind of guitarist the man used to be before his struggles with....life, but he seemed not even in the position of rhythm guitarist.  Moreso just weaving in and out of his own chords whenever he felt the need.  I wondered afterwards: why does everyone speak so highly of this musician?  His playing seemed altogether lazy, but he did sing a lot, and fuck, I don't think I could do that at that age, so who the hell am I.  I of course, having gone through my own struggles with mental illness and ECT, feel kinship to Roky and have maybe even understood the man before his music.  He seemed happy and with it enough, and from what biographies I've read, that's quite an improvement.  I look back now on how long, the 3 decades I lost to my struggles, and the fact that I'm 30 years old humbles me: Roky's been battling this shit forever.  He is my forbearer.  I walk the steps he laid down. 

    Not a single ablum for sale, and I was very ready to finally support this man proper last night.  They had 30 dollar shirts, but I have way too many tees already and that's a bit steep for a tee in my book.  I understand union transfer isn't a dive bar, but prices don't need to be so high for a 20 dollar ticket already.  I'll look into further dates as his mental health improves; I'd like to see a more acoustic affair frankly.  All in all though a great set.

    Lastly then, I have to thank Andy/ex Black Pyramid, for his recommendation of last year's Indigo Meadow by The Black Angels.  I delightfully picked up my copy last night, and thoroughly enjoyed the heavy, psych-raga-garage-blues stew they all threw down.  I'm pretty sure there were at least 6 people on that very lit stage, and half of them switched instruments every song so I had no idea who normally plays what but all I was left with feeling was the sensation that these were very talented musicians at the height of their powers.  An axe came down for a 12-string tuned to raga, which was really cool.  Thumping bass lines, organ, keys, they had it all.

    People are telling me nows the time to catch Roky, so I thought I would, and it wasn't anything I wouldn't hear again, to put it that way.  If you are at all interested in the roots of garage psych, go see Roky.  The Black Angels are just the headlining icing on the proverbial cake.

    Over and out-

    Words: SabbathJeff

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    A cooperatively released album, City Of Dust is the second title for both Earsplit's new label, The Compound, and Godhunter's own Battleground Records, the record thundering with the most concise, diverse, and infectious hymns from the politically-motivated Tucson, Arizona-based outfit's fairly extensive discography to date.

    Through a fifty-minute dust storm of pulverizing, groove-laden, resin-coated sludge metal intensity, this brutally honest outcry boasts thought-provoking, thematic tirades against the governmental members and parties the residents who embody GODHUNTER feel are directly responsible for a wide array of vital societal issues effecting their home region, including equal rights, a widespread water shortage, immigration and more.

    Today, underworld rock outlet, The Obelisk, is helping spread the word on GODHUNTER's proud introductory full-length with a track-by-track breakdown of its epic concept, positioned alongside a full stream of City Of Dust, in part stating of the album, "the eight component tracks of the 49-minute album come across with staggering intensity despite what's usually a fairly grueling pace. It is as much a multi-chapter sludgecore manifesto as it is a collection of memorably-riffed songs," later adding, "they've presented a multifaceted and passionate foundation from which to progress. On any angle from which you might want to approach it, City Of Dust is more than just a sludge record."

    Unload and explore the torrid City Of Dust at The Obelisk, RIGHT HERE

    Order the eco-friendly digipak CD version of City Of Dust from Earsplit Distro alongside a stack of other GODHUNTER merch HERE,  and the digital via the band HERE. The deluxe, 180-gram LP version of the album is now in production and preorders and details on its' release will be available in the coming weeks.

    Now, with the primary objective of releasing City Of Dust now complete, GODHUNTER is fully immersed in the second phase of the attack, with several regional tour offensives underway, including an upcoming West Coast run with Oakland, California's Secrets Of The Sky to be announced in the coming days. It's going to be a busy year for this regiment; you've hereby been notified.

    "Tales this morose and despondent need the occasional chaotic implosion, and Godhunter smear a canvas with ugly truth... one of 2014's best albums. City of Dust is a structured and informed refusal of acceptance. In the sludge style, we rarely get this much substance." - Heavy Planet

    "The subtitle for City of Dust is 'A Conversation Between Hope and Despair,' and these words encompass the album's themes of fear, despair, confusion, and yes, even a dash of hope." - About.com

    "One is tempted to wonder how much fresh music can be generated from the grinding riffs and musical arc-welding that is doom-metal, also known as rock of the stoner/sludge variety. If the results sound as fresh as they do on this local act's full-length debut, the genre has some vitality left in it." - Tucson Weekly

    "From beginning to end, Godhunter tackles the political landscape of our time like they are prophets in the Thunderdome." - Selective Memory

    "...you really feel the nihilistic tone in every word. Godhunter is angry and they use that anger in their songs. Songs about the gentrification of their city, songs about harsh wildfires due to climate change, songs of two-faced politicians. This album is heavy as an elephant's balls." - Echoes And Dust

    What Godhunter do have in spades is riffs... City Of Dust is a record by a band coming into their own.. .this is only the beginning." - The Sleeping Shaman

    "While the riffs are often fun, the subject matter is not... The bluesy stoner bounce is something you can bang your head to while pounding back cheap beer, but this band is anything but happy." - The Metal Observer

    "It's safe to say that Godhunter are becoming the driving force from which to enjoy great local bands combined with some of the best headlining acts in the nation. Band Of The Month" - The Metal Review

    "The singer sounds like he just scraped his throat with hot lava. The guitars are at a level where the amplifiers do no longer smoke but melt. The aggression and overheating is cooled down with beer, loads of beers." - Lords of Metal


    Review copies of City Of Dust, interrogations/live coverage of GODHUNTER and retail info on the album can all be obtained via dave@earsplitcompound.com.



    Official Website
    Bandcamp
    Facebook

    Source: Earsplit PR
    Posted By Ed

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    Unsung atmospheric post sludge metal sorcerers, NORTH, are preparing to unleash the ethereal rumblings of their Metanoia 12" EP. Recorded and mixed by Dana Fehr Wavelab Studios in Tucson, Arizona with additional engineering by Chris Shultz and mastering by James Plotkin (OLD, Scorn, Khanate, Khlyst), the follow-up to the Arizona trio's critically adored, 2012-released, The Great Silence full-length, which Decibel commended for its "wall of crushing, psychedelia-tinged post-Neur-Isis mania" and Scene Point Blank dubbed "strikingly beautiful and deeply satisfying," bears four sprawling tracks of thick, syrupy riff cascades, graveled vocal swells, epic climaxes and a gistly, otherworldy atmosphere.

    Elaborates guitarist Matthew Mutterperl of the compelling offering, "Metanoia is defined as 'a change in one life's resulting from penitence or spiritual conversion.' Since our last LP, we've dealt with internal struggles that possibly could have stalled or stopped us completely, but there was a conscious effort. There were a series of moments where things changed, and where we needed to go, what we needed to do, and who we needed to be felt markedly different. This record is evidence of that; a preview of a newfound sense of being in a band, making music, and building complex relationships with good people for almost nine years. To me, the record couldn't have had any other title. It was the most appropriate."

    Adds drummer Zachary Hansen, "The Great Silence was such a monumental opus and a task that we had to get off our chest after years of suffering; this record was the opposite really. We went into the brief writing process with the intention of getting a collection of quality tracks and then putting them the tracks out ourselves. Member turmoil and turnover be damned, this was getting done and we were going back out on the road, which is such an integral piece of this band. We could have easily messed around for a few more months and added another track or two, threw on some interludes and called it a full-length, but we wanted to show the real progression of a band coming off a massive release and prepping for another one in the near future. This is the transition EP, it's incredibly important to us in that aspect and hopefully will dictate to people that this band isn't going away for three years again. In many ways it's a coming out party.To borrow from Refused, this is the shape of NORTH to come."

    Metanoia EP Track Listing:

    1. Atrabilious
    2. Nefelibata
    3. Hiraeth
    4. Master


    Metanoia will be released independently on March 11, 2014, just one day before a nearly two-week bout of live takeovers throughout the Western portion of the US. See confirmed dates below.

    NORTH 2014 Live Assaults:

    3/12/2014 Club Congress - Tucson, AZ w/ Womb Tomb, Sleep Like Trees, Destroy Her
    3/14/2014 Shaman Smith Studios - Las Vegas, NV w/ Sinful Serpent
    3/15/2014 Jub Jub's Thirst Parlor - Reno, NV w/ Countress, Weight of the Tides
    3/16/2014 TBA - Chico, CA
    3/17/2014 The Know - Portland, OR w/ Towers, Die Like Gentlemen
    3/18/2014 Deux Yeux Manor - Tacoma, WA w/ 'Lo There Do I See My Brother, X-Suns (Early show)
    3/18/2014 Black Lodge - Seattle, WA w/ He Whose Ox Is Gored, Bréag Naofa, Witch Ripper
    3/19/2014 Shredder - Boise, ID w/ Mariana
    3/20/2014 Shred Shed - Salt Lake City, UT
    3/21/2014 Matinee House Show - Laramie, WY
    3/21/2014 Bar Bar - Denver, CO w/ Turbokrieg, Secret Prostitutes, Ghosts Of Glaciers, Khemmis
    3/22/2014 Moonlight Lounge - Albuquerque, NM w/ Bathhouse
    3/23/2014 TBA - Elpaso, TX
    3/28/2014 191 Tool - Tucson, AZ w/ Deafheaven, Destruction Unit, Sex Prisoner


    The vinyl edition of Metanoia will come in a limited run of 250: 100 clear and 150 black, hand packaged by the band in 100% recycled chipboard jackets, hand stamped front and back via the official NORTH Bandcamp page  and at upcoming shows.

    Further info including track teasers and preorders will be revealed in the coming days. Until then, contemplate.

    "The band excel at both sprawling atmospheres and righteous guitar-worshiping riffery." - Altpress.com



    Official Website
    Facebook
    Bandcamp

    Source: Earsplit Pr
    Posted By Ed

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    From the dirty streets of the fabulous San Francisco comes the rad as ever doom/crust punk band  Hazzard’s Cure. Released in the first week of last December is their three track EP, “The Ugly EP”.  The cover art is some of my favourite that I’ve seen so far this year. Grimy and a lot like a neater Rudimentary Peni(with hints of Lovecraft). Gorgeous and dark, no title, but the art is enough to keep the viewer intrigued.


    Their first track, “Terminal Frost” completely blew me away. It has been a while since I’ve heard some gripping, decent, heart racing punk that keeps me pumped. Next comes, “The Ugly” with its slow and fast bits. The title itself makes me think of books on a shelf long forgotten with dust building up.

    At the same time it has a beautiful contrast, but in the deep depths of this song, you know there’s an ugly and massive build up. Their final song, “The Body Amorphous” is enough just to fuel you.

    You want more though. This is the end result, which doesn’t disappoint! Great EP, hope to hear more from these guys.

    They have a lot going for them, and have found a unique way to blend black metal, crust punk, doom, sludge, and stoner metal all into one weird and sinister concoction. There’s a limited edition of 300 copies on transparent one sided 12” vinyl with a screenprint on the b-side. I’d more than recommend that you grab yours before another crusty does.

    “Weed, Beer, Metal”

    Overall Rating: 8/10

    Words: Chylde of Fire

    Line Up:
    Clint Baechle
    Shane Bergman
    Leo Buckley
    Chris Corona

    Record Label: Lummox/Stop Go Destroy

    Purchasing Here:Bandcamp

    Song Streaming Here: Bandcamp

    Links:
    Official – HERE
    Facebook - HERE

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    Out of the warm and sunny beaches of Sacramento, California, comes a doomy four piece band called (Waning). Just released last month, their album, “The Funeral Mountains” gave me a lovely introduction into what they’re all about. Besides, it was also the perfect time due to the gray and rainy day that was had while listening to this album, adding to the atmosphere around me already.

    The cover art is interesting and very nature oriented. You can tell that (Waning) are very involved with celestial beings, nature, and the astral world. When listening to their first song, “Prologue (Avarice)” I was a little surprised at the vocals, because there was a lot of black metal influences in the first two minutes. After that, it softened quite a bit, while sounds of Lustre-like instrumentals played in the background. It continues gracefully, and it lasts over seven minutes. A feeling of exhilaration and anticipation in the first song makes for a great beginning. Near the end, the black metal vocals come back to haunt your ears.

    “The Silver Woman” comes on right after, soft instrumentals, with gothic vocals echoing in the background. The song itself calmed me right down.  After that track comes, “Seismic” bringing back heavier instrumentals. Once again calming, but a different feel to it. Overall a great album that keeps you balanced and at ease. I found myself enjoying gothic music all over again while listening to this album. Very doomy, extremely ambient, and hints of black metal here and there.

    Overall Rating: 7.5-8/10

    Review By Chylde of Fire

    Line Up:
    Susan Hunt
    Jim Willig
    Benjamin Carpineta
    Ian Black

    Links:
    Blogspot
    Facebook

    Listen to “The Funeral Mountains” Here: Bandcamp

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    Metal Wani writer Achintya Venkatesh recently conducted an interview with doom metal vocalist Robert Lowe (CANDLEMASS, SOLITUDE AETURNUS). You can now listen to the chat in the YouTube clip below.

    Asked about whether his split with CANDLEMASS was an amicable one, Lowe said: "Actually, there was not a situation [that caused the breakup]. I mean, the guys decided to drop the best vocalist they ever had. It's not my problem. But you, there wasn't a situation. Everything is good, everything is kosher."

    Lowe also commented on CANDLEMASS mainman Leif Edling's claim that Robert never bothered learning the lyrics to some of the band's classic songs and had to read them from a notebook while on stage. "Well, yeah. I mean, everybody reads the Bible, and I do the same thing," Lowe said. "I have my Bible, and there you go."

    As previously reported, Lowe 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.

    Lowe is best 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 a member of the epic doom band WELL OF SOULS.

    Several other musicians will be joining the cast of "Gathered in Darkness", including vocalists Chuck Williams (SIX MINUTE CENTURY), John Calvin (WELL OF SOULS), and David Gonzales (FLUID FREQUENCY); 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.



    Read more at Blabbermouth

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    Wizards and warriors, rejoice, for the chosen ones have returned! Since the early 2012 unveiling of their debut sonic behemoth, Misery Wizard, fans and critics alike have patiently yet anxiously awaited the second chapter from Rhode Island doom bringers, PILGRIM. Welcome II: Void Worship.

    Wielding eight new epic tracks laden with tales of swords and sorcery, death, doom and destruction, II: Void Worship was recorded at Moonlight Mile Recording by audio architect Mike Moebius and supplies an extraordinary quality of tone and heaviness. With II: Void Worship, PILGRIM takes a new approach to their songwriting, replacing meditated, repetitive hypnosis-inducing dirges with more calculated and demented power-house riffs. They build, shape, and climb into frenzied climaxes and fade into sweet sonic releases, molding perfectly crafted rock songs into twisting spires of evil doom metal masterpieces. It is obvious that PILGRIM has matured, both musically and as individuals, in their past two years of global conquest.



    Feel the gargantuan crush of third hymn, "The Paladin," now streaming at Metal Blade.Com

    II: Void Worship Track Listing:

    1. Intro
    2. Master's Chamber
    3. The Paladin
    4. Arcane Sanctum
    5. In The Process of Evil
    6. Void of Worship
    7. Dwarven March
    8. Away From Here


    In related PILGRIM news, the band will bring their epic earth-rumblings to the stage next month supporting reunited stoner rock icons, Spirit Caravan. Slated to commence on March 7th in Baltimore, Maryland, the trek will rupture nearly two dozen cities and include a performance at this year's edition of SXSW. See confirmed dates below.

    PILGRIM w/ Spirit Caravan:

    3/07/2014 Metro Gallery - Baltimore, MD
    3/08/2014 Strange Matter - Richmond, VA
    3/09/2014 Chop Shop - Charlotte, NC
    3/10/2014 Drunken Unicorn - Atlanta, GA          
    3/15/2014 SXSW - Austin, TX
    3/17/2014 Launchpad - Albuquerque, NM
    3/18/2014 Cheyenne Saloon - Las Vegas, NV
    3/19/2014 Thee Parkside - San Francisco, CA
    3/21/2014 Rotture - Portland, OR
    3/22/2014 El Corazon - Seattle, WA
    3/24/2014 The Shredder - Boise, ID
    3/25/2014 Burt's Tiki Lounge - Salt Lake City, UT
    3/27/2014 Marquis Theater - Denver, CO
    3/29/2014 Reggie's - Chicago, IL
    3/30/2014 Cactus Club - Milwaukee, WI
    3/31/2014 The Fifth Quarter - Indianapolis, IN
    4/01/2014 Outland Ballroom - Springfield, MO
    4/02/2014 Rock Island Brewing - Rock Island, IL
    4/03/2014 Fubar - St. Louis, MO
    4/04/2014 Hi Tone - Memphis, TN
    4/05/2014 V Club - Huntington, WV
    4/06/2014 Hideaway - Johnson City, TN
    4/08/2014 Pyramid Scheme - Grand Rapids, MI
    4/09/2014 Skully's - Columbus ,OH
    4/12/2014 31st St Pub - Pittsburgh, PA
    4/13/2014 Empire - Springfield, VA
    4/14/2014 AS220 - Providence, RI
    4/15/2014 Saint Vitus Bar - Brooklyn NY


    II: Void Worship is scheduled for release on April 1, 2014 in North America, and on March 28/31 in Europe/UK via Metal Blade Records. Special preorder packages, including vinyl, are currently available at THIS LOCATION



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    Metal Blade.Com

    Source: Earsplit PR
    Posted By Ed

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    Swedish doomster trio Mammoth Storm formed near the end of 2012. In the first week of January, they released a two track EP called, “Rite of Ascension”. When they formed their band, their sole purpose was to deliver, “some heavy riffs in the name of doom”. And did they ever.  The artwork is phenomenal and basic at the same time. Managing to have some eye catching artwork with simple sepia and grey colours.

    Even the logo is magnificent. Their EP track, “Rite of Ascension” starts off slow, heavy, and a lot like Mournful Congregation’s “Book of Kings”. Beautifully long, no improvement needed. By far one of the best doom tracks I’ve ever heard.
    Powerfully raw vocals from Daniel, all the while Christer’s guitar playing and Emil’s drumming are in harmony with one another.  Second and final track, “Obscure Horizon” is just as well done as their title EP track.

    Drone metal to the absolute core. I wouldn’t be able to say which one is my favourite, because both songs feel like one long journey to prepare yourself for forest rituals and primal life. No debate or hesitation when I say this is the best doom album of 2014.  Normally I would say, “I want more!” but I feel that this is perfect. 24 minutes of pure sludge hitting you in the face then lifting your chest. You’ll have to catch your breath after listening to the first track.

    Overall Rating: 9.5/10
    Words: Chylde of Fire

    Line Up:
    Daniel Arvidsson - Bass, Vocals
    Emil Ahlman - Drums, Organ
    Christer Ström - Guitars

    Record Label: Unsigned
    Facebook:HERE

    Listen to “Rites of Ascension” Here:HERE

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    Southern Australian pirates, CAULDRON BLACK RAM, have set sail for the 20 Buck Spin roster, and are preparing to deliver the most cunning onslaught on ye lubbers with their third LP, Stalagmire.

    Following a deuce of LPs disbursed through cooperative alliances with Weird Truth Productions, Blood Harvest and Parasitic, among a random gaggle of demos and EPs since their 1997 formation, the latest tirade from this crew of bandits from Adelaide shows CAULDRON BLACK RAM once again utilizing tactics learned in previous voyages through treacherous doom and death territory. However, the Stalagmire be the grandest onslaught from this brutal seafaring trio yet, with the pungency of an armada's worth of bilge rats and bellowing with the might of a thousand cannons.

    20 Buck Spin's northern allies at Cvlt Nation have today deployed the first missive from Stalagmire with the hellish opening tale "Fork Through Pitch," now playing HERE

    Stalagmire will invade ports and pillage villages in North America on April and in Europe April 4th via CD, LP and digital deployment methods.

    The crude horde that be the CAULDRON BLACK RAM emerge yet once more from wat'ry tomb to besiege hapless poseurs and put to manacles weak would be picaroons. Being the third of albums to sail under the banner of CBR, the new recording is a commanding effort of sludgy crossboned black death metal and slimy, rum-sodden doomed debauchery. The brigands from the far side of the world prove well versed in the execution of this unfair trade, delivering knavish punishment unto unprepared ears in the form of Stalagmire. This scurrilous tale puts CAULDRON BLACK RAM in league with similar ugly contemporaries who pay heed to old, distasteful gods and outlaw tradition but yet forge a singular path of their own making. Be it black, death, doom or thrash, all goes into the strange brew mixed in the CAULDRON BLACK RAM.

    Arm yourself for reviews with advance promos of Stalagmire now through the grogmakers at The Earsplit Compound: dave@earsplitcompound.com.

    Cauldron Black Ram | Bandcamp
    Cauldron Black Ram | Facebook
    20 Buck Spin | Official Website
    20 Buck Spin | Facebook

    Source"Earsplit PR
    Posted By Ed

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    East (Coast) meets West (Coast) in noise rock: WHORES and RABBITS joined together in misanthropy and misery. And what better material to manifest their unwavering rage than that of The Cure? WHORES crushes "Jumping Someone Else's Train," taking said train on a insanely heavy ride, the main riff stretched into a hypnotic groove forever beat into your brain. RABBITS opens with the stark "A Reflection" before cranking out an uncaged, claustrophobic version of "Give Me It." Who let these maniacs out? A killer slab of new noise. Stream the WHORES/RABBITS split at Cvlt Nation, who boasts on the gnarly endeavor of homage, "hear how sludge smacked the taste out of new wave!"CLICK HERE

    The WHORES/RABBITS split is out now on wax and digital, a cooperative release between Eolian Empire and Brutal Panda Records. The vinyl version, limited to 500 copies -- 100 on pink/400 on black -- the EP is housed in a full color fold-over jacket featuring art by Went Knipe and Josh Hughes. Order direct from Eolian HERE,  and Brutal Panda HERE.

    Rabbitus | Official
    Whores | Bandcamp
    Eolian Empire Official
    Brutal Panda Records

    Source: Earsplit PR
    Posted By Ed

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    This is part twelve of a thirteen part series

    Back in the early 1960s, Edgar Allan Poe was all the rage. Beginning with 1960’s “House of Usher,” American International Pictures began churning horror films based on the short stories of the American master of the macabre. Eventually, AIP produced eight films which ran from 1960 until 1965. Each one was directed by Roger Corman - a then relatively unknown B movie specialist who would eventually go on to foster such talents as Francis Ford Coppola, Martin Scorsese, and Ron Howard. Besides Corman, four of the eight films were written by the novelist Richard Matheson, while three of the eight were written by Charles Beaumont - a short story writer who saw his greatest fame as a script writer for “The Twilight Zone.” Only one of the films - 1965’s “The Tomb of Ligeia” - was not written by either Matheson or Beaumont, and as a result it is one of the weakest films in the entire series.

    Besides the unholy trio of Corman, Matheson, and Beaumont, the other big name associated with the AIP Poe films is Vincent Price. Price starred in each film except for 1962’s “The Premature Burial,” which featured the versatile Welsh actor Ray Milland (of “The Lost Weekend” fame”). In 1963, Corman and Beaumont once again tapped Price for the lead role in a horror film, and once again the film was inspired by Poe.

    But unlike the others, “The Haunted Palace” only has a tenuous connection to Poe. Although its title is taken from the poem that the doomed Roderick Usher recites in “The Fall of the House of Usher,” “The Haunted Palace” lifts its plot from another American writer of dark fantasy - Howard Phillips Lovecraft. In particular, “The Haunted Palace” is based on Lovecraft’s novella “The Case of Charles Dexter Ward.”

    Set in Lovecraft’s hometown of Providence, Rhode Island, “The Case of Charles Dexter Ward” concerns the possession of one Charles Dexter Ward, who is inordinately interested in the seventeenth century wizard Joseph Curwen. As Ward goes deeper and deeper into alchemy and the assorted black arts, the line between him and Curwen blurs, and the great horror of “The Case of Charles Dexter Ward” concerns how the undead past, with all its forbidden knowledge, can impinge upon the present.

    Lovecraft himself thought that “The Case of Charles Dexter Ward” was an inferior product, calling it a “cumbrous creaking bit of self-conscious antiquarianism” in a 1934 letter to R.H. Barlow. Others disagree, and “The Case of Charles Dexter Ward” is generally seen by most Lovecraft scholars and enthusiasts as one of the author’s best. Furthermore, besides “The Haunted Palace,” “The Case of Charles Dexter Ward,” which is one the more traditional horror stories that Lovecraft ever penned, has been adapted several times for film, radio, television, and, as recently as 2012, a graphic novel.

    Back in 1963, Lovecraft’s grip on popular culture wasn’t so prevalent. In fact, AIP went against Corman’s wishes by renaming the film in order to keep it in line with the other Poe films. Ultimately, the name change does little, for although “The Haunted Palace” has the trademark look of Corman’s Poe films, its plot and atmosphere make it standout from its seven peers.

    Set in the Lovecraftian locale of Arkham, Massachusetts (yes, Bob Kane, the creator of Batman, was a Lovecraft fan), “The Haunted Palace” opens in the year 1765, which is a good one hundred years later than the timeline set forth in “The Case of Charles Dexter Ward.” Corman’s Arkham is a fog-shrouded sea town with constantly suspicious residents. Like the Universal monster movies of the 1930s, which were set in generic Central European landscapes, “The Haunted Palace” is about a cursed village and the diabolist who made it that way. In “The Haunted Palace” the original demonic entity is Curwen, and in the first few minutes of the film, we watch as Curwen (played by Price) and his raven-haired mistress Hester Tillinghast (played by Cathie Merchant) lead a local girl named Miss Fitch (played by Darlene Lucht) to the basement of their castle. There, the blonde Miss Fitch is subjected to a strange ritual that involves green smoke, garbled Latin, and a trapdoor that houses some sort of entity that makes moaning noises of the highly unusual kind. 

    Before Curwen and Hester can go through with their infernal blasphemies, the locals barge in and burn the place down. Earlier in the night, Micah Smith (played by Elisha Cook, Jr.) and Ezra Weeden (played by Leo Gordon) had seen Miss Fitch wondering off to Curwen’s castle, and suspecting that Curwen had put her under his thrall, they gathered up a small army of torch-wielding townsfolk and turned them into a mob. After burning down the castle that Curwen had imported stone by stone from Europe, the mob burns Curwen alive. But before being roasted, Curwen places a curse on the entire village and its inhabitants.

    This then is the catalyst for the film’s action. One hundred and ten years after Curwen’s death, Charles Dexter Ward (also played by Price) arrives in Arkham with his wife Ann (played by Debra Paget). Ward is the great great grandson of Curwen, and he has come to Arkham to claim his inheritance - the old palace of Joseph Curwen. When the Wards make their first stop at The Burning Man Tavern, it’s made quite clear that they are not wanted. Edgar Weeden (again played by Gordon), the descendent of Ezra Weeden, leads the warning party by practically telling the Wards to tuck tail and run away from Arkham. The Wards, unused to such New England hospitality, are stunned. Then they meet the friendly Dr. Marinus Willet (played by Frank Maxwell), who shows them the way to the Curwen palace.



    The Curwen home, which is the film’s archetypal spooky house on the hill, is yet another entry in the storied history of haunted houses. Like the contemporary Hammer Horror castles of Europe, the Curwen estate seems to subsist only on evil, with each part of its foundation built upon blood and sin. In “The Haunted Palace,” there’s something more too, for, as a Lovecraftian production, “The Haunted Palace” also includes Lovecraft’s Cthulhu Mythos.

    Lovecraft’s cosmic mythology makes its first appearance after Ward’s personality becomes increasingly consumed by the warlock Curwen, who seems to enter into the world via a portrait that Ward cannot help but to stare at. As Curwen’s influence increases, Ward delves deeper and deeper into the wizard’s obsessions. One of these obsessions in the “Necronomicon” - Lovecraft’s primordial book of arcane rituals. Using the “Necronomicon,” Curwen (who clearly takes over Ward’s body by the film’s midway point) and his two assistants Simon Orne (played by Lon Chaney, Jr.) and Jabez Hutchinson (played by Milton Parsons), begin to call once again upon the dark gods from Earth’s first aeon.

    Concurrent with Curwen’s revival, Arkham’s deformed residents - eyeless monstrosities who shamble around town like zombies - begin acting up, with one even going so far as to act as Curwen’s avenger by killing Edgar Weeden. Besides being a ghostly yarn about possession and occult practices, “The Haunted Palace” is also a revenge tale in the mold of “Black Sunday.” Curwen has not forgiven his original executioners, and one by one he attempts to kill off their descendants.

    As the film runs towards its conclusion, Curwen revives his old love Hester just as he sends Ann back to Boston. The villagers, for their part, once again come together to form a lynching party, while Ann and Dr. Willet begin investigating the depths of the palace’s dungeon. There they find the monster that lurks beneath the trapdoor. For this sin, Curwen deems Ann suitable for a sacrifice, which is only halted because the invading villagers throw the portrait of Curwen into the hearth fire. This action causes Curwen’s grip on Ward to loosen, and Ward in turn frees Ann from the clutches of the castle’s antediluvian creature.



    After the Curwen palace has been burned to the ground for a second time, Ward attempts to thank Ann and Dr. Willet for their successful rescue of his soul. But, as Ward gives thanks, the voice of Curwen can be heard, and “The Haunted Palace” ends with a shot that shows the face of Curwen instead of Ward. Before the final credits role, Price narrates the concluding section of Poe’s original “The Haunted Palace” almost as if to justify the film’s title. It’s a powerful ending, but illogical given the film’s reliance on the shadow of Lovecraft.

    Eugene Archer, writing in the “New York Times” in January 1964, characterized “The Haunted Palace” as having Corman’s “usual obvious shock devices (sudden cuts to close-up emphasizing fantastic make-up) and his [Corman’s] usual inane dialogue.” While the film is definitely textbook Corman, it also the black sheep of the Poe Eight. Besides the film’s literary ancestor, “The Haunted Palace” is a noticeably muted film insofar as its color scheme and cinematography go. Swimming in a sea of gray, blue, and green, “The Haunted Palace” has a nightmarish quality that is more potent than the garish technicolor of such films as “The Masque of the Read Death” (1964). Similarly, Ronald Stein’s repetitive score creates an odd type of drone that involves shrill strings and horns. All in all, “The Haunted Palace” is not only less Gothic than its peers, but it is also weird in the tradition of Lovecraft’s weird tale.

    Although few doom metal bands have name-checked “The Haunted Palace,” almost all doom metal bands have pledged their allegiance to Lovecraft. The hand of Lovecraft is almost as prevalent in doom metal as the hand of Tony Iommi, and as one of the earliest tributes to the reclusive writer from Providence, “The Haunted Palace” essentially opened up the field for all future adaptations. Since the 1970s, doomsters have flooded that particular field. All we can say is “Thank you, Roger Corman.”

    Words: Benjamin Welton



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    A VERY OLD GHOST BEHIND THE FARM (doom-sludge from Toulouse, France) has posted on their bandcamp page the first 15min of their new album "La came crude":
    HERE

    This 45min single-track album, due out on March 1st via Peccata Mundi Records, has been mastered by James Plotkin (Earth, Khanate, Lotus Eaters...) and will be released with a companion short novel written by the band.



    Posted By Ed DooMM@nti@




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    This was a hilariously interesting and loud gig for me.  As you may well know, this was my lady friend's very first gig; she's older than I and has led a pretty damned sheltered life.  There were 3-4 moments at this gig that I almost died of embarrassment, but it was so cute because she was a virgin.

    She's outside finishing a smoke, we walk up as Hookers are in their 1st song.  She opens the door, closes it, and says, no no no...need earplugs.  Three guys outside heard this and started laughing their asses off with me.  I mean the stage is like 100 feet away.  It was like, really?

    Then their's the door bitch.  Now, I got in relatively easily, just wanted to make sure we weren't narcs I guess, but that dude felt like harassing my lady friend, who was just not having it.  She was like, "This is my first gig...this is my weekend...I'm getting in this venue...you're just going to have to wrap your head around it because this is happening" etc.  It was so funny.  She finally got in, and we took a seat at the bar.

    Now, Wino and Dave were seated right next to us, eating some grub.  Wino finished last, and got up to leave.  I said hey Scott, good to see you, how are you, just wanted to introduce you to my lady friend, she's really digging your acoustic stuff I've played for her.

    And my lady friend, shook his hand, smiled, and not much else.  Starstruck.  By Wino.   In a bar.   I was like, ugh...he's just Wino man...like, he's okay.  You can say hi.  Yeah, that one was pretty good.

    And then there was the gig flyer spam bitch, seated next to us.  My lady friend asked if those flyers were free, and I said they were, and she proceeded to pick one up at a time and pocket it.  After doing this like 3 or 4 times, she noticed that the little spam bitch kept placing out new flyers for her to pick up.  She enjoyed holding this power.  Actually, she picked a flyer up for the month's shows at the Note, and wouldn't you know it, the Vitus gig actually said Saint Virus.  I was like, it's 2013, like, you should know the band's name at this point if they date back to '78.  Really? Saint Virus?  Come on.

    That was the basically the entertainment portion of the night, so I'll get onto the rock now.

    Hookers, who I'd never heard a note of before but by doing some reading I'd guess the best way to subscribe them was like a party metal band, but their party involved Satan, sluts, and whiskey, Judas Priest as much as Bathory.  It was fast, it was fun, it was loud.  They really seemed to enjoy what they were doing, and it came across as such.  Using speed as a weapon, they melded classic metal with really fast shit, and it was a winning combination, but not who I came for.  I bought a sticker and would try an album.


     Pallbearer.  Now, Pallbearer I've talked about at length a few times, and their debut and still only album from early last year still holds a very, very special in my heart.  I've never heard such slow, sorrowful music sound so uplifting, positively angelic at times with the singer's voices melding over those soaring twin harmonies.  They played two from the debut, two new tracks, and the cover (Over and Over from Mob Rules?) didn't sound particularly sabbathian with the two guitars; the sound was much fuller and it was slowed down a lot and the singer wasn't intoning Dio, rather using his style and making the riff fit around his voice, not the other way around.  It was a well done cover that i barely recognized aside from a few riffs, but i was their for the other 4 songs.  Covers are nice, especially when a band makes it their own or makes their sound the vibe of the song, that's fine and all, but I want to hear the stuff you wrote, I didn't buy a ticket to a cover band show, you know?  I like your original shit just fine and dandy.

    The two off the debut were my favorites of their set because the band has been on the road playing this debut for two years now, and there were so many more intricacies and touches utilized in the old tracks that I barely recognized from when I first caught this band in May 2012.  The guitar solos particularly sounded more vibrant, piercing and beautiful; soulful and emotive.

    The two new tracks weren't far from that, very moving and fluid and setting a great doomy beautiful atmosphere.  I actually saw them outside after Vitus and finally got to say thanks for that debut in person, looking forward to the next chapter and hope to see you again, cheers, etc.

    The vibe I'm getting is that the new album, set to record in February, is still getting plenty tweaked and polished and thought about.  Not that the new songs sounded off or bad; not embryonic even..just a little like like..."Yeah, I can't wait to hear that proper" You know?



    Then came Vitus, who unlike Pallbearer, whom I have only seen once before (to be corrected!), Vitus I've seen now 4 times, actually seen Wino do his thing 6 altogether.

    I missed two or three titles, i'm not good with titles, but for like Vitus or Electric Wizard you know what they're called basically.  Pallbearer is an album band, like YOB, no one song is better or whatever.  Vitus and say Pentagram, those are song oriented bands, Born Too Late, Dying Inside, just classics.  You can memorize lyrics.  They played that i could write down: Blessed Night, Clear Windowpane, Living backwards, I Bleed Black, War Is Our Destiny, Let Them Fall, The Bleeding ground, The Troll, (Lillie Track/..."fists in the air..."?), into fucking Shotting Gallery, White Stallions, with an encore of Dying Inside capped with Born Too Late, in that order. 

    Now that I've seen them 4 times, I'm starting to get a sense of the vibes they like give off in different cities, in Brooklyn, Baltimore, NYC, or West Chester PA.  That gig they played at THEIR bar was a fucking classic stone cold piece of history that you had to be there for, but honestly, they sounded really good from where I was banging (Dave's side, actually.)  Wino sparked one and put his hands behind his back for cuffs; my lady friend grabbed a pic of that. 

    Yeah, very good outing, a downright FIRST for my lady friend all around, and she's still on cloud nine about it, we have'nt stopped talking music since she came over for this gig on Thursday. 

    Words: SabbathJeff





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    Walter & Co are very sorry to announce that The Oath have sadly had to cancel their appearance at Roadburn Festial 2014 due to personal circumstances. Hopefully, we’ll be able to welcome the band at Roadburn 2015.

    Luckily, they’re able to report that Sweden’s Goatess will replace The Oath on Thursday, April 10th at the 013 venue in Tilburg, The Netherlands.

    Featuring the vocal talents of one Christian ‘Chritus’ Linderson, formerly of Count Raven, Saint Vitus, Terra Firma, and currently of Lord Vicar, Goatess have taken a different tack and managed to take the previously almost-completely stripmined sound of Kyuss, circa Blues For The Red Sun, and make it sound fresh again!

    Sure, there’s more than a tinge of Sabbath on Goatess‘ S/T album (released on the ever prolific Svart Records), but the band hews closer to the fuzzed-up tone of California’s favourite desert-fried sons than to the average bunch of Iommi-worshippers.

    Goatess axeman Niklas knocks out a woozy-edged guitar that moves from psych-edged subtlety to great big fuck-off ballsy rifforama, with a sprinkling of eastern-sounding melody woven through, more-than-ably backed up by a bravura drum performance from skinsman Kenta and Findus‘ deeply impressive, fluid, nuanced bass, leaving Chritus to work his magic safe in the knowledge that the heavy lifting is well and truly taken care of.

    Make sure to indulge yourself in Goatess‘ primordial, hypno fuzz at Roadburn Festival 2014.

    Roadburn Festival 2014 will run for four days from Thursday, April 10th to Sunday, April 13th 2014 at the 013 venue in Tilburg, The Netherlands.

    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
    Posted By Ed DooMM@nti@

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    Portland-based psychedelic blackened doom/drone channellers, TAURUS -- featuring Stevie Floyd of Dark Castle and Ashley Spungin, formerly of Purple Rhinestone Eagle/Negative Queen -- are pleased to premiere a brand new hymn from their impending new long player, No/Thing. Recorded to two-inch tape at Cloud City Studios by legendary sound magus Billy Anderson, No/Thing offers up five habitually chilling avant doomscapes set within a tranquil nightmare of angular death metal riffs, paranoid screams and black mass rumblings. Featuring guest vocal invasions by Anderson and Leviathan's Wrest, No/Thing is a spiritually godless, cathartic yet terrifying audio journey. In honor of its forthcoming unveiling, today Cvlt Nation brings forth "No Thing Longing... Human Impermanence." Describes the mega-blog, "I'm looking up at the sky as snow floats to the ground, covering everything around me. While the grey outside is being painted by Mother Nature, something else is happening in my eardrums. I have TAURUS''No Thing Longing... Human Impermanence' on repeat, expanding into vast parts of my brain with each sound.... the layers and depth of their music is never-ending, and all I want to do is hear more!"

    Adds the band, "All things move constantly, half embraced, increasing aloneness, meditating on nothing, stripping the mind of useless thoughts. All is temporary and moving around. I am space, creating and recreating."

    Feel the traumatic pulse of "No Thing Longing... Human Impermanence" at THIS LOCATION

    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

    Preorder packages are currently available at THIS LOCATION.  (All preorders come with an 18" x 24" black canvas tapestry/large backpatch.)

    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.

    Bandcamp
    Facebook

    Source: Earsplit PR
    Posted By Ed DooMM@nti@

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    San Francisco doom-tinged metaller's CASTLE have released a 7" single on their European label Van Records.  The limited edition single features the band covering Alice Cooper's "Second Coming" as well as a demo track, "Labyrinth of Death" from their upcoming full length.  Details for the follow-up to 2012's "Blacklands" will be released in the coming weeks. For now the band have also unveiled a lyric video for "Second Coming" and European tour dates in support the single.

    CASTLE were formed in 2009 and released their debut album “In Witch Order” via the German label Van Records (The Devil’s Blood) in the spring of 2011. The album brought light to the newly formed band and gained them the title of Metal Hammer Norway’s album of the year as well as Roadburn Festival’s “Newcomer of the Year".  The follow-up record "Blacklands" was nominated for a Canadian Juno award for best metal album of the year in 2013.



    European Tour Dates
    4/11 Cafe Cairo, Würzburg, GER *
    4/12 Boröm Pöm Pöm, Oberentfelden, CH
    4/13 Slow Club, Freiburg, GER
    4/14 La Zone, Leige BEL
    4/15 Feierwerk, Munich, GER
    4/19 DNA, Brussels, BEL
    4/20 Doornroosje, Nijmegen, NL
    4/21 Little Devil, Tilburg, NL
    4/24 Kulturpalast, Wiesbaden, GER ^
    4/25 Vera, Groningen, NL ^
    4/26 Desertfest, Berlin, GER
    4/27 Underground,Cologne, GER ^
    5/1 Katy's Garage, Dresden, GER

    * w/ Conan
    ^ w/ Conan, Graviators

    Posted By Ed DooMM@nti@

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    Birmingham, Alabama traditional doom trio, THOTHAMON, recently joined goat horns with the eclectic sound peddlers at Domestic Genocide Records for the release of their latest EP.

    Fittingly titled Prophets Of Doom, the analog offering was recorded in two six-hour sessions by Emanual Ellinas at Magnetic Audio Recordings Studio on their home turf of Birmingham and delivers five slow, ominous, canticles fit for the wretched and damned. Paying homage to the likes of Black Sabbath, Pentagram, Angel Witch, Coven, The Obsessed, Trouble, Candlemass, Iron Maiden et al, with themes centered on epic tales of barbarians, wizards, dark lords, and ancient ones, THOTHAMON are at once primal, ugly and darkly compelling.

    Comments the THOTHAMON collective on joining the expanding Domestic Genocide roster, "We are very excited to be working with Domestic Genocide! For us, it looked like the right label to go to due to response we had heard from bands already on the label. It's a label that works with the artist and its design and intent for the art created. We also love how there are different styles of metal on the label ranging from black to doom to blackened doom to death. This is also a label that works very hard at promoting their bands through various outlets across the metal scene. The allegiance between THOTHAMON and Domestic Genocide is going to be full of doom and glory for everyone involved!"

    Prophets Of Doom Track Listing:
    1. The Pass of Caradhras
    2. The Doom That Came To Sarnath
    3. Glory Or The Grave
    4. Devil In The Deep Blue Sea
    5. My Heel, Your Throat

    THOTHAMON:
    Colt McCormick - vocals/guitars
    Brandon Mullins - bass
    Rick NIbblett - drums


    Order Prophets Of Doom, out now via Domestic Genocide, at THIS LOCATION

    Facebook
    Domestic Genocide | Official Website
    Domestic Genocide | Facebook
    Domestic Genocide | Bandcamp

    Source: Earsplit PR
    Posted By Ed DooMM@nti#@

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