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    Stephen O’Malley shall tour the UK this April with the French trio ALUK TODOLO in support. His solo material is inevitably familiar, expanding on the O))) principles, yet inexplicably different – revealing a more sculptural and angular direction. The extended solid and geometric aspects of the guitar and amplifiers, sound pressure, volume and temporal structure are ambiguous and solitary. ALUK TODOLO‘s music is a methodical exploration of the powers of musical trance. Part occult black metal fiend and part snide kraut menace, the band conjures rabid obsessive rhythms and abyssal disharmonic guitars, subliminal spiritualist vibrations and bizarre, magick summonings.

    Tuesday 8th – The Arts School, Glasgow
    Wednesday 9th – Deaf Institute, Manchester
    Thursday 10th – Gateshead Town Hall, Gateshead
    Friday 11th – Shoreditch Church, London
    Saturday 12th – The Old Coroners Court & Morgue, Bristol
    Sunday 13th – Green Door Store, Brighton

    You can hear Stephen O Malley‘s solo concert at the Dread Exhibition opening in Haarlem, Netherlands below & you can also listen to ALUK TODOLO via Bandcamp HERE.

    Source: The Sleeping Shaman

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    Undersmile - Photo by Pier Corona
    Oxford’s titantic doom quartet UNDERSMILE may have been away from the live circuit for a brief time, but they have remained active, having released Wood & Wire, a split with their acoustic alter ego COMA WALL on Shaman Recordings in mid-2013 and now they have just released their epic new split EP with Nottingham’s almighty bass/drum drone duo BISMUTH on cassette and vinyl through Tartarus Records, Graanrepubliek Records and At War With False Noise.

    The band are now looking forward to returning to the stage in 2014 and are taking bookings. They’ve recently been confirmed for ‘Kin Hell Fest in May 2014, and have already announced gigs supporting Beehoover in Oxford in March, Dopethrone at the Underworld in June and The Rigger, Stoke with Space Witch, full dates below. They are also in the process of planning their first trip to France so if you would like to help with a date, please contact the band.

    In COMA WALL news, the band recently enlisted doom-cinematic director Chris Purdie (of MERRIN) to produce an atmospheric video for Wood & Wire’s opening track ‘Summer.’

    Director Chris Purdie had this to say about the video: “I just tried to capture the essence of both Wood & Wire’s sleeve imagery and the recorded sounds using a combination of stock footage mixed with bits I shot myself. The aim was to create a film that looked warm, but felt cold. Inviting, yet dangerous. In a way, it’s a continuation for the video I put together for Thine which was also comprised of stock. The process is more involving because when you begin putting a video like this together, you really don’t have any idea of where to start or what footage you can use. The process of finding the perfect combination of imagery for the sounds can take time, but you earn a greater understanding for both mediums through the process. I try to take this approach with all my film/music work, that’s just how my brain works, I guess.”

    View the captivating video for ‘Summer’ below:

    In other UNDERSMILE news, Hel and Taz recently collaborated with Chicago doom giants BONGRIPPER, providing vocals for their cover of Black Sabbath’s ‘The Haunting‘ in a project for Cvlt Nation in which various bands (including Primitive Man, Unsea, Graves At Sea) have covered Black Sabbath’s Master Of Reality in its entirety. You can stream and download the entire album HERE.

    UNDERSMILE Gig Dates:
    25/03/2014: The Wheatsheaf, Oxford w/ Beehoover & Caravan of Whores [info]
    29/04/2014: The Cellar, Oxford w/ Girl Power [info]
    02/05/2014: ‘Kin Hell Fest, Leeds w/ Napalm Death, Lock-Up, Necro Deathmort & more [info]
    25/06/2014: The Underworld, Camden w/ Dopethrone & Gurt [info]
    02/08/2014: The Rigger, Stoke w/ Space Witch & Trollkraft [info]

    Undersmile | Facebook
    Undersmile | Bandcamp
    Undersmile | Big Cartel
    Coma Wall | Facebook
    Shaman Recordings
    Shaman Recordings | Facebook

    Source: The Sleeping Shaman

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    Following countless years of personal hardships, studio disasters and times of music industry indecision, New Orleans' own EYEHATEGOD, with much relief and excitement, are proud to announce the release of their brand new full-length! Entirely assembled and financed by the band, the self-titled, eleven-track long player will be released on May 27th by their partners at Housecore Records in North America, May 26th by Century Media in Europe, Australia and New Zealand and May 21st by Daymare in Japan.

    Comments vocalist Mike IX Williams, "I have to say I don't believe we've lost nary a step in the creation of this album and we think these newer songs are a killer combination of classic EYEHATEGOD mixed along with our best production, mixing, engineering and songwriting in thirteen years. The main and total tragic break in the chain, was obviously last year's death of our great friend and drummer, Joey LaCaze. However, his original drum tracks made it onto the final master recordings and we're fucking psyched about that... As for working with Housecore, it was a no-brainer. We've always been a family, and will always remain a family."

    Adds Housecore founder Philip H. Anselmo, "Being a part of the new EHG record is a dream come true. I've known, supported and loved the guys for almost as long as I've been playing music myself, and it is our pleasure here at The Housecore Records Compound to have 'em aboard. And I gotta mention, having heard the new record, this is the EYEHATEGOD record every true fan has been waiting for.... Hail!"

    Check out  the new lyric video for "Agitation! Propaganda!"  now playing at this LOCATION or watch below.

    As a precursor to the release, EYEHATEGOD will play a special one-off show with High On Fire, Corrosion Of Conformity, Magrudergrind, Strong Intention and Ilsa at the Ottobar in Baltimore, Maryland on April 27th. For more info, point your browser HERE.

    As a band that helped create a genre as well as equate a city with a sound, EYEHATEGOD has always remained humble anytime words like "legend" were thrown around to describe them. The thing with legends is that they grow stronger in time and over the years, word of mouth has been kind to the band. EYEHATEGOD is bigger now than they ever have been in their twenty-five plus years as a band. Pretty impressive seeing as they haven't released a full-length album in almost fifteen years. Most people who know the band have a story to tell or they heard a story about the guys. Whether it was them playing nothing but feedback to a bewildered White Zombie crowd during their opening stint for the arena metal band in the mid-nineties, being banned from a certain venue for attacking a promoter with a barstool or cleaning out entire small towns of their drug supply, these stories spread throughout the metal community over the years, usually through a game of one-up-manship, establishing them as one of the most notorious bands around.

    Certainly not the first band to be surrounded by myth and lore, EYEHATEGOD's staying and growing power ultimately comes from the music. No one riffs like Jimmy Bower and Brian Patton. Drummer Joey LaCaze grooved and held it together with numerous bass players throughout the years, doing so impeccably with Gary Mader over the past decade. Singer Mike IX Williams has always been able to encapsulate the ruins of life through his lyrics and vocal delivery. All combined, the music is the most genuine, distressing cacophony of sound around.

    "Black Sabbath mixed with Black Flag with a little bit of Skynyrd and the element of blues thrown in there," Bower once said of the band's sound. In 2014 that style might sound somewhat commonplace. In 1988 it most definitely was not. The band's second album, 1993's Take As Needed For Pain is the pinnacle album that other bands of this genre to this day try to reach. Today, EYEHATEGOD sounds as fresh and innovative as ever. When the band released its first new track in over a decade, "New Orleans Is The New Vietnam," it was clear that nothing about the band had changed. They were touring more than ever and used that time and energy to work on an album's worth of songs. At the end of 2012 they were ready.

    The recording process for Eyehategod started with producer Billy Anderson back in the fold (he recorded 1996's Dopesick). The session saw both producer and band not quite on the same page and at the end, the album was unfinished. A few months later, the band reconvened at longtime friend Phil Anselmo's home studio with producer Stephen Berrigan (Down). Both Anselmo and Berrigan helped draw out the missing pieces to one of underground metal's most anticipated albums in years.

    An unexpected tragedy occurred shortly upon returning home from a recent five-week European tour in the Fall of 2013: Joey LaCaze passed away due to respiratory failure. An outpouring of condolences and tributes spread online. Enough can't be said of the loss felt by the band, family and friends. Fortunately, LaCaze's drum tracks were captured by Anderson and appear on the album, creating the definitive tribute for the member of the band who encapsulated best just what EYEHATEGOD was all about; seriously not taking yourself too seriously. New Orleans native, Aaron Hill (Mountain Of Wizard, Missing Monuments), took over for Joseph LaCaze without missing a beat, both figuratively and literally. The band hit the road after wrapping up the record and plan to embark upon their most exhaustive touring schedule to date.

    Mike IX Williams - vocals
    Jimmy Bower - guitars
    Brian Patton - guitars
    Gary Mader - bass
    Aaron Hill - drums

    Further EYEHATEGOD intel, including track listing, preorders and a glut of live dates, to be unveiled in the weeks to come.


    Official Website
    Official Facebook
    House Records

    Source: Earsplit PR
    Posted By Ed DooMM@nti@

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    Legendary doom metal icons, SAINT VITUS, are pleased to announce a very special run of live rituals to celebrate their astounding thirty-fifth anniversary! Sponsored by Scion AV, the tour will commence on May 8th in Albuquerque and wind its way through fifteen cities, coming to a close on May 25th in Dallas. The band will be performing the planet-rumbling Born Too Late album -- the first SAINT VITUS outing to feature the imperious voice of Scott "Wino" Weinrich -- in its entirety alongside other renowned VITUS hymns. The band will be joined by Portland stoner rock power trio Sons Of Huns, supporting their recently released Banishment Ritual full-length on EasyRider Records. Comments the band of their coveted spot on the tour, "We can't be any more stoked to support one of the finest purveyors of doom and crush many cities in our wake!" Tickets go on sale Friday, March 14th.

    Starting April 1st, Scion AV will be giving away two pairs of tickets to every club show via TWITTER or see  for details.

    SAINT VITUS w/ Sons Of Huns
    5/08/2014 Launch Pad - Albuquerque, NM
    5/09/2014 Club Red - Phoenix, AZ
    5/10/2014 Cheyenne Saloon - Las Vegas, NV
    5/11/2014 The Observatory (Psycho De Mayo Fest) - Santa Ana, CA
    5/13/2014 The Echo - Los Angeles, CA
    5/14/2014 SLO Brew - San Luis Obispo, CA
    5/15/2014 Strummer's - Fresno, CA
    5/16/2014 Thee Parkside - San Francisco, CA
    5/17/2014 Branx - Portland, OR
    5/18/2014 Highline - Seattle, WA
    5/20/2014 In The Venue - Salt Lake City, UT
    5/21/2014 Marquis Theatre - Denver, CO
    5/23/2014 Red 7 (Outside) - Austin, TX
    5/24/2014 Fitzgerald's Downstairs - Houston, TX
    5/25/2014 Three Links - Dallas, TX

    Dave Chandler - guitar
    Scott Weinrich - vocals
    Mark Adams - bass
    Henry Vasquez - drums

    Official Website
    Sons Of Huns | Facebook
    Scion AV Metal | Facebook

    Source: Earsplit PR
    Posted By Ed DooMM@nti@

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    With the exception of more straightforward ambient and drone bands it's very hard to call the more extreme bands in metal serene. Yet every now and then we're gifted with an enigma that is both heavy and beautiful.

    Ankhagram is one such band. This is a straight forward yet abstract album. There is a lot going on and with each successive listen you'll hear something new. Considering the simplicity of the musicianship and how layered the songs are the grandeur of the album as a whole is just that much more.

    The drums pound along in a steady no frills fashion as does the bass. Moderately slow paced mostly chugging riffs are played with the kind of dry distortion you'd expect to find in a faster death metal band; thick, dry and mostly overdriven. The guitars, which are primarily distorted with a few cleans thrown in here and there, are almost an after thought to the dominate keyboards. With that being said it's safe to say this album is pure atmosphere.

    Several of the keyboard and guitar riffs sound like they could've come from Shape of Despair's debut with perhaps a few nods to Arcana Colestia. However they lack the depressing mood and dreary vibe opting instead for a soothing somewhat epic and relaxed feel that's presented in a very modern way.

    This isn't considered funeral doom but there are plenty of funeral-esq moments. If funeral doom somehow represents an end or death in its movements this band takes it one step further. The music puts you in a surreal post depressive state. As if you've gone through all five stages of grief and are now in a peaceful acceptance of whatever has befallen you.

    Each song organically flows to the next seamlessly. Having not heard the original version of Kids by MGMT, it's impossible to say how the cover compares; but this version fits the rest of the songs perfectly. If there are any flaw it would be that it wasn't slower. The simplistic drums and guitars are a perfect backdrop to well orchestrated but not overly produced keyboards. This gets a 9/10.

    Words: Grimm Doom

    Official Website

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    By my standards, Lizzard Wizzard is still an extremely new band as they’ve only been playing since early 2013. This four piece stoner band hails from the beautiful beaches of Brisbane, Australia.  The artwork looks almost like a power metal lizard consuming everything in it’s path. Credit shout out to Iain D, who does art for punx, metal, and pups. Even the name itself is both catchy and screams stoner.

    The first track, “Twilight of the Terminator” starts off nice and easy, with heavy riffs and sludgy instrumentals. When the vocals come in, it’s like an almost black metal face ripping screech. Imagine EYEHATEGOD with a little more Darkthrone elements and you get these guys.

    Their next incoming track, “Total Handjob Future” is as equally slow as the previous song in the beginning. This feels more like a build up, or the hike up to the highest volcano. The song progresses with great roars and guitar playing that’s in harmony with the pace. Third track that stems from “Total Handjob Future” is simply entitled, “Chaaaaarles”. Similar playing, but the vox are much more aggressive this time around. What makes this even more interesting is that ¾ of the band do vocals, so their sound is unique in how it intertwines with different voices.

    Overall a great seven track album, I give it a rating of 7.5/10.  A lot of laughs from their lyricism and song titles, themes, and pretty rad puns. Vocals are splendid and a lot of lovely elements are in view of their work.

    Band Line up:
    Stef Roselli – Bass/Vocals
    Luke Osborne – Drums
    Michael Clarke – Guitars/Vocals
    Nick McKeon – Guitars/Vocals

    Favorite Tracks: Bong Dive & Reptile Dysfunction


    Track List:
    1. Twilight of the Terminator
    2. Total Handjob Future
    3. Chaaaaarles
    4. Bong Dive
    5. Game of Cones
    6. Reptile Dysfunction
    7. Dogs Die In Hot Cars

    Words: Chylde of Fire

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    A really interesting band that was assigned to me was this really pleasant solo project. A mix of doom and folk, which is a slightly unusual yet graceful combination. Sean M. Kratz hails from Cleveland and he does all the instrumentals and vocals with guest star guitarists. The artwork is very Celtic(Tree of Life) whilst donning a logo and name that isn't in any way similar to the cover design.

    Album was release February 20, starting off a great new year in the first quarter. The first track is a nice intro entitled, “I Am of Wolf”. Calming instrumentals blending into one another, like a studio jam gone right.  Next is, “And The Pale Horse” which blew my mind. Truthfully, I wasn’t sure what to expect. Sean’s works could be comparable to Pallbearer in both vocals and instrumentals. This is a very well done album.

    Third in line is, “Gateway”. Again, Pallbearer similarities with a hint of wolf. After the first minute of the song the vocals sound more Tiamat influenced. All in all a very powerful song.

    Overall Rating: 7/10

    Track List:
    1.    I Am of Wolf
    2.    And The Pale Horse
    3.    Gateway
    4.    Through Fire and Decay
    5.    To Become Legend
    6.    Empty Vessels
    7.    Osi

    Favourite Track: And The Pale Horse
    Label: Unsigned

    Words: Chylde of Fire

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    Glenn Danzig has been a lot of things: a comic book creator, a television actor, a director, and an Internet meme. But most of all, Glenn Allen Anzalone is a musician known for his dark and often sexually explicit lyrics and his trademark baritone voice. He’s the heavy metal Elvis, and when coupled with either the schlock punk of The Misfits or the blues metal of Danzig, Danzig’s sultry voice is as powerful as any air raid siren or cookie monster growl.

    While most people focus on either The Misfits or Danzig, there’s a third band that Danzig fronted that gets little mention or love. Formed out of the ashes of The Misfits, Samhain only existed as a functioning band for a mere four years. But in that time, Danzig, bassist Eerie Von (real name Eric Stellmann), and roving cast of guitarists and drummers created haunting horror rock that borrowed heavily from both hardcore punk and goth metal. In many ways, Samhain were a band that both prefigured later developments (Paradise Lost and the whole death/doom hybrid, for example) and failed to catch on due to their time period (they were neither as fast as thrash nor as slow as doom). Because of all this, Samhain is the little talked about and mostly forgotten offspring of Glenn Danzig.

    Here’s the problem with that: Samhain produced two of the best albums of Danzig’s entire career and some of their songs are considered standards by those in the know (including Metallica). Their first album, 1984’s “Initium,” not only presented a shocking cover (see below), but it also boasted of some pretty hefty tunes, from “The Howling”-inspired “The Howl” to the ballad “Archangel,” which Danzig had originally written for the British goth punk band The Damned.

    On their second LP, Samhain expanded to become a foursome that included Danzig, Eerie Von, guitarist Pete “Damien” Marshall, and drummer London May. This second record, entitled “November-Coming-Fire,” proved to be a new shift in Danzig’s career as the singer/songwriter left behind the B-movie sleaze of The Misfits in favor of a more opaque brand of sinister music.  And while “November-Coming Fire” does contain an old Misfits track just like “Initium” (“Halloween II” in the case of the former, and “Horror Biz” in the case of the latter), Samhain’s sophomore full-length contains more reverb than its first effort, while its subject matter, poor recording quality, and the nature scenes that adorn its back cover make it seem a lot like early black metal. The truth is that “November-Coming Fire” is all of these things, plus it’s just a good record too. Beginning with the instrumental “Diabolos ‘88,” “November-Coming-Fire” then transitions to two powerful rock tracks. The first is “In My Grip,” which paints Danzig as a world-devouring monstrosity as the music behind him runs straight forward with echoing punk rock riffs.

    There’s a little bit of comic book juvenilia with “In My Grip,” and the song makes an easy parallel with the band’s calling-card—a horned skull image that was taken from artist Michael Golden’s cover for Issue 8 of Marvel’s “The Saga of Crystar.”

    The next song up, “Mother of Mercy,” is anything but cartoony, and this heavy rock anthem is one of the record’s most enduring legacies. From its appearance on 2009’s “Guitar Hero: Metallica” to its numerous cover versions, “Mother of Mercy” is at once the quintessential Samhain song and arguably the first Danzig song, for its strange and sexual imagery prefigures Danzig’s later obsessions. Other early indicators of Glenn Danzig’s continued interest in blues metal and neo-1950s crooning are the tracks “Human Pony Girl” and “To Walk the Night.” While “Human Pony Girl” is a slow, almost sludgy number that doesn’t even try to hide its intentions, “To Walk the Night” is a Byronic track that invokes the figure of the solitary and nocturnal wanderer. Is it a vampire? A ghost? Or a serial killer? “To Walk the Night” doesn’t put its cards on the table, and the song remains chilling for that very reason.

    “Let the Day Begin,” which is a sort of sequel to the song “Initium/Samhain,” celebrates the end of the world with fantasies involving the mutilation and evisceration of the world’s religions. Whether or not the apocalyptic day-dreams of “Let the Day Begin” influenced such misanthropic acts as Electric Wizard, Eyehategod, and Darkthrone is unknown, but it is interesting that such a stream has run throughout heavy and hard music ever since the 1980s.

    The remainder of “November-Coming Fire” helps to uphold the album’s image as an ominous sonic grimoire. The garbled Latin of “Halloween II” fits in with the band’s love of the autumn festival, while “November’s Fire” explicitly invokes the ancient Celtic festival Samhain (pronounced SAH-win) as an allegory about the end of light and the beginning of darkness. There’s not many things more metal than that, and despite the difficulty of assigning Samhain a genre tag, “November-Coming-Fire” is one of the best examples of the inchoate metal scene of the late 1980s. Back then sub-genres were not yet set in stone with distinct dos and don’ts, and as a result “November-Coming-Fire” contains traces of everything from punk to proto-doom. This fact alone gives it the right to return from the dustbin of history, and more than anything else, “November-Coming-Fire” shows how mood and atmosphere can transcend the masturbatory sessions of virtuosity that so many metal musicians are guilty of.

    Words: Benjamin Welton

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    The first STONED FROM THE UNDERGROUND took place in 2001…the festival offers a platform for diverse kinds of bands within the underground and beyond. The STONED FROM THE UNDERGROUND is a pure scene festival...a festival made by fans for fans.


    Stoned From The Underground 2013

    Acid King (USA)| The Atomic Bitchwax (USA) | Been Obscene (AT) | Black Bombain (PT) | Deville (SWE) | Earthless (USA) | Five Horse Johnson (USA) | Herkules Propaganda (GER) | Horisont (SWE) | Hyne (GER) | Isoptera (GER) | Lord Vicar (FIN) | Lowrider (SWE) | Mirror Queen (USA) | Mustasch (SWE) | Operators (GER) | Pelican (USA) | Pet The Preacher (DK) | Sardonis (BEL) | Trecker (GER) | Troubled Horse (SWE) | Truckfighters (SWE)

    Stoned From The Underground 2012

    SaintVitus (USA) | Crowbar (USA) | Tito & Tarantula (USA) | Orange Goblin (UK) | Weedeater (USA) | Red Fang (USA) | Baby Woodrose (DEN) | Fatso Jetson (USA) | Rotor (GER) | Brain Police (ISL) | Sigiriya (UK) | Dampfmaschine (GER) | Flying Eyes (USA) | Beehoover (GER) | Kadaver (GER) | Neume (GER) | Wight (GER) | Bushfire (GER) | King Kronos (GER) | Stonehead (GER) | Orobourus (USA) | Cojones (CRO) | The Cyborgs (ITA) | Arenna (ESP)

    Stoned From The Underground 2011

    MonsterMagnet (USA) | Eyehategod (USA) | Valient Thorr (USA) | Cowboys & Aliens (NL) | Church Of Misery (JAP) | JexThoth (USA) | Glowsun (FRA) | Vibravoid (GER) | Lonely Kamel (NOR) | Marant (CH) | My Sleeping Karma (GER) | The Egocentrics (ROM) | Grandloom (GER) | Coogans Bluff (GER) | Planet Of Zeus (GR) | DBS (GER) | Grant National (GER) | Sungrazer (NL)

    Stoned From The Underground 2010

    Garcia plays Kyuss (USA) | Brant Bjork (USA) | Peter Pan Speedrock (NL) | Yawning Man (USA) | Weedeater (USA) | Firebird (UK) | Black Cobra (USA) | Kongh (SWE) | Ufomammut (ITA) | Nightstalker (GRE) | The Machine (NL) | Highway Child (DK) | Winnebago Deal (UK) | Saviours (USA) | Samsara Blues Experiment (GER) | Luna Negra (PL)

    Stoned From The Underground 2009

    Valient Thorr (USA) | Karma To Burn (USA) | Jud (GER) | Siena Root (SWE) | The Devils Blood (NL) | Litmus (UK) | Monkey 3 (CH) | Troy Torino (NL) | Alix (ITA) | Suma (SWE) | Doomraiser (ITA) | Gorilla Monsoon (GER) | Long Distance Calling (GER) | Zed (GER) | Stonebride (CRO) | Driver (GER) | Hellroom Projectors (CH)

    For more info & history, GO HERE

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    Unlike some who are content to adopt that desert sound, San Franciscan trio HORNSS were born into it. Moulded by it from the very beginning in the case of members Mike Moracha and Nick Nava, who originally got their start in the Palm Springs band Solarfeast alongside ex-Kyuss/Evolution’s End member Chris Cockrell.

    Formed in 2010 with a line-up completed by drummer Bil Bowman (formerly of Zodiac Killers, blackQueen and Scrog) HORNSS have taken to the stage in support of Fatso Jetson, Naam, Windhand, YOB and The Freeks and are every inch the band you’d hope they would be given the ancestry, influence and arid air that forged their formation.

    Thanks to the LA based label EasyRider Records, this May the trio will have a debut album to call their own. Recorded at Earhammer Studios in Oakland with Greg Wilkinson, if you were sold on the strutting doom groove of their demo The Red Death then No Blood No Sympathy is going to blow your mind and then some. Drawing on influences such as Hawkwind, St. Vitus and The Ramones HORNSS deliver devastating doom, death punk fury (both Mike and Nick were also founding members of San Fran punk band The Jack Saints), stoned out meanderings and crushing desert progressions that will strike a chord no matter where your allegiances lie.

    Their debut album No Blood No Sympathy will be released via EasyRider Records on 13th May and you can stream/download their new track ‘Heir to the Pickle Throne’ exclusively via The Obelisk – HERE.

    Mike Moracha – Guitar, Vocals
    Nick Nava – Bass, Vocals
    Bil Bowman – Drums

    Hornss | Bandcamp
    Hornss | Facebook
    Instagram – @hornssband

    EasyRider Records:
    Formed in 2013 out of the sleepy beach town of Hermosa Beach, Los Angeles, EasyRider Records is dedicated to unearthing the finest in heavy psych, doom, stoner and rock music. Products include limited edition runs of vinyl and cassettes with creative packaging and the label has ten bands currently signed to its roster; Electric Citizen, Salem’s Pot, Slow Season, Albino Python, Sons of Huns, Black Prism, Old Man’s Will (US only), Monolord, Shooting Guns and Spiral Shades. EasyRider Records has also secured the exclusive rights to cassette releases by Sleep, Witchcraft, Kadavar, Graveyard, Valfader, FUZZ and Orchid, with more titles to come.

    Easy Rider Records | Official Website
    Easy Rider Records | Facebook
    Easy Rider REcords | YouTube
    Easy Rider Records | Soundcloud
    Label Contact –

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    This was a good show. I had no idea what either The Company Corvette or Fight Amp(utation) were about, but I found out that it was nothing i couldn't get a groove onto.

    The Company Corvette were the big surprise for me, i knew fight amp were sorta fast, but i hadn't heard them. The Comp. Vette I had heard nothing about, so when they started, I quickly made my way up front to watch what was going on.  Songs weren't epic in length, but they played 4-5 versus 9-10.  Honestly, they sounded like an even mix of all three Sleep albums, Vol. I's hardcore tendencies giving way to stonerisms of Holy Mountain's album and sometimes veering into meditative dopesmoker like territories...the three on stage made a lovely din together, and it was very strange hearing vol I sounding material mixed with say dopesmoker sounding shit, but they mixed it up evenly between those three seminal albums and somehow made them all connect perhaps even in a way that Sleep themselves never did.  It was very interesting, and I picked up a free sticker to further pimp my newfound joy in the Company Corvette.

    Next were old Philly favorites Stinking Lizaveta, who somehow I had never seen.  They were quite loud.  Chesire is amazing drummer, very fast, very on time, hitting very hard for such a cute small woman.  The brothers on bass and guitar were just as fun to watch:  mathy riffs breaking into solo sections, solo sections breaking into mathy doomed rifferies.  They did what they did and definitely had fun doing it.  Getting to finally see that upright bass get played in person was really fun for me:  I've always loved his bass sound and was very curious as to what that would have to look like live in order to be pulled off, but man, he was on fire.  To say nothing of his brother on the 6 string, whose solos were positively schizophrenic, yet somehow still in relation to music.  Just incredible.  I think sometimes an instrumental set can be hard to stomach for 40 minutes or whatever on the attention span for some, but all the breaks, twists and abrupt jazzed out turns of their music, plus the stage banter, really kept the set rolling along, too quickly, for my money.  I thought Stinking Liz should have been right below Pentagram, then Fight Amp below them, then the Company Corvette, but whatever, I don't book shows, I just see them, and i'm glad for their set, whatever length it was or wasn't, the set sounded right on the entire time.  Great fucking band I should have caught 50 times by now. 

    Next on tap were Fight Amputation.  Now, I hadn't heard word one about this band from anywhere I normally frequent, and some quick research sort of pegged them as a hardcore type of band, a little thrashy, perhaps. 

    What I got instead was something that sounded like the production of Surrounded By Thieves, mixed with the speed of Blessed Black Wings at points, and a lot of chugga chugga old school heavy riffery.  Needless to say, I was pleasantly surprised, and by the time their set was over my neck felt like it had nothing left for the damn headliners.

    The show ended early, and Bobby showed up, and sang his ass off, despite the fact that he said his throat was killing him, I couldn't hear it, and he sang 13 fucking songs in a row last night.  They were, and I qoute from my notebook: Sign Of The Wolf, The Ghoul, Wheel Of Fortune, Forever My Queen, Review Your Choices, Every-thing's Turning To Night, When The Screams Come, 8, All Your Sins, Petrified, Relentless, encore: Be Forewarned closed out by 20 Buck Spin, in that order.

    I had seen neither the new guitarist or the new drummer yet, so they were paid close attention to, aside from Bobby.  The drums were spot on, nothing extra flashy, just a little swing, just like they should be.

    The new axemen.  Now, this is really interesting.  Out of everyone's Bobby had since the 70's, I can now say that he is my favorite to play the 70's material.  Victor's 80's doom tone is not nearly as psychedelic as some of the old numbers call for, neither was Kelly Carmichael's or Joey Hassalvander.  But this new guy, I don't know where they found this kid, but he has the old numbers down.  On the tunes like 8 or Every-thing's Turning to Night, he didn't sound like Griffin, he seemed out of place on those numbers.  Yet he MORE than pulled off the old '80's material victor and bobby originally played 30 years ago, Relentless and All your Sins sounding especially doomy and heavy.  But the 6 (?) 70's tunes.  Those were the ones where this youngblood shined.  Hearing Be Forewarned AND Review Your Choices, coming from a guitar that sound's like it thinks it's existing in 1971, that is really something to see; the closest we can get live to hearing those tunes properly, for my money. 

    Bobby was Bobby, standing around like ghoul petrifying the masses, a little banter was nice, and he gave it everything he had.  I saw Pellet and Bobby's wife there too, which is really nice to see that he has that support.

    All in all, great gig, since I thoroughly enjoyed every band this time, unlike a few shows I've been to in the past.  According to the Facebook, this was to the last pentagram show for "awhile" whatever that means.  Is Bobby going to concentrate on writing, get those two contracted albums done with for metal blade?  Maybe.  More likely and more what i'd want him to do is slow the fuck down and enjoy his wife, son, and life.  More than most people I can think of, he deserves that.

    Thanks to all the bands for hurting my neck, and uh you folks have a good one, hope this review was interesting to you.

    Thanks for reading!

    Words: Sabbath Jeff

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    The doomed time has come to reveal the title, the cover and the tracklisting of the upcoming SORROWS PATH album! Our album will be titled "Doom Philosophy" and is going to be released by German IRON SHIELD RECORDS on September 12, 2014.

    The cover was done by talented young Austrian artist Lisa Heschl, and the logo artwork by the established Belgian artist Christophe Szpajdel (MOONSPELL, ARCTURUS, DIMMU BORGIR and many more).

    Some of the guest musicians of this album are the famous metal star Snowy Shaw (KING DIAMOND, THERION,DREAM EVIL e.t.c.) and the master of doom lead guitar Edgar Rivera (ex- SOLITUDE AETURNUS)!

    "Doom Philosophy" TRACKLISTING
    01. First Beam of Darkness into Light (Intro)
    02. Tragedy
    03. A Dance with the Dead
    04. Brother of Life
    05. Everything can Change
    06. The King with a Crown of Thorns
    07. The Venus and the Moon
    08. Epoasis
    09. Clouds Inside Me
    10. Darkness
    11. Damned (O)fish/L.S.D.

    This album was recorded, mixed and mastered at Fragile Studios (Athens, GR) by Vangelis Yalamas.

    Official Website

    Official Website



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    Judging by the biography on their website, there is some bitterness lingering in the hearts of Pagan Altar. The term “true underground” appears, plus the writer (an ex-drummer) throws a few jabs at the British music press of the early 1980s. Formed in the late ‘70s, Pagan Altar were an English doom/heavy rock and roll band that just never really got off the ground during their first run. Since their competition at the time consisted of bands like Iron Maiden and Def Leppard, Pagan Altar, who often went on stage dressed like druids in front of a makeshift black mass equipped with Marshall stacks, were easy to overlook and even ridicule. After all, slow and gloomy were out of fashion. As such, Pagan Altar called it quits in 1985 to little fanfare in either the U.K. or U.S.

    Unfortunately for founding members Alan and Terry Jones, this lesson would be repeated by their other venture—Witchfinder General. Like Pagan Altar, Witchfinder General approached heavy metal from the perspective of the fog-shrouded and dewy confines of ancient Britannia. Both bands wrapped themselves in the cloak of history, from the primordial remains of Stonehenge to the burning years of the English Civil War. By 1989, American neoconservative author Francis Fukuyama would be questioning the end of history, but even before that, in the underground metal community, the roots of hard and heavy music were being cast off in favor of the snotty and aggressive newcomer called hardcore punk. At one point in the tribal history of metal, Black Sabbath was not considered cool, and thus bands that reeked of their rain swept atmosphere were considered boobs at best.

    But even before Pagan Altar’s first dissolution, a funny thing happened. The band’s demo, which was recorded in their own studio in Brockley, made its way to America via the old Silk Road of tape trading. American teenagers ate it up, and before long the band was flooded with letters calling for more material. This must have been quite the shock for a British band that couldn’t even rely on the once steadfast university circuit in their own country. Still, this underground swell presaged things to come, for like America’s own Pentagram, Pagan Altar is a band that was given the unique honor of a second (and third) chance.

    This second chance was called “Volume I,” and it was released by Oracle Records in 1998. “Volume I” was originally a self-produced and independently released cassette tape from 1982. This then was more or less the music that the proud few heard all those many years ago, and over a decade later, it was the same music that the nascent masters of the Internet heard while they were searching for unknown, unsigned, and underappreciated bands of yesteryear. Pagan Altar is all of that, and “Volume I” is a testament to how out-of-step they were during the heyday of NWOBHM.

    Although it is only seven songs long, “Volume I” is a dark odyssey that conjures up images of devilish dwarves, bearded wizards, and the overall feeling of melancholy. And yet, despite this abject darkness, there’s an undeniable sense of classic rock power in many of the album’s songs. Specifically, “Judgement [sic] of the Dead,” which is the band’s most well-known track, is underscored by a melodic riff that contains all of the masculine magic of Norse drinking songs and Celtic battle cries. Of course this was not the intent, for lead singer Terry Jones composed the lyrics to the song during an extended night’s stay at the demonically-titled Nunhead Cemetery. This is akin to those Norwegian black metal bands who buried their stage clothes under the earth in order to get that graveyard look, for both acts are intentionally done in the name diabolism.

    While “Judgement of the Dead” rings with unbridled power, the other standout track on “Volume I,” “The Black Mass,” is a much darker invocation of inverted Catholicism. And while “The Black Mass” contains a glorious riff all its own, it is nevertheless the record’s “Black Sabbath”—a moody rocker with a little pep and a lot of Satan. Because of “Judgement of the Dead” and “The Black Mass,” Pagan Altar have a reputation as yet another one of heavy metal’s flashy, pseudo-Satanic bands. “Volume I” dispels this stereotype, for on their very first LP, Pagan Altar produced songs such as “Night Rider” (about Persephone’s abduction by Hades) and “Reincarnation,” both of which concern themselves with myth and fantasy. “Reincarnation” in particular is full of wonder, and this concluding track smacks of Tolkien and other assorted admirers of Britain’s natural splendor.

    Coupled with all of these passages, it’s important to also point out that “Volume I” contains an acoustic instrumental entitled “The Dance of the Banshee.” Such activity was usually left to bigger bands like Led Zeppelin, so Pagan Altar’s inclusion of a light, bouncy acoustic piece on an otherwise obsidian release was a fairly brave move. Then again, when no one is looking at you, you can get away with a lot, and very few people were paying attention to Pagan Altar in 1982.

    Nowadays, Pagan Altar are lauded as one of the primary forefathers of modern doom. This praise is well earned, and without a doubt “Volume I” provides a blueprint for later, more theatrical bands like Candlemass and Cathedral. Likewise, the release of “Volume I” helped to put some steam behind the resurrection of Pagan Altar, and in 2004, the band reformed and is still playing the occasional gig somewhere in the world. Not bad for a band that was judged to be dead and gone.

    Words: Benjamin Welton

    Official Website

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    Heavy metal cultists CASTLE have unveiled additional details about their upcoming release "Under Siege," scheduled for release on May 16 via Van Records in Europe and May 20 via Prosthetic Records in North America. The album, which was recorded at Sharkbite Studios in Oakland, Calif. with producer/mixer Billy Anderson (Cathedral, Sleep, Neurosis), features the below cover artwork from Russian symbolic painter Denis Forkas Kostromitin (Behemoth), with whom the band previously collaborated with on their Juno-nominated 2012 release "Blacklands."

    While holding onto their darkened and sophisticated classic metal roots, CASTLE further develops their sound with each of the eight tracks of "Under Siege" by adding punishing riffs and hauntingly melodic passages complimented by Liz Blackwell's full blooded vocals. Blackwell added, "On this record I wanted to summon the powerful and unrelenting feeling I get while playing live. I was casting out demons and stating my position in life."

    "Under Siege" Track Listing
    1.  Distant Attack (3:48)
    2.  Be My Ghost (4:06)
    3.  A Killing Pace (4:27)
    4.  Pyramid Lake (4:18)
    5.  Powersigns (3:54)
    6.  Labyrinth of Death (4:30)
    7.  Temple of the Lost (4:46)
    8.  Evil Ways (4:02)

    Additionally, CASTLE have revealed an advance preview of their new music video for the song "Temple of the Lost", which you can view below:

    The full video, directed by Davis Hall (Handshake Inc.) will premiere later this month. Stay tuned in the coming weeks for more information on the release: HERE

    Upcoming 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
    4/18 La Casa, Cottbus, GER
    4/19 DNA, Brussels, BEL
    4/20 Doornroosje, Nijmegen, NL
    4/21 Little Devil, Tilburg, NL
    4/23 Arena, Vienna, AUS
    4/24 Kulturpalast, Wiesbaden, GER ^
    4/25 Vera, Groningen, NL ^
    4/26 Desertfest, Berlin, GER
    4/27 Underground,Cologne, GER ^
    4/30 Rock Cafe St Pauli, Hamburg, GER
    5/1 Katy's Garage, Dresden, GER
    5/3 Doomtales, Gera, GER
    w/ Conan

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    b>Hello, Eric! Thanks a lot for the opportunity to make an interview with you! That's a greatest pleasure for us and all fans! So, let's come to a point...

    1. I think it's reasonable to start our conversation from that moment when Grief quit the second time in 2008. For me, like for many fans of "slow & heavy", the whole chapter in doom music history was finished after Grief disbanding. You devoted enough time to this band and that were hard times, turbulent times, if we can say so! Which moments, or episodes from your Grief career are most memorable for you?

    All of the time with GRIEF is worth remembering. my favorite times are the tour of Europe and our tours down south in Terry’s van, our tours of the east coast, west coast,  the “Titans of The Underground Festival”  as well as the “Loud  Az Fuck Festivals” both at the legendary CBGB’s … so much fun, such relief from everyday life. There really are too many memories to choose from.

    2/ Looking back to that times... You were the first to play music, called "sludge" nowadays. Many bands of that period had become so-called "sludge icons", like 13, EHG, Cavity, -(16)- and, of course, Grief. Do you keep up with doom scene progress? And can you recommend a couple of releases according to your personal choice? Maybe not brand new, but albums, which are really important for you?

    I listen to music very sporadically. For the last month all I’ve listened to is THE RUDIMENTARY PENI albums I have on my ipod - mostly the album DEATH CHURCH in massive repetition. and a few songs here and there by other bands. Sometimes I listen to the same albums over and over and over and over and over and over and over …  it’s comfortable.

    b>3/ Now you make a new project B9K9. What about a title? Is it connected with dogs somehow? Tell us please about your band...

    B9K9 phonetically reads as “Benign Canine.” All of the B9K9 band members (Eric C. Harrison, Dargo Zoner & Chuck-Naked Mccauley suffer from Canine Lycanthropy – meaning that we become half man / half dog under the conditions presented in certain lunar situations. We play and write our songs when in this half man  / half dog form. We are not aggressive or dangerous. We love to howl and make noise.

    4/ Surfing B9K9 myspace we face rather cheerful punk rock! That's really unexpectedly to see you making such kind of music. As I know, being in B9K9 you've changed not only music direction, but also started to play drums! Do you feel more comfortable beating drums?

    What you will find online right now is limited to the early and  experimental stuff. I’m not sure if I’d call it “cheery” it’s often sarcastic and comical. I am a devotee to the patron saint of Smart Asses. What you hear is to be expected – when I am part canine I am usually happy. It feels good to shed some of my humanity (as if it were fur.) We consider our music to be Hound-core. 

    5/ In the nearest future B9K9 is going to take part in 8-way split "The Will To Fail", which will be released at Goat Skull Records. Also, you've announced a full length album release in 2013 at Goat Skull too. How is the process?

    We are waiting for the release now. It is done and in the process of being pressed and put together. I have put it out of my mind for the time being. I go crazy if I have to spend time anticipating.  I am not good at waiting if I think about it as waiting. So… when I have it in my hands I think about it.  But I did talk to Corey (Fistula) this morning and he told me they are about a week from completion.

    6/ If we started to speak about Goat Skull Records, we should mention Fistula. You made artwork for some of their releases before. As I know, you make artwork for "The Will To Fail" too. You are famous for such kind of things, lots of your works adorn CDs, t-shirts. It must be not an easy work.... Which artwork and for which bands can you figure out as most interesting for you and why?

    Yes, I’m a world famous failure. Isn’t that nice? The art for The Will To Fail is a drawing I did last year during an anxiety attack. I do a lot of drawing nowadays – much more than ever before, simply to keep from flipping out.  And yes, I’ve done a few pieces of art for FISTULA , I did the IDIOPATHIC LP cover – this was a large work at least 14”x14” , done with watercolors, inks and brushes and detailed with pen. When I did this album cover I was broken. Injured. Trapped like a ghost in a haunted house.  The LOSER LP cover – which is actually a very tiny drawing, about 4”x4” – was done with colored pencils and pens. I  also did an insert for this lp, black and white art. Both drawings are very small. PATAC Records did a great job with the reproduction here. I was very impressed. Dan knows his shit. I also did an insert for FISTULA’s album BURDENED BY YOUR EXISTENCE - it’s a simple skull drawing but it was done with pipe resin, like … pot-tar and some paint. Then I detailed it with  pens – which is interesting. At the time I did this I was still kind of a ghost.  FISTULA will also be producing some shirts with art that I did last year on them. (two of these appear in my newest art book, QUIRKISH DELIGHT).

    7/ So, we came closely to the theme of your art. Frankly speaking, I have always been admired with your works - greatest inner power, pain and pressure... they really engrave on memory! I can tell it for sure! Please, tell when and how did you start painting?

    Thank you. I am not able to not do art. Like… if I don’t draw and paint or play music when I need to - i get edgy, stressed out and depressed. Scared kind of. Paranoid.  Angry. Worried. I’ve done art as long as I can remember. The oldest I’ve seen are drawings from childhood … things I did when I was  2 years old. Mostly drawings of fish and monsters. Painting I took up later in life really.

    8/ Undoubtedly, every creative person is inspired by somebodies works. Whose works, or creative manner have influenced you as an artist?

    This is also a hard question to answer. My favorite artist is probably NICK BLINKO, I’m generally inspired by a need to escape. Or a need to look away. Or a need to work something out in an abstract way. I draw  upon involuntary synesthesia. These days I draw without putting an idea in my head and I let the images of sounds and smells and memory run their course. I listen to the voices from the past and put those words to scribbles. Lately I’ve been into outsider art. Studies that go back to the early 1900’s show repetition in imagery used as symbols that I even find in my own works. It’s strange to see artwork from a hundred years ago visually echoing your own. A voice from the past I never intended to hear with my eyes and repeat with my hand.

    9/ You should have had a period of experiments, searching for your own individual style. How soon have you realised that you follow the right direction?

    One interesting thing I did this year is a book called FINDING THE SECRET SEA – this is a book made up of sketches I did mostly while traveling on buses and trains…. To help me ignore people, to help me not feel worried or be consumed by paranoia. when the sketchbook was fileld I sent the pictures to a writer I know a few pictures a t a time. He basically let the pictures tell him a story. And I put those words with the pictures  it’s a very cool little book. Its sort of abstract and you get something different from it every time. I’ve stopped thinking like that. I have no direction. I have ideas about what to do with my art, like putting it in books so each pieces has a safe home. But with pictures,  I just draw or paint. Sometimes it’s something specific but usually I am just following loose trails in my mind. To sort of quote the great Nick Blinko  “the mind is a shifting cloud, not a solid fossil.”

    10/ Sooner or later, every artist faces the moment of choosing instruments and materials for work. Please, tell us about your experience. Which materials, paints, paper did you use in the beginning of your career and what's your choice now?

    I approach each piece differently. I use a little bit of everything and sometimes I choose the wrong thing so I do it with something else. The best example I can think of was a piece called “when rotten ideas break free” = I tried to do this as a drawing with markers, it did not look like the idea I had, so I wrote it into a poem. The poem did not sound right either so I added music to it and it became a song performed by GRIEF.

    11/ If we compare two periods like Grief times and B9K9 days, it's obviously that you started to use less colours. Is it your intentional choice, or it's just a coincidence? Is colour important for you?

    I use colors but don’t share those pictures very often. I do much more black and white work because it is fast. When I need to get something out the tedious process of colors can fuck me up. So I do a lot of drawing in between. But I do use colors, I did a painting for the mermaid I live with just last week.  I’ll try to remember to send you a jpeg of something newer I’ve done with colors.

    12/ Your works make rather heavy emotional impression. Feels like they touch the darkest and most gloomy depths of human mind. Is it hard for you to create your works? How long does every artwork take?

    It varies… something painted can take a long time. Weeks. Most of the drawings I do are done in one sitting of anywhere from 2 to 10 hours . usually nonstop. Or at least done over the course of one day. It depends on how much crap there is in my head that I need to try and exorcise with ink. Sometimes the pictures fool me. They act done and later reveal that they need more work.

    13/ There is no doubt that "Eric C. Harrison's world" is full of demons and paranoia. Where do all these images come from? What does feed them?

    I have some issues. The worst are paranoid delusions and insomnia. I worry a lot. I have vague paranoid ideas about people screwing me over and fucking with my life. I make associations that make no sense later. I get a falst idea in my head about something and it grows and grows and gathers details and becomes this enormous thing … and in the end it was nothing. Something someone said the wrong way that made me worry they had lied about something else. It’s very confusing. I have a hard time trusting anyone at all. And even then I feel like they are not who they say they are. I have given up trying to label it. I went to psychiatrists for years, off and on all of my life. They have told me everything from manic depression, to bipolar disorder to schizoaffective disorder.

    I don’t think I’m always wrong. It’s hard to believe I am paranoid, or that paranoia is a bad thing when I am right sometimes. And I am right about people a lot, about how rotten they are. Full of ulterior motives and selfish actions. It makes it hard to have a job or relationships  when you never believe people and are not sure why you don’t believe them.  Like when someone looks at you and you understand something about the way their eyes feel on you but don’t know what you don’t like, just that it is bad and that they would not think twice about taking what they want from you without worrying about hurting you as long as they are happy. Either way I do not go to drs anymore and do not take any form of mental health medication any longer I have tried some and they did not work for very long.

    14/ I came up with your art through the artworks, which you made for music bands, like many other people did. Now you got one more way for bringing your art - Marsh Paw Press! A few words about your publishing house. What's the idea, the message of it?

    I love books. I collect books. I read all the time and love art books. I decided in 2005 or 2006 to start producing zines or chap-books of my poetry. This was fun but it was not a good way to reproduce art. This year I took it more seriously and started putting out perfect-bound books and hardcover books. The main goal is to put out books of art and creative writing in a world where books, art and creative writing are going more digital. poetry and fine-art are becoming more obsolete every year to the masses. The goal of MARSH PAW PRESS is to put out my own art and writing as well as the art and writing of others in a nice format that keeps the art looking good and does not cost a ton of money. The first couple of books I did , the deluxe photo books were not as “affordable” as most of the books I will prodice. I want to put out books of art that are reasonably priced. And I think i‘m doing a pretty good job so far.

     But, MARSH PAW PRESS needs customers and circulation so please spread the word. Check out

    15/ Marsh Paw Press brings books, which contains your poetry, prose, besides artworks. Of course, not all russian audience can enjoy your texts in the original. Anyway, tell us about it. How long have you been writing and which points do you try to figure out?

    I have been writing things as long as I can remember. This is also like my art . I have to write or I go a little crazy. It keeps me from bottling things up and having it get to me. Sometimes you need to write something out before it registers in your head correctly. I have been writing stories and poems seriously for about 12 years. But I do this very slowly. My book PICTURE OF A PARANOID has 10 years of things I have had published . This book also has art by my favorite artist (and musician) Nick Blinko from the anarcho punk band THE RUDIMENTARY PENI – this is an enormous honor for me. I have admired Nick’s work since I was a kid. I’ve been haunted by it really.

    16/ Your art book "Denizens of Distraction" contains a very strong, deep portrait of William S. Burroughs. I'm crazy about his literary manner. That's the thing, which you always want to come back and read again. Burroughs is a multilayer, magnificent artist. "Cities of red nights" is my favorite one! And what about you? Which book by William S. Burroughs do you like most?

    If you have 3 d glasses, look at that Burroughs painting with the 3d glasses on, it is sort of 3d, I think my favorite William S. Burroughs book is “Exterminator!” but this a tough question. Burroughs has a lot of brilliant works. He too was very spontaneous and often set out with little idea in mind of what he was doing. I respect his work a lot for its truth and raw feeling. I like exterminator because it is dark, dreamy and has varied feelings from start to finish, but also stays on a path, it keeps a voice going.

    17/ By the end of the conversation, I'd like you to give a piece of your prose to russian audience, instead of last question... That would be the best conclusion!

    - "Near the Door" is below,  this is a selection from Picture of a Paranoid. It is a true story. An observation of something kind of beautiful really, I hope it takes you away a little.

    Near the Door

    It was very early Sunday morning. The sun had only been up for a few minutes when a man and his dog reached Rising River. The tide was high and the water was running strong. Bubbles swirled just below the surface; a deep blue strip of paisley with white detail.

    Sunrise had given the marshlands a backdrop of fiery orange patches that were streaked with deep crimson. This dark red lingered beneath a layer of deepening, cadmium blue.  It was a combination that made the early morning sky beautiful; in places like the tobacco sunburst of Gibson’s Les Paul. Overhead, a few thin clouds drifted above the general stillness that blanketed the surrounding neighborhood, which was not yet wholly awake. There were no other people out walking and very few cars were on the road.  As the amorphous puffs of white crossed the sky, dissipating as they went, the overall silence was suddenly disrupted by the squawking of many seagulls. They just suddenly appeared, circling overhead; a noisy flock of what seemed like nearly a hundred birds.    

    The gulls made their way to the Riverside Bar and Grill, where they swooped down to feed from the restaurant’s dumpster. Saturday night was regularly a busy night at the Riverside, so the Sunday morning garbage was always worthwhile booty for these feathered pirates.  Some of the birds had to compete with the river rats that had already staked a claim on the same heap. Some of the larger gulls simply fed on the rats. A large black-backed gull caught one of the gorged rodents by its hind leg and flew up above the parking lot. When it had lifted the rat about sixty feet above the ground it dropped the screeching animal from its blood covered beak. The rat landed on asphalt with a meaty thud. It twitched thirty seven times as life left it.

    When the rodent’s shattered body finally stopped moving, the gull that had dropped it flew down with the intention of eating it.  The other gulls, having heard the animal’s death cries, also swooped down to feast. Before the rat’s killer could claim it, these other gulls were upon the carcass and tore the dead animal to pieces in seconds.  There were so many birds fighting over one prize that none of them ended up with more than a taste.  Eventually, cars pulled into the lot as the restaurant’s cleaning crew arrived. Both bird and rat alike retreated. The man and his dog walked toward home, where they would enjoy a wonderful breakfast of their own.   Under the influence of the sun, the moon became more transparent with each minute; the fading face of a ghost in slow departure.  - 2005

    Click Here For Original Russian Version Of This Interview at BLACK ASPRIN
    Interview By Eugene

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    As the release of II: Void Worship, the new full-length from Rhode Island volume assassins, PILGRIM, draws near, today Noisey offers up second track, "Master's Chamber," for mass consumption.

    Literally quaking under the weight of its own planet-crumbling heaviness, II: Void Worship finds PILGRIM traversing new trails in their bottom-heavy doom manifestations, replacing the meditated, hypnosis-inducing dirges of their debut with more calculated and gritty powerhouse riff torrents. Recorded at Moonlight Mile Recording by audio wizard Mike Moebius and centered on tales of swords and sorcery, death, doom and widespread obliteration, tracks ebb and flow into frenzied climaxes and fade into sweet sonic depressions, molding perfectly crafted rock songs into twisted spires of cryptically ominous doom metal epics.

    Gushes Noisey, "II: Void Worship is a crushing barrage of sustained power chords, gut-churning string bends, deliberate drum bashing and otherworldly vocals about beefy warriors and barren wastelands."

    Feel the rumble of "Master's Chamber," alongside an in-depth Q&A with The Wizard himself HERE

    Additionally, doom hounds can still witness the amplifier devotion of "Void Worship," currently streaming at Invisible Oranges at THIS LOCATION  as well as third hymn, "The Paladin," streaming HERE

    PILGRIM is currently performing their ceremonies across the US supporting reunited stoner rock icons, Spirit Caravan. The journey will raze nearly two dozen cities by its conclusion and has already seen the band captivating newfangled ears at three SXSW performances.

    PILGRIM w/ Spirit Caravan [remaining dates]:

    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

    Since the early 2012 unveiling of their debut sonic behemoth, Misery Wizard, fans and critics alike have patiently yet anxiously awaited the second chapter in the ongoing legacy of the mighty trio that is PILGRIM. Their first release shook the metal underground to its core, making a loud, in-your-face effort to bring doom metal back to its most minimalist and archaic roots, restoring it to its former glory. Their critical success, paired with their controversial interviews and emotionally draining live performances have lead PILGRIM to excellence, traversing the globe performing sold-out shows in multiple countries and playing festivals alongside some of the biggest names in their genre. Two years later, the fabled outfit has returned with a brand new record, the highly anticipated next installment of their aural adventure, II: Void Worship.

    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 Metal Blade.Com.

    Pilgrim @ Facebook
    Metal Blade.Com
    Source: Earsplit PR
    Posted By Ed DooMM@nti@

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    It is never too late to stumble upon a new album that was released in late 2013. In this case, amazing ambient doom metallers Nocturnal Lust, who come from the hot and fiery area of Rio de Janeiro, came to Doommantia with their album to share with the world called Desolation.

    To make things even more interesting, there are only two band members. One in Rio, while the other resides in Connecticut. They only go by one letter initials as well. The artwork is an earthy green background, with what looks like a moth on the front.

    Simplistic, it seems almost like a Type O Negative inspired cover; colors and all. Their first track, "Crawl" is an intro clocking in at just under ten minutes long. Not so complex in the beginning, but soon progresses into a nice and slow instrumental masterpiece that is easy to lose yourself in.

    Right after "Crawl" comes in "Nothing", which is just as instrumental. Throughout this entire six track album, I was able to tune out and draw to my heart's content. For me and most of you, that is a good sign that it flows in the moment and it is an album that is ambient, sad, and calming all in one package.

    Overall Rating: 8.5/10

    Line up:
    J.: Vocals/Drums/Mixing
    F.: Guitars/Bass/Keyboards/Drums/Mixing

    Record Label: Unsigned

    Track List:
    1. Crawl
    2. Nothing
    3. Eradication
    4. Soul Damage

    Nocturnal Lust @ Bandcamp

    Words: Chylde of Fire

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    With its imminent unveiling now just one week away, today mainstream music gateway, Pitchfork, offers up PILGRIM's II: Void Worship in its entirety!

    Recorded at Moonlight Mile Recording by sound sage Mike Moebius and centered on tales of swords and sorcery, death, doom and widespread obliteration, PILGRM's II: Void Worship is a frighteningly crushing exercise in pure, sonic doom. Each of its eight tracks ebb and flow into frenzied climaxes and fade into sweet audio depressions, molding perfectly crafted rock songs into twisted spires of critic, shadowy doom metal epics. Relays Metal Insider upon an early investigation of the offering, "On their newest album, II: Void Worship, PILGRIM turn in their drone elements for a more melodic approach to the doom ethos. Don't let that trick you into thinking this album isn't as heavy or is in some way more radio friendly than their previous effort. On the contrary, the riffs on this album and the way the songs are structured are such that it's an even darker and more sinister sounding effort in certain ways, not unlike the classic outputs of doom titans Trouble, Candlemass and Cathedral," Pit Riff notes, "In the epic world of doom metal, there are a lot of pretenders. There are only a few that are truly authentic though. PILGRIM is one of the most authentic... Their grinding, slow moving sludge is such from which legends put on this Earth to slay anyone or anything in its path. ...PILGRIM have created a behemoth of a release that's almost too heavy to listen to in a single sitting," while Metal Injection adds succinctly, ""Oh, were you looking for something that didn't weight one thousands tons? Well that's just too damn bad."
    Hear the planets collide with II: Void Worship, now playing at Pitchfork at This Location

    PILGRIM is currently performing their ceremonies across the US supporting reunited stoner rock icons, Spirit Caravan. The journey will raze nearly two dozen cities by its conclusion and has already seen the band captivating newfangled ears at three SXSW performances. Don't miss them level your town.

    PILGRIM w/ Spirit Caravan [remaining dates]:
    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

    Since the early 2012 unveiling of their debut sonic behemoth, Misery Wizard, fans and critics alike have patiently yet anxiously awaited the second chapter in the ongoing legacy of the mighty Rhode Island trio that is PILGRIM. Their first release shook the metal underground to its core, making a loud, in-your-face effort to bring doom metal back to its most minimalist and archaic roots, restoring it to its former glory. Their critical success, paired with their controversial interviews and emotionally draining live performances have lead PILGRIM to excellence, traversing the globe performing sold-out shows in multiple countries and playing festivals alongside some of the biggest names in their genre. Two years later, the fabled outfit has returned with a brand new record, the highly anticipated next installment of their aural adventure, II: Void Worship.

    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 Pilgrim @ Metal Blade.

    Pilgrim @ Facebook
    Metal Blade.Com

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    It all started with a Led Zeppelin concert in Newcastle. After seeing the four gods of rock and roll in June of 1969, Alex Wilson, who eventually became Iron Claw’s bassist, was then just another twenty-one year-old kid from Dumfries, Scotland. A music lover, Wilson had previously fooled around with the recording and management side of things. But after that night in Newcastle, he got the wild idea to start a band.

    In the summer of ’69, Wilson netted the teen-aged guitarist Jimmy Ronnie and the equally young drummer Ian McDougall. As a trio, the band played a few gigs with Wilson on vocals. Their sets mostly consisted of cover songs, with a heavy emphasis on the blues and blues-accented hard rock. When the band was still calling itself NAJ, Wilson caught a Black Sabbath show in Dumfries in late 1969. Like most people, Wilson’s first taste of Sabbath completely changed his opinions about rock and roll, and before long his little side project was veering off into heavier realms.

    After Mike Waller joined the band on vocals, the four Scotsmen took to calling themselves Iron Claw (which was taken from a line in King Crimson’s “21st Century Schizoid Man,” not from Fritz Von Erich’s famous wrestling hold). The new name fit the band’s new image as a rock band that was as hard as Aberdeen granite. They soon earned a reputation as a noisy act who loved the heat of amplifiers and the power that comes standard with lower notes played by slurred hands. By 1970, Iron Claw looked like an act poised for stardom.

    Unfortunately, their first run as a cohesive group only lasted from 1969 until 1974. In that time, Iron Claw underwent a series of alterations: they went from being a four piece to a five piece, and then back to a four piece. As the membership changed over the years and gigs got more scarce in the U.K.’s northern reaches, Iron Claw tried to stay alive, but by 1974 it was all over.

    During their initial run, Iron Claw only produced a handful of demos, and yet they opened for such legendary acts as The Kinks and Pink Fairies. They were also one of the first Black Sabbath cover bands in Scotland, if not the world. In many respects, Iron Claw, like a lot of the hard and heavy pioneers of the early 1970s, were a little too rough and a little too rugged for their time. Nowadays, a lot of bands can capture even the slimmest of Internet exposure and gain a few fans in the process, but in the early 1970s, bands lived or died by major labels. Iron Claw died, but miraculously came back and reformed as a second-life act in 2010. The spark that lit the fire for this reborn phoenix came a year earlier in 2009. In that year, Rockadrome Records, a boutique American label that specializes in obscure ‘70s and ‘80s hard rock and heavy metal, released “Iron Claw” - a compilation of the band’s unreleased material that clocks in at well over an hour. At sixteen songs, “Iron Claw” is a metallic beast that underscores the British magazine Classic Rock’s description of the band as “The Lost Pioneers of Heavy Metal.”

     While Iron Claw were born during an era of many heavy metal pioneers, it’s undeniable that they made some of the heaviest and meanest metal of the dank and gloomy ‘70s. The opening track on “Iron Claw,” which is entitled “Clawstrophobia,” is a chunky, fuzzed-out groove machine that would sound entirely contemporary if not for its overuse of hollow-sounding reverb. Clearly, Iron Claw recorded on the cheap, and this eponymous compilation has the overall feeling of being a worn-out time capsule or a misused masterpiece.

    Still, “Iron Claw” comes out sounding all the cooler because of its rotten quality. For instance, the monophonic overcharge of “Mist Eye” makes the band sound like a streetwise Black Sabbath, while “Rock Band Blues” sounds like an overlooked hit that somehow got lost at the bottom of the sea. “Winter” has a similar vibe, although that track shows a band in the middle of its maturation phase. The soft interludes of “Winter,” which include both folk and stripped-down blues elements, make the track sound more professional somehow. The garage is far away on “Winter,” and yet overall, “Iron Claw” shows only moments of fashionable brilliance. For the most part, this is as cult as one can get, but it’s a sure bet that most metalheads like it that way.

    Through a combination of tough, heavily distorted riffs and a rhythm section that constantly sounds like its about go off the rails, “Iron Claw” creates an atmosphere that is uniquely Scottish. One can taste the biting winds of the Highlands on songs like “Skullcrusher,” while “Loving You” is the track that best parallels the album cover’s gloomy and ruined castle. There’s no Fleet Street pretty boys to see here; “Iron Claw” is a knock ‘em dead record that reeks of the pub and a healthy fight on a Saturday night.

    Words: Benjamin Welton

    Iron Claw @ Facebook

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    The heavy 'avante' psych band was formed in 2006 in Hong Kong but is currently based in Providence, RI. They have released four albums and several EPs, including splits with Sons of Otis and Elder. Scarab was released mid-2013 on Heart & Crossbone (CD, Israel) and Cosmic Eye (LP, Greece).

    Music / Info: Click Here

    "One of the finest current purveyors of opiated psychdoom... Killer."—Crucial Blast

    For fans of: Swans, Sunn0))), Sunburned Hand of the Man, Sun Ra, Sons of Otis, Sonic Youth, Sleep, Six Organs of Admittance, Mukul Shivputra.

    -APRIL 2014-

    16 - Boston, MA.
    O'Brien's. w/ The Modern Voice, Glacier

    18 - Kingston, NY. Hudson Valley Psych Fest
    BSP. w/ White Hills, It's Not Night: It's Space, The Golden Grass, Eidetic

    19 - Wilmington, DE.
    1984. w/ Heavy Temple, Wizard Eye

    20 - Brooklyn, NY.
    Don Pedro. w/ Theologian, Prana-Bindu, Sonic Suicide Squad, Andrew Barker/Michael
    Foster/James Ilgenfritz trio

    23 - Florence, MA.
    13th Floor Music Lounge. w/ Palace In Thunderland, Murder And The

    24 - Portsmouth, NH.
    The Red Door. w/ Green Bastard, Northern Curse

    25 - Portland, ME.

    26 - Providence, RI.
    Psychic Readings. w/ Darsombra, The Vomit Arsonist, LVMMVX

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