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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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    Mondays suck… unless High on Fire comes through your town.  4:45pm– I sat through the remainder of class, eagerly awaiting the moment that I would be released to begin my evening of audio assault by the venerable hands of Matt Pike, Jeff Matz, and Dez Kensel.  I donned my finest black shirt (Darkthrone, I think) and ventured to SLO brew in San Luis Obispo, California.

    This would be High on Fire's second time coming through San Luis Obispo, the first being almost two and a half years ago (with a relatively sparse metal offering in between); needless to say, the tight-knit collective of San Luis Obispo metal-heads and doom aficionados were more than ready for the evening's show.

    Approaching the small venue, I walked past individuals with their "Blessed Black Wings" back-patches and Sleep shirts, and I knew that I was in the right place.

    Being an all ages show, I was pleasantly surprised to see a number of younger kids and even children in attendance, mingling with the assortment of beardos and long-hairs.  They immediately flocked to the merch table and promptly loaded up on shirts and vinyl (which included a rather unique shirt with Richard Pryor's face on it).

    An unexpectedly large amount of people began filtering through the merch-stand, booze, and mingling metal-heads to take their battle stations at the stage's edge in preparation for the openers.  SLO brew's stage is barely able to fit a four piece band, but it was somehow able to fit the imposing back-line of Emperor cabs, Verellens, Soldanos, and Blackstars that the bands loaded in (Pike took the "-tar" off the end of "Blackstar" and replaced it with "Blacksabbath").

    Shortly after assuming battle positions, the previously unannounced openers took the stage.  Painted Wives is a four piece from Costa Mesa, California that describe themselves as "Post-grunge/alternative metal."  Based on appearances, I had expected Painted Wives to sound like The Sword or any number of proto-metal bands out there today– a pentatonic worshipping, groove-laden revival of 70's stoner-isms.  Well, appearances can be deceiving.  Any connection to The Sword, etc. I had established prior to their first note vanished as the band ripped into a down-tuned, sinister groove to open their set.  I was very impressed by their unique take on doom.  I would compare them to a less-suicidal Acid Bath with a very bombastic Mike Patton-esque sensibility.  Overall,  Painted Wives' set was highly enjoyable for an opening slot band, featuring a unique sound and several headbang-able moments.

     Next up was San Luis Obispo's own Bloodmoon.  Though Bloodmoon's name sounds more like an Immortal-worshipping black metal group, their sound is firmly rooted in monolithic doom.  The three piece's set lasted 30 minutes; they played two songs; they made a helluva of a lot of noise.  Bloodmoon's songs have a lot in common with Lycus's brand of funeral doom: mournful, delay-laden clean guitar sections, roaring, void-consuming vocals, and drawn out chord progressions.  However, in this writer's opinion, the group could definitely benefit from the thickness and extra dimension that a second guitarist could provide.  Despite some slight songwriting blandness in their two song set, Bloodmoon put on a good show, pairing excellent stage presence with devastating loudness.

    High on Fire was greeted to glorious battle-cries and applause from the audience, which, by this point in the evening, had swollen in size to fill every corner of the venue, leaving no room for movement… no escape.  Pike and company immediately launched into "Furywhip," literally whipping the crowd into a frenzy.  A circle pit developed in the middle of the venue matching the breakneck pace of the song, much to the dismay of the security guards present.  A man jumped from the left side of the stage, over the heads of those pressed against the monitors, and landed right on his fucking face in the middle of the pit.  He was promptly trampled by a few people before being helped up.  He then rejoined the circling barbarians, unfazed and possibly missing brain cells.  Pike barked his way through a number of other songs drawn from crowd favorites and older material, namely "Blood From Zion" and "Fireface" from 2000's Art of Self Defense album.

    Though the audience appeared to appreciate the older material, they roared loudest for "Madness of An Architect," off of 2012's De Vermis Mysteriis.  The opening, fuzz-encrusted riff of the song shook the very foundation of the old brick brewhouse; not one person in that venue stood still when the band finally locked into the massive groove of the song's verse.  Missing from the set were a few crowd favorites, namely "10,000 Years,""Frost Hammer," and "Rumors of War," of which this writer was looking forward to hearing very much.  However, Pike and company saw fit to end the evening with my personal favorite track: "Snakes For the Divine," the megalithic, anthemic title track from their 2010 album.  No one present could deny the power inherent in those earthshaking riffs.  "Cities come alive and they will die," sings Pike on Snakes for the Divine; "Rise up, fall down / Ten thousand years are left behind / Rise up, rise up tonight."  Fists in the air, every man, woman, and child singing along: truly, High on Fire are masters of their craft.  And their craft is to rock-the-fuck-out.

    Pike, Matz, and Kensel exited the stage, guitar and bass wailing out feedback from the intimidating amp back-line.  The sound was brutal, piercing eardrums and laying waste to the senses.  And everyone loved it.  Needless to say, San Luis Obispo is ready for the next HoF tour to come through our small, humble town.

    Words: Ian Fetters

    Facebook
    High On Fire.Net






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    Fan-filmed video footage of CANDLEMASS' April 11 performance at the Roadburn festival in Tilburg, The Netherlands can be seen below.

    CANDLEMASS celebrated the 25th anniversary of its third album, "Ancient Dreams", with special live concert on December 28, 2013 at Debaser Medis in Stockholm, Sweden.

    The LP, which was originally issued in 1988, has long been hailed as a classic and was performed in its entirety by CANDLEMASS, which was last year voted Sweden's best rock/metal band of all time in Sweden Rock Magazine.

    CANDLEMASS also performed all of "Ancient Dreams" at last night's Roadburn concert.

    CANDLEMASS' current touring lineup includes four members of its classic formation: Leif Edling on bass, Mats "Mappe" Björkman on rhythm guitar, Lars Johansson on lead guitar and Janne Lindh on drums.

    CANDLEMASS played its first show with singer Mats Levén on June 5, 2012 at Debaser Slussen in Stockholm, Sweden.

    Levén is a former member of YNGWIE MALMSTEEN, THERION and TREAT, who also plays with CANDLEMASS bassist/mainman Leif Edling in KRUX.

    Also joining the group for CANDLEMASS' recent live performances was keyboard player Per Wiberg (OPETH, SPIRITUAL BEGGARS).

    CANDLEMASS in June 2012 parted ways singer Robert Lowe. The band stated at the time that this was "a very difficult decision" to make and had "mainly to do with the quality of the live performances."

    Lowe — who is still a member of SOLITUDE AETERNUS — joined CANDLEMASS in January 2007 and sang on the band's last three studio albums: "King Of The Grey Islands" (2007), "Death Magic Doom" (2009) and "Psalms For The Dead" (2012).

    CANDLEMASS released its 11th and final album, "Psalms For The Dead", on June 8, 2012 via Napalm Records. A limited-edition seven-inch vinyl single contaning two album tracks —"Dancing In The Temple Of The Mad Queen Bee" and "The Killing Of The Sun"— preceded the full-length effort on April 13, 2012.







    Source: Blabbermouth

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    THE SKULL - the heavy doom-rock band featuring original TROUBLE members vocalist Eric Wagner and drummer Jeff “Oly” Olson, alongside longtime former TROUBLE bassist Ron Holzner and SACRED DAWN guitarist Lothar Keller – have added former PENTAGRAM guitarist Matt Goldsborough (pictured below) to the group's ranks. He will be taking over for the departing Chuck Robinson, who has decided to step down due to his demanding professional career and, therefore, cannot commit to the THE SKULL's upcoming tour dates.

    The band comments: "Timing was perfect when we met Matt and everything just seemed to fall into place at the right time when we needed a replacement. Matt is very laid back, has a captivating stage presence, and his riffs are electrifying!"

    "If you’ve ever seen him live with PENTAGRAM, you’ll know what we are talking about.”

    The band continued, "We all understand and support Chuck’s decision. He is welcome on stage with us as a guest guitarist anytime, and we wish our brother well.”

    Matt Goldsborough is Philadelphia-based guitarist who joined PENTAGRAM last April 2013 and performed with the legendary band throughout the United States and Europe until original PENTAGRAM guitarist VICTOR GRIFFIN (IN~GRAVED) decided to re-join earlier this year.


    PENTAGRAM stated in a press release last April about Goldsborough, “His style hearkens back to the very origins of heavy metal itself when heavy blues and psychedelic rock guitarists pioneered the genre in an attempt to harden rock and roll.”
    As previously reported, THE SKULL has unleashed two new singles recorded with acclaimed producer/engineer Billy Anderson (MELVINS, NEUROSIS). The "limited-edition" white vinyl replica CD featuring "Sometime Yesterday Mourning" (side A) and "The Last Judgment" (side B) was made available last Tuesday (April 8) via Tee Pee Records.

    "Sometime Yesterday Mourning" and "The Last Judgment" can be streamed at the Tee Pee Records website......HERE

    “Sometime Yesterday Mourning” is a doomy metal song written by Keller, Holzner and Wagner that showcases the genre pioneers' distinct style while “The Last Judgment” is a "revisiting" of the classic TROUBLE song of the same name that originally appeared on the classic 1983 "Metal Massacre IV" compilation album.

    "I think “Sometime Yesterday Mourning” is the perfect song for THE SKULL to lead with and there's a reason why it was the first song we completed as a band,” commented Wagner. "It's about coming to a point in life when it's just time for a new beginning, a fresh start if you will, and finally coming to terms with the past.

    "Being that it is the 30th anniversary of the release of the song “The Last Judgment” — the first song we ever released — we thought it fit perfectly for the B-side and considering what “Sometime Yesterday Mourning” is about, it made sense to me. You have to go through your past to get to your future."

    THE SKULL has confirmed the following three shows. 

    May 09  - Cleveland, Ohio - The Grog Shop
    May 10 – Chicago, Illinois- Reggies
    August 29 - Montreal, Canada - The Wings of Metal Festival

    The Wings of Metal Festival will be a headlining performance consisting of two sets. The first set will be a performance of TROUBLE’s 1984 debut album “Psalm 9” in it’s entirety. The second set will include a performance of their newly recorded songs as well as TROUBLE classics.

    THE SKULL will follow the release of the new songs with its debut full length LP, tentatively slated for release this autumn.

    THE SKULL is:

    Eric Wagner – vocals
    Jeff “Oly” Olson – drums/keys
    Ron Holzner – bass
    Lothar Keller – guitar
    Matt Goldsborough – guitar

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  • 04/13/14--07:12: SHEEN DALED - Demo 2014 ...
  • This two song attack was sent my way and when I saw the band which is, Zion bass/vox, Tom guitar, and Meiden drums, are from Israel(they called it Israhell) I got a bit excited.

    People go through storms of crap everywhere but sometimes when it’s coming from across the planet, the genesis is different and unexpected. “Close to the Edge” came out swinging like a bat playing mailbox baseball down south. As in the southern USA.  Just the right amount of hooks going on during this tune as well that keeps things above too doom-y a vibe. 


    Sicilian necktie-esque vocals choked not spit out. “Boiling Hate” sounds to me like it could be these three fellas state of mind while they tear thru these songs. Plus just the right amount of feedback drenched riffage to keep the purists satisfied.  The cats at my place fell in love with this one and they’re definitely gonna be on the look out for more. As will I.

    Words: Matt Berube

    Album: Sheen Daled @ Bandcamp



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    An Ep that came my way recently was from the Austin TX band Destroyer of Light. After a self-titled Ep was released in 2012 they put out Bizarre Tales Vol. 2.

    Kick ass sci/fi  horror artwork on this Ep with undead broads, zombies, and ufo’s had me excited to hear what I was in-store for.  “Battlefield Girth” (haha), an instrumental with a stomping sci-fi influence that has a creepy ass stalker in the sewers type riff sewn into it. Killer! The way “Forbidden Zombi Ritual” came marching out of my blown out Sanyos, I was seriously expecting to look off my balcony and see the dead rising from the ground ready to chew on flesh!  Plus some unexpected clean vox  give the tune a definite increase in the creepy dept.

    My favourite track here was “Lost Time”. The eerie haunting vocals just seemed to hit the right amount of melancholic  vibe for me. With a bleak as all hell ending riff that reminded me of the end of Carpenters The Thing.  All in all a good EP that hit me from angles I wasn’t expecting which kept it interesting. A fairly new band that I look forward to hearing more from.

    Words: Matt Berube

    Album: Destroyer Of Light @ Bandcamp



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    No way.  No freakin' way, man.  No way in in the name of all that's heavy would I have believed you if you had told me I'd be seeing Bang! last night in a tiny bar I'd never been inside.  Yet that's exactly what happened.  Johnny Brenda's, right on Frankford and Girard avenues, hosted myself and my lady friend for our first evening inside their establishment.  The food is expensive but tasty, and the staff is very nice and welcoming.  No problems at will call, no worries going up and down and out and in between sets either.  An enjoyable evening, and I'd definitely go back again for a show like this.

    Before I get to the tunes, just want to say that thanks to the bassist/singer in The Company Corvette and one Mr. Sean "Pellet".  The Vette man was open to my fandom, and basically since it was my second time seeing them (first last summer opening for Pentagram), I told him that they'd REALLY improved/tightened up and gotten to know their material very intimately.  We shook hands and smiled.  I saw Pellet right next to me, never having introduced myself at the 'Ram gig, I thought I should have last night.  I thanked him so much for putting this gig together, and for everything he did for Bobby, because without him, I probably never would have seen Pentagram the two times I have thus far.  He was very grateful and even said that it's comments like that that encourage him, and I thought that was pretty nice of him.  Throughout the headbanging, we'd glance at each other and agree: this was a good show that got put together, and we were here.

    Now, the Comp. Vette.  Holy hell have those cats been practicing.  They've their own sound now.  When I first caught them, there was a glaring Sleep influence woven in each song; last night, I didn't recognize that influence.  They've developed into a tight band, with really lovely guitar solos and breakdowns.  The drummer had an old pair of blues brothers sunglasses on, which was adorable.  Very, very grooving set that had my head banging every which way.

    Serpent Throne took the tiny stage next, and I wished I had picked up an album earlier to familiarize myself, but alas, fresh to me was the way to be, and i didn't mind.  Hearing 45 minutes of notes you've never heard is also lovely.  I believe they are an instrumental only band, but they made up for that in spades with twin harmonies, dueling screeching guitar solos, ascending higher pitched riffs and melodies and just in a general a lovely Thin Lizzy/Judas Priest instrumental vibe emanated through the fog.  It was very classic sounding; not too many moments to headbang to; I was more interested in staring at the beautiful sounds wafting through the air, wanting to break down and sob from the beauty of the doomed riffs.  I guess it's like instrumental Pallbearer, but was more classic metal sounding and way less doom.  They were really fun to watch; during the split guitar solos each guitarist was making any number of guitar faces to mirror the singing and stinging their instruments were squealing on about.  Thoroughly enjoyable and highly recommended if you're missing that old school, higher-pitched ascending riffery-type metal.

    On then to Bang! 

    Last Will & Testament, Mother...everything you wanted to hear from them was heard.  Frank and Frankie gel so well together on stage; might have something to do with the fact that they've been playing these jams together for well over four decades.  This was Bang!'s return to Philly gig, a 40 year separation finally fixed for our ears and eyes.  They had an awesome backdrop too.  The new/young drummer was right on, even given a tasty solo moment.  I've seen a few proto metal bands at this point, Sabbath and Pentagram twice, Cactus and now Bang as well.  I firmly believe that Cactus and Pentagram the second time I saw them (with that young guitarist before Victor rejoined) maintained the closest to original 70's tones.  Not that Sabbath or Bang didn't sound old-school, more that as instruments have progressed and tone is widened and reverberated longer and whathaveyou, it kinda changes from that old 70's sound. 

    The songs sounded fresh, reinvigorated even; I would have loved to have heard an older tone, but what they have now works well for them, and absolutely I would see them again.  In May in Brooklyn at my favorite bar, Saint Vitus, Bang! will play to 99 people and boy would I have liked to have made that.  If you can see the Brooklyn show and were angry for missing the Philly homecoming, go to Vitus bar and catch Bang!  You will not leave without having been properly rocked.  People always claimed that Bang! were America's answer to Sabbath; I always heard a big Beatles influence too, in the softer stuff and the sung harmonies, etc.  Really, really timeless music that so few people even know exists.  This band should be in stadiums.  And you have the chance to go see them in front of 99 people at my favorite bar.  I envy you.  And I demand a review from you upon completion of said gig.  That is all.  Enjoy the weekend weather, and thanks for reading as always.

    Words: Sabbath Jeff

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    There is such a thing as a “sophomore slump.” It usually happens to those unfortunate wunderkinds who have hit high marks even before they have learned how to shave. No one would ever accuse Crowbar, New Orleans’s preeminent sludge band, of being unfamiliar with puberty. Kirk Windstein, the band’s burly, hulking front man, is now noted for his so-called “Beard of Doom,” but he was a mere goateed ruffian when “Obedience Thru Suffering,” Crowbar’s 1991 debut, came out to widespread non-notice.

    Back then, during the mostly forgotten years of the Bush I presidency, Crowbar, a heavy band with a sluggish pacing, were seen as somewhat uncouth. After all, 1991 belonged to death metal. In that year alone Suffocation’s “Effigy of the Forgotten” was released, and so too were Massacre’s “Beyond,” Atheist’s “Unquestionable Presence,” Morbid Angel’s “Blessed Are the Sick,” Pestilence’s “Testimony of the Ancients,” Death’s “Human,” Entombed’s “Clandestine,” and Carcass’s “Necrotism – Descanting the Insalubrious.” There are of course more records to list, but frankly my typing fingers hurt something fierce right now. And besides—we’re talkin’ ‘bout Crowbar here.

    Their first time out was an underground success, but it hardly pointed towards greatness. “Obedience Thru Suffering” is a darkly tragic and relentlessly heavy record. More importantly, “Obedience Thru Suffering,” which sounds like it was recorded on the cheap in a studio that was drenched in natural reverb, established Crowbar’s signature sound: baritone guitars that rarely go above a B tuning, drums that sound like they are being played by a Chuck Biscuits robot, and an overall low-end effect that puts the proto-doom of Sabbath to shame. “My Agony” alone is worth a thousand praises, and upon listening to “Obedience Thru Suffering” again for the first time in years, I can now empathize with those critics, both professional and amateur, who regard Crowbar’s first attempt as their finest.



    Well, I hate to be the naysayer, but, for my humble pocket change, “Crowbar,” the band’s 1993 follow-up to “Obedience Thru Suffering,” is the superior product. First of all, Crowbar’s sophomore studio release was produced by none other than Philip H. Anselmo—a musician and raconteur who is plenty capable of guiding a record towards a sonic apex. “Crowbar” is far slicker than its predecessor, and its well-rounded and up-front sound only helps to bring forth the inherent heaviness in Crowbar’s compositions. The record’s two singles, “All I Had (I Gave)” and “Existence Is Punishment,” were not only fully enjoyed by both Beavis and Butt-head, but they helped to capture and popularize the doom-meets-hardcore punk fusion that Crowbar churned out years before Northeastern metalcore hit the malls and the Cineplex.

    And while songs such as “High Rate Extinction” and “I Have Failed” helped to create the mystique of Crowbar as the morose and fat sounding version of New Orleans sludge, lesser known ditties such as “Will That Never Dies” and “Fixation” highlighted those unique Southern signatures that help to make sludge the envy of the metal planet (a fearsome place indeed). In particular, the Irish jig at the heart of “Will That Never Dies” aptly displays the bounce and groove that heavy metal can accomplish. Interestingly, Crowbar proved that extreme metal could be funky years before the Brazilian jungle boys of Sepultura rediscovered their ancestral spirits on 1996’s “Roots.”



    Of course one cannot mention Crowbar without alluding to the band’s cover of Led Zeppelin’s “No Quarter.” In his rockography “Hammer of the Gods,” author Stephen Davis labels “No Quarter” as a Page-Plant collaboration that depicted the band as “a Viking death squad riding the winds of Thor to some awful Satanic destiny.” While Led Zep were no strangers to the charms of the pagan Far North, it is hard to imagine these four Englishmen as mead-swilling barbarians. At the end of the day, Page, Plant, Bonham, and Jones were appetite men, and mostly they just wanted pussy and drugs. Crowbar’s rendition of “No Quarter” sounds far more primitive, and even though New Orleans is mostly a muggy swamp more akin to Latin America than any fjord or Finnish mountain town, the men of Crowbar really come off sounding like proper berserker's on “No Quarter.”

    While most have noted that Kirk’s raw and untamed vocal delivery on “Crowbar” as the album’s highlight, the whole band (Kirk, Matt Thomas, Todd “Sexy T” Strange, and Craig Nunemacher) turned out one stellar performance after another. In just a little over thirty-six minutes, “Crowbar” charted a whole new course for heavy metal. Doom metal of the kind that we know today was merely lurking around the corner when sludge first started to take off. Was it influenced by “Crowbar?” Absolutely. Not only is Crowbar’s second record a majestic ode to gut rock, but its idiosyncratic take on Southern sludge (a sub-genre that totally thrives on idiosyncrasies) helped to define and give shape to an in-house rebellion. In the post-“Crowbar” world, progress in metal is no longer the exclusive territory of bands that make things faster or more technical. “Crowbar” showed that the soul of Iommi was still alive in the hearts of aspiring titans, and that New Orleans, a city then on the periphery of the metal underground, was capable of returning heavy metal back to its original form, albeit with a few added bonuses in order to keep things interesting.

    Words: Benjamin Welton

    Facebook
    Official Website


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    Rock-oriented blackened doom metallers FORGOTTEN TOMB premiere the second new trailer for their upcoming live DVD entitled "Darkness in Stereo: Eine Symphonie Des Todes - Live in Germany". As contrasted with the first trailer, the new one comes from the final version of the release. The DVD will be made available on April 29th worldwide via Agonia Records. Watch the trailer below...



    View the first revealed trailer (released when the DVD was still in the final stages of editing): HERE

    "Darkness in Stereo: Eine Symphonie Des Todes - Live in Germany" will be available in a noble A5 digibook with a 8-page booklet and in a limited to 150 copies exclusive hand-numbered digibook including a postcard with signatures of all band members, logo sticker and a live poster (limited edition available only via Agonia Records Webshop). The DVD features three professionally-shot live shows filmed at:

    - Kings Of Black Metal Festival 2012;
    - Under The Black Sun Festival 2012;
    - K17 Club in Berlin (2012).

    Cover artwork has been drawn by comic artist Mariano De Biase.



    With almost 15 years of activity, 6 full-length albums and a double live in-studio album, live shows all over Europe and a worldwide underground following, FORGOTTEN TOMB definitely deserves its cult status in the current Extreme Metal scene. With now-classic albums such as the milestones of "Songs To Leave" (2002) and "Springtime Depression" (2003), the band practically crafted and gave birth to a whole new sub-genre, now regarded as Depressive Black/Doom Metal. Afterwards it managed to evolve it, destroy it and reshape it with the highly acclaimed "Love’s Burial Ground" (2004), the controversial "Negative Megalomania" (2007) and the ground-breaking "Under Saturn Retrograde" (2011). In 2012 "...And Don't Deliver Us From Evil" was released to critical acclaim, followed by a European tour with Enthroned and Impiety to conclude the successful year. Over 2013 the band kept promoting the new album with a headlining European run with Isole and Ereb Altor, as well as single shows and another European tour with Incantation and Ragnarok. 2014 will see the band celebrate its 15-years anniversary and release its long-awaited live DVD.

    The DVD will include almost three hours of running time. Pre-orders are available at: Agonia Records

    Follow the band at: HERE

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    Today, Echoesanddust.com delivers another helping of glassy-eyed goodness from Pennsylvania (six and four-string) bass and drum instrumentalists, KING DEAD, with a premiere of "Drowning In Dust," the fourth track from their self-titled debut offering. Recorded live at The Living Room in Stroudsburg by Dave Reiser of Rock Hard Studios, the recording features five tracks of psychedelic/stoner Spaghetti Westernish desert-rock and is now less than a week from release.

    Elaborates Echoesanddust.com, "If there is ever a need for a modern soundtrack for the classic film The Good, The Bad And The Ugly, KING DEAD should get a consideration. The trio's self-titled debut is an infectious blend of dusty six shootin' aural sludge that pulls elements from doom, metal and rock.

    They simmer this assortment of genres in a delicious western musical marinade. You may think that music pulled from multiple genres would result in an awkward sound. In KING DEAD's case you would be wrong. The band has a primarily instrumental sound that is gripping, tight, melodic and slinks along with a brash confidence that belies the fact that this is a debut release. They know how to work a melody with artfully balanced tempo shifts that skillfully jog through a range of paces with consistently engaging outcomes."

    Drown in dust at THIS LOCATION

    And if you missed it, get heady with "Length Of Rope," currently streaming at  The Obelisk ....HERE.

    King Dead will be released independently on Record Store Day, April 19th, 2014, and is currently available for preorder at the band's official BandCamp page HERE

    "At thirty-three minutes, the self-titled and self-released debut from... KING DEAD sits right between an EP and a full-length outing. The trio's sound is similarly nebulous, hovering between psychedelic post-rock, heavier amplified push and Morricone-via-Earth soundscaping, and as their first five songs showcase, they come equipped with a formidable scope." - The Obelisk

    "It drags like a heavy cart full of plague victims, but you can easily see the sense of that 'spaghetti western' reference in the bleak, reverberating bass melody - Sergio Leone mutated into doom metal, with poltergeist cowboys. It's spare, stripped down, and builds in intensity as it reaches the climax. I'm digging it." - No Clean Signing on the track, "Length Of Rope"

    King Dead @ Facebook

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    Still riding a fresh wave of killer reactions to their walloping third LP, Re-Unvent the Whool, Portland, Oregon-based, PRIZEHOG, has announced the routing for their upcoming Spring US tour.

    Embarking off of their home turf on May 2nd, the counter-clockwise path this tour makes will find PRIZEHOG winding through the entire continental US for five full weeks before closing down with the final gig in Seattle on June 8th and returning to their daily habitat. See true celestial space sludge for yourself on this massive endeavor including a short run with friends and faves, Vaz, as well as killer acts like Burnt Books, hepa/Titus, Tinsel Teeth, arbogast, The Great Sabatini, labelmates Towers and Big Black Cloud, and more throughout the itinerary.



    Amidst the closing-in of this confirmed run, PRIZEHOG will be announcing their next tour lining up for this July alongside labelmates, Hot Victory.

    PRIZEHOG US Spring Tour:
    5/02/2014 Slabtown - Portland, OR w/ Towers, Big Black Cloud
    5/07/2014 Lobot Gallery - Oakland, CA w/ Mansion
    5/08/2014 The Eagle - San Francisco, CA w/ hepa/Titus, Peace Creep
    5/09/2014 Redwood Bar - Los Angeles, CA w/ hepa/Titus
    5/10/2014 The Tin Can - San Diego, CA w/ Ghetto Blaster
    5/11/2014 C St - Flagstaff, AZ w/ New Gods
    5/12/2014 Sister Bar - Albuquerque, NM w/ Fando
    5/13/2014 Three Links - Dallas, TX w/ Bludded Head, Spacebeach
    5/14/2014 Vinos - Little Rock, AR
    5/15/2014 Springwater - Nashville, TN w/ Tijuana Goat Ride
    5/16/2014 TBA - Birmingham, AL
    5/17/2014 The Highlander - Atlanta, GA
    5/18/2014 The Foxfield - Columbia, SC w/ Burnt Books
    5/19/2014 TBA - Richmond, VA
    5/20/2014 Gold Bar - Baltimore, MD w/ Vaz, Multicult
    5/21/2014 Kung Fu Necktie - Philadelphia, PA w/ Vaz
    5/22/2014 Cake Shop - Manhattan, NY w/ Insect Ark, Columboid
    5/23/2014 Saint Vitus Bar - Brooklyn, NY w/ Vaz, Mossenek, Collapsible Baton
    5/24/2014 AS220 - Providence, RI w/ Vaz, Tinsel Teeth
    5/25/2014 O'Brien's - Boston, MA w/ Vaz
    5/26/2014 The Lair - Buffalo, NY w/ Fox 45, Tainted, Jerry Grind
    5/27/2014 TBA - Pittsburgh, PA/Cleveland, OH
    5/28/2014 Beat Kitchen - Chicago, IL w/ arbogast
    5/29/2014 Quarters - Milwaukee, WI w/ Soup Moat
    5/30/2014 The Hexagon Bar - Minneapolis, MN w/ The Funeral and the Twilight
    5/31/2014 Trumpet Blossom - Iowa City, IA w/ Acoustic Guillotine
    6/01/2014 TBA - Omaha, NE/Kansas
    6/02/2014 Bar Bar - Denver, CO w/ Echo Beds
    6/03/2014 The Parlor Bar - Laramie, WY w/ Unpaid Butlers
    6/04/2014 Burts Tiki Lounge - Salt Lake City, UT w/ Cornered By Zombies, The Great Sabatini
    6/05/2014 Filling Station - Bozeman, MT w/ Acheron Thodol
    6/06/2014 Zootown Arts Community Center - Missoula, MT
    6/07/2014 TBA - Spokane, WA w/ Hooves
    6/08/2014 Black Lodge - Seattle, WA w/ Don Peyote, Same Sex Dictator


    Following Eolian Empire's fresh unleashing of the supernova of creativity that is PRIZEHOG's third album, Re-Unvent the Whool, in March the album is raking in acclaim from all over the place in recent weeks. Recorded and mixed by Toshi Kasai (Melvins, Big Business, Tool, Russian Circles) at Sun Valley studio Sound of Sirens, Re-Unvent the Whool is focused, sophisticated, and masterfully produced to showcase the exquisite but intense interaction within the trio: guitars, synths, and drums push and pull one another as they crunch, crush, whirl, weave, and straight up rock their way through mazes of dynamic and dramatic movements, adding layers upon layers to sculpt mountains of sonic majesty. Aquarius Records dubbed the LP, "record of the week," and called it, "ridiculously, mindblowingly next level doom-sludge genius," and the trio itself, "the sludge saviors we've been waiting for." In an early premiere of the track, "Shed," Decibel called the album, "Disconnected sludge floating in an abyss of fuzz," followed by The Obelisk, who streamed the entire album for its release date, noting in a glowing text accompaniment, "The bass-less trio - you'll note no lack of low end in the record - run a spectrum of effects-laden churning, mashing together bright ambient echoes and deep, dank tonality. I wouldn't be the first person to compare them to the Melvins, but that doesn't really do complete justice to the psychedelic side of their sound, which shows up quickly."

    Orders for Re-Unvent the Whool are live at the Eolian Empire fort HERE, available in a digital package as well as 180-gram vinyl LP including a 24" x 24" poster of the Chris Jehly cover art and download of the album.

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

    Prizehog | Official Website
    Prizehog | Facebook
    Eolian Empire | Official Website
    Eolian Empire | Facebook

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    Chicago psychedelic doom rock conjurors and recent Metal Blade signees, MOUNT SALEM, will embark on a full headlining tour this May! The trek will pillage its way through select cities between Chicago and Los Angeles, and includes one-off shows in New Mexico and Arizona opening up for doom legends, Saint Vitus! MOUNT SALEM will be touring in support of their Endless EP.

    Mega blog, Loudwire.com, recently featured an interview with vocalist/organist Emily Kopplin as part of their "Vital Vinyl" column. The column highlights Endless' striking cover art, the band's proclivity for vinyl, and more. Check out the entire interview and photos at THIS LOCATION.

    MOUNT SALEM DATES

    5/01/2014 Township - Chicago, IL
    5/02/2014 Dragonfly Lounge - Madison, WI
    5/03/2014 JB's Speakeasy - La Crosse, WI
    5/04/2014 Chesterfield - Sioux City, IA
    5/05/2014 The Bourbon - Lincoln, NE
    5/06/2014 Larimer Lounge - Denver, CO w/ Speedwolf
    5/08/2014 Launch Pad - Albuquerque, NM w/ Saint Vitus, Sons Of Huns
    5/09/2014 Club Red - Tempe, AZ w/ Saint Vitus, Sons Of Huns
    5/10/2014 TBA - Los Angeles, CA
    5/11/2014 The Makeout Room - San Francisco, CA
    5/12/2014 Witch Room - Sacramento, CA
    5/13/2014 Slabtown - Portland, OR
    5/15/2014 The Shred Shed - Salt Lake City, UT
    5/16/2014 Future Shock - Frisco, CO
    5/17/2014 Kung Fu Tap And Taco - Des Moines, IA


    MOUNT SALEM is a four-piece psychedelic rock/doom metal band. They started writing music together in the summer of 2012 and released their first debut EP, Endless, in the Spring of 2013. Taking influence from the likes of Black Sabbath and Pentagram, MOUNT SALEM play loud, heavy rock 'n' roll using all vintage gear. Throwing their own twist of dark, mysterious doom into their summonings, MOUNT SALEM systematically pull listeners into their sinister realm of sound; their lyrical imagery serving as a ride all its own. Metal Blade Records signed the band in the Summer of 2013 and recently released an extended version of Endless containing two additional, brand-new tracks.

    "Endless feels like it's trapped in the nightmarish head-space of a psychic medium on a bad trip." -- Mister Growl

    "Whether you're a fan of psychedelic rock, stoner rock or doom metal, there's a little something for everybody on Mount Salem's 'Endless.'" - Loudwire

    "Debut album, Endless, is an absolute monolith of a record that combines the sludgy, droning guitars of Iommi's finest vintage with Emily's shimmering vocals and epic Jon Lord-style organ rushes. It's retro, yes, but it also sounds too exciting to be dismissed as simply revisionism." - Metal Hammer

    "You do not want to pass this one up. MOUNT SALEM have managed to set themselves apart with well-written songs, haunting vocals, killer riffs, and the right type of mood that is essential for crafting memorable metal." - Verbicide

    "For MOUNT SALEM, that uniqueness is unequivocally the monstrous vocal abilities of frontwoman Emily Kopplin - like holy balls, she has some pipes." - Dead Rhetoric


    Facebook
    Bandcamp
    Instagram

    Source: Earsplit PR

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    Relapse Records has just released the first single to be released from the second LP from NYC morbid sludge metal kingpins, SERPENTINE PATH.

    The highly anticipated follow-up to SERPENTINE PATH's self-titled 2012 debut, Emanations is the band's first studio venture featuring new second guitarist Stephen Flam, the mastermind behind NYC doom/death legends, Winter -- aligned with founding members Tim Bagshaw (ex-Ramesses, ex-Electric Wizard) and a triad of ex-Unearthly Trance members, bassist Jay Newman, drummer Darren Verni and vocalist Ryan Lipynsky (The Howling Wind). Capturing forty-five minutes of true sludge punishment from this true underground all-star team, Emanations was recorded by Newman, as with their debut, after which it was mastered at Audiosiege, the album dredging forth the band's most demoralizing and anguish-filled slow-motion chaos yet, and fittingly enshrouded by striking artwork by in-house Relapse artist Orion Landau.



    "Disfigured Colossus" is the fourth of Emanations' seven grueling tracks, and has been today released in several methods of dispersal, now playing at Youtube HERE  and Soundcloud HERE.

    Emanations will see release through Relapse on May 27th, 2014 on CD, LP and digital formats; preorders for the album can be placed HERE, and via iTunes HERE.

    Review copies of Emanations will be available in the coming days. For all coverage of SERPENTINE PATH, in North America contact dave@earsplitcompound.com, in the UK contact becky@pioneermusicpress.com, in the rest of Europe contact frank@pettingzoo.nl, elsewhere contact bob@relapse.com.

    Serpentine Path | Blogspot
    Serpentine Path | Facebook
    Serpentine Path | Bandcamp
    Relapse.Com
    Relapse | Bandcamp
    Relapse | Facebook

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    Visually intoxicating, uncompromisingly heavy and revered for making music and lifestyle one, ELECTRIC WIZARD has completed work on its new studio album, title to be confirmed; the effort will be the band's first release through Spinefarm Records.

    Formed by vocalist/guitarist Jus Oborn in 1993, ELECTRIC WIZARD — based in the U.K.'s South-West — has thus far released seven studio albums — an increasingly influential body of work recorded on vintage analogue gear with as little technology as possible intruding on the signal ("Pro Tools is for pussies!").

    Result: some of the heaviest, dirtiest, most evil-sounding audio ever put to tape, and more importantly to vinyl, with both "Come My Fanatics" (1997) and "Dopethrone" (2000) being lauded as landmark releases.

    A cultural as well as a musical force, ELECTRIC WIZARD has left an indelible mark on a host of different genres, the likes of doom, stoner and sludge; at heart, however, they stand as an iconic British metal band, cast in the great tradition, with lyrics and artwork reflecting the hypnotic weight of the music, and subject to the same intelligence and detail.

    Wreathed in occult ritual and drug-culture references, with classic '70s horror an inspirational seam, ELECTRIC WIZARD is poised to turn a page; there's the new deal with Spinefarm Records, plus — after a nine-year hiatus — the return of Mark Greening (the drummer on "Dopethrone"), who completes the lineup of Oborn, American guitarist Liz Buckingham, a key member since 2003, and new bassist Clayton Burgess (SATAN'S SATYRS).

    Fueled by strong emotion and the harder sounds of late-'60s Detroit, the remodeled lineup — isolated by choice, giant stacks glowing red — set about crafting an eighth studio album to both rival and exceed the milestone recordings of the past, with Buckingham keeping things suitably monolithic and the band generally looking back to some of their earliest influences.

    Toerag Studios in London was once again charged with capturing "The Sound," and (encouragingly) words like "raw", "hateful" and "sickeningly heavy" are being traded.

    Says Oborn: "Our master plan is this. Real metal!! We stand for rebellion, we are with the kids; we fight, puke, smoke weed, etc...

    "ELECTRIC WIZARD is an entity, with its own history, its own symbols, its own iconography, and with this new album, we wanted to return to basic values. It's primitive. We needed to claw it back down to the evil core — sex, drugs, violence, revolution... to go back to being a band that hung out and jammed hard. No teaching songs, just feeling them out.

    "If you jam enough and you are on the same level — artistically, musically, whatever, you gotta be committed — then good music will happen. I totally believe that..."

    ELECTRIC WIZARD is:

    Jus Oborn - Lead Vocals, Guitar
    Liz Buckingham - Guitar
    Mark Greening - Drums, Percussion
    Clayton Burgess - Bass

    Posted By Savannah
    Source: Blabbermouth

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    In preparation of the recording of the follow up to TANK86's highly acclaimed album "Rise", the Dutch instrumental band heads on tour to Germany and Switzerland to test-drive their brand new material. They are joined by their Rising Magma friends Pendejo on the last two dates of the tour. After the tour the band heads straight into the Quarantine Studios to start recording. The new album will be released in the fall of this year.

    The tour schedule is as follows:

    01-05-2014: Hühnermanhattan, Halle/Saale (GER)
    02-05-2014: Subway to Peter, Chemnitz (GER)
    03-05-2014: Tiefgrund, Berlin (GER)
    04-05-2014: 119FM, Esslingen-Zell (GER)
    09-05-2014: Bruch Brothers, Luzern (SWI) - with Pendejo
    10-05-2014: G2, Schongau (GER) - with Pendejo

    Posted By Savannah
    Source: Jochum van Weert

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    All dates have now been confirmed for “Gloom over Europa,” a tour uniting American funeral doom act LOSS with Germany’s WORSHIP for a string of dates across Europe this May. These will be the first LOSS performances ever on European soil, beginning with an appearance at Heavy Days in Doomtown III in Copenhagen, then followed by shows with WORSHIP in Denmark, Germany, Belgium, The Netherlands, France, Italy, Slovenia, Austria, and Poland.

    Loss began in Nashville, Tennessee in 2003, issuing their first demo, Life Without Hope… Death Without Reason, in 2004. The following year saw the release of now-rare split EPs with Necros Christos and Worship. After a period of east coast US touring and writing, the band took part in the Of(u)r Burials split with Mournful Congregation, Otesanek, and Orthodox. This led to the band signing with Canada’s Profound Lore Records, for whom they recorded the critically-praised full length Despond in 2011. More US touring followed in 2012 with labelmates Worm Ouroboros, followed by appearances at Maryland Deathfest and the Stella Natura Festival in 2013.

    In honor of this tour, Loss and Worship are reissuing their long out-of-print split 7" on Doomentia Records, the label that is also behind the brand new Loss/Hooded Menace split A View from the Rope, featuring the first new Loss song in three years. Both EPs will be released on this tour, on which material from both splits will be performed live.



    LOSS / WORSHIP - “Gloom over Europa” Tour Dates:
    May 2nd* Copenhagen, Denmark @ Heavy Days in Doomtown III @ Ungdomshuset
    May 4th Aalborg, Denmark  @ 1000fryd (w/ The Body)
    May 5th Hamburg, Germany @ Hafenklang
    May 6th Rostock, Germany @ JAZ
    May 7th Leipzig, Germany @ UT Connewitz
    May 8th Potsdam, Germany @ U-24
    May 9th Brussels, Belgium @ Magasin4 (w/ Funeralium)
    May 10th Dordrecht, Netherlands @ Dordrecht Doom Day IV @ Popcentrale
    May 11th Paris, France @ Le Klub (w/ Monarch)
    May 12th Bordeaux, France @ Heretic Club (w/ Monarch)
    May 13th Milan, Italy @ Blue Rose Saloon
    May 14th Ljubljana, Slovenia @ Klub Gromka
    May 15th Vienna, Austria @ Arena Vienna
    May 16th Wroclow, Poland @ Ciemna Strona Miasta
    May 17th   Berlin, Germany @ Kastanienkeller

    *Loss only @ Heavy Days in Doomtown.



    Tour presented by Killtown Bookings: Killtown Bookings.Com
    Loss website: HERE
    Loss contact: lossdoom@gmail.com

    Labels:
    Profound Lore Records
    Doomentia.Com

    Posted By Savannah
    Source: Nathan T. Birk


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    Facebook sucks because it gives immature people permission to inflict the world with their narcissistic and attention-seeking behavior and frankly....it is just a huge time-waster. I won't sugarcoat this - Facebook fucking sucks so that is why we are dropping it as a contact point. Doommantia.Com has always had a anti-Twitter stance and now it is adding Facebook to that list; but there is one Facebook page you need to know about and it is this one - Doommantia Webzine. HOWEVER DO NOT try to contact us with important information or questions about your band via Facebook, USE THIS EMAIL ADDRESS BELOW, THIS IS THE ONLY EMAIL ADDRESS YOU NEED TO KNOW.


    When sending email, be specific. Use the subject line, it is there for a reason. If you want to receive an reply from a specific writer, put that person in the subject line (att:Savannah) for example. Don't send the same email over and over again. I can assure you, it has already been read. Press releases are NEVER replied to, nor are the usual, "check out my band" type emails but again, don't panic, the email has been read and saved.

    Oh did I mention Facebook sucks.

    Words: Savannah

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    Darlin'...oh darlin'...

    Here's a short and sweet review of a short and sweet gig.

    Took the lady friend to see her second international act last night,  Hello to Paul Rote and friend, those other kids from the Bang! gig as well, and Kadavar's very tall and skinny drummer.

    Sons Of Huns tore through a quick opening set.  I'd heard the Bandcamp they have but needed a live experience to truly get it.  What these guys are doing is...well, I'll say that if you like Ogre in any capacity, you should love this band.  Musically, perhaps not vocally, they have a real classic hard rock/stoner sound going on.  I picked a couple pins up and will have to grab an album now.  Lots of banging heads during their too short set.  I know my neck feels like Jello, anyway.


     Went outside once and saw Kadavar's drummer, which is when the coolest thing that's ever happened to me at a gig went down.  I asked my lady which song is her favorite, she says Black Sun.  I of course then proceed to ask the drummer if they can play it tonight for my lady, and bam!  They sure did,  It sounded big, too.  Their whole set was loud. And pretty fast and furious for a retro-rock act.  By the middle of the set, the pit opened.   I didn't bring my lady, with RSD, fibromyalgia etc to Kadavar thinking she'd be shoved around.  I protected her from the moronic kids, who at one point just straight lifted a body from the ground for 10 seconds and then promptly dropped him straight to the floor.  This crowd was moronic.

    I was shoving backs back into the circle to try to protect at least three ladies who were all huddled together.  I thought the crowd sucked at Dax Riggs at KFN, but honestly, after setting my lady behind me and seeing her safety, I just head-banged my way through all those idiots.  Yeah, people stare.  Well excuse me, I don't mosh or take pictures.  I rock the fuck out.  Luckily Kadavar were in top form for my banging needs.  I'm not sure how many "retro rock" acts I've seen, but I'll say I enjoyed Kadavar more than Graveyard, and that you have to hear that bass and drum sound live, hot damn is that some organic old school joy.  They seemed to play a nice mix from both of their records, which was nice.  I hope they didn't mind the violent kids, at least.

    Sabbath Jeff over and out, see you in late May at Acid Mothers Temple next, and thanks, as always, for reading.

    Words: Sabbath Jeff




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    Eyehategod, the long-awaited self-titled full-length from New Orleans' legendary volume assassins, is now available for preorder in North America via iTunes. Sixth track, "Worthless Rescue," will be available for download immediately, with the rest of the album delivered digitally on May 27th.

    Preorder yours now at THIS LOCATION.

    The dates for the band's late May/June headlining run with metallic hardcore behemoths, Ringworm, and morose punk metal perpetrators, Enabler, are all confirmed, with today marking the kickoff of a four-day live incursion on the West Coast followed by an appearance at Three Floyds Beer's annual Dark Lord Day Festival and a special performance in Baltimore, Maryland with High On Fire and Corrosion Of Conformity. A full list of dates can be viewed below.

    EYEHATEGOD's forthcoming long player was assembled and financed entirely by the band along with US label partners, Housecore Records. Already dubbed, "the record that EHG fans have been waiting for; a stomping and venomous set of eleven tracks that reignite the band's amazing propensity for down-trodden, electric blues and with their late drummer LaCaze behind the kit," by Vice Magazine mega music portal, Noisey, Eyehategod features vocals recorded and produced by Housecore president Philip H. Anselmo at his own Nodferatu's Lair and serves as the band's first proper release in over a decade. The domestic version will come in a CD digipack, while the LP will be housed in a gatefold jacket. The first pressing will be limited to 1600 copies and made available in the following color variations: black (600 copies), purple (300 copies), clear (400 copies), purple and grey (300 copies).

    EYEHATEGOD Live Assaults 2014:
    4/22/2014 Rock Shop - San Jose, CA
    4/23/2014 Midtown Barfly - Sacramento, CA
    4/24/2014 Branx - Portland, OR
    4/25/2014 Rock Shop - San Jose, CA
    4/26/2014 Dark Lord Day Festival - Munster, IN
    4/27/2014 Ottobar - Baltimore, MD w/ High On Fire, Corrosion Of Conformity w/ Ringworm, Enabler:
    5/28/2014 Masquerade - Atlanta, GA
    5/29/2014 Drunk Horse - Fayetteville, NC
    5/30/2014 Chop Shop - Charlotte NC
    5/31/2014 611 - Frederick, MD
    6/01/2014 Underground Arts - Philadelphia, PA
    6/02/2014 Rex Theater - Pittsburgh, PA         
    6/03/2014 Strange Matter - Richmond, VA   
    6/04/2014 American Legion Post 80 - Binghamton, NY
    6/05/2014 Brighton Music Hall - Boston, MA
    6/06/2014 Even Flow - Long Island, NY          
    6/07/2014 Europa - Brooklyn, NY 
    6/08/2014 Basement Transmissions - Erie, PA
    6/09/2014 Bug Jar - Rochester, NY
    6/10/2014 Loving Touch - Detroit, MI
    6/11/2014 Now That's Class - Cleveland, OH
    6/12/2014 Birdy's - Indianapolis, IN
    6/13/2014 Cobra Lounge - Chicago, IL
    6/14/2014 Pyramid Scheme - Grand Rapids, MI
    6/15/2014 Bottom End Bar - Appleton, WI
    6/16/2014 Triple Rock - Minneapolis, MN
    6/17/2014 Diamond Pub - Louisville, KY                         
    6/18/2014 Fubar - St. Louis, MO         
    6/19/2014 Hi Tone - Memphis, TN
    6/20/2014 Southport - New Orleans, LA       
    6/21/2014 Dollhouse - Savannah, GA
    6/22/2014 Orpheum - Tampa, FL
    6/23/2014 Looseys - Gainesville, FL
    6/24/2014 Zydeco - Birmingham, AL
    6/25/2014 The Handlebar - Pensacola, FL


    Eyehategod preorder packages including various CD, LP and T-shirt bundles are currently available via Housecore Records at THIS LOCATION.  And if you missed it, soil yourself to a stream of "Robitussin And Rejection"HERE  as well as "Agitation! Propaganda"HERE.

    Official Website
    EHG @ Facebook
    Housecore Records

    Posted By Savannah

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    Milwaukee label HALO OF FLIES has paired the crushing, doomy sludge churned out by Denver's PRIMITIVE MAN with the trademark blackened hardcore sound of Denmark's HEXIS for a truly menacing 10" split.

    The two-track record will be released on May 13, 2014 on black and white vinyl.

    The upcoming split follows the success of Primitive Man's major-label debut on Relapse Records, Scorn, and the recently Halo of Flies-released full-length album from Hexis, with both bands hitting the road together this summer to display the sheer power and intensity of this formidable pairing during a slew of live dates.

    Halo of Flies has recently confirmed a Primitive Man split with Milwaukee crusher Northless in the near future.



    PRIMITIVE MAN & HEXIS Summer Assault 2014:
    7/19/2014 Hi-Dive - Denver, CO
    7/20/2014 West Wing - Omaha, NE
    7/21/2014 Davey's uptown - Kansas City, MO
    7/22/2014 Rail 2 - Peoria, IL
    7/23/2014 The Melody Inn - Indianapolis, IN
    7/24/2014 Corktown Tavern - Detroit, MI
    7/25/2014 Cobra Lounge - Chicago, IL
    7/26/2014 SurfinBird Skateshop - Appleton, WI (early show)
    7/26/2014 Cactus Club - Milwaukee, WI
    7/27/2014 The Triple Rock - Saint Paul, MN
    7/28/2014 Zoo Cabaret - Winnipeg, MB
    7/29/2014 Local 510 - Calgary, AB
    7/30/2014 Biltmore - Vancouver, BC
    7/31/2014 Highline - Seattle, WA
    8/01/2014 Ray's Golden Lion - Richland, WA
    8/02/2014 Tonic Lounge - Portland, OR
    8/03/2014 Starlite Lounge - Sacramento, CA
    8/04/2014 Sub Mission - San Francisco, CA
    8/05/2014 First Church Of The Buzzard - Oakland, CA
    8/06/2014 Witch House - Santa Cruz, CA
    8/07/2014 5 Star Bar - Los Angeles, CA
    8/08/2014 Holland Project - Reno, NV
    8/09/2014 The Sugar Space - Salt Lake City, UT
    8/10/2014 TBA - Colorado Springs, CO


    Available for pre-order in late April, 600 45rpm 10" copies of the split will be pressed, 400 on black and 200 on white with art by Ethan McCarthy.

    Pre-Order Here

    PRIMITIVE MAN: Denver, Colorado’s Primitive Man was formed in February of 2012 by Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy (current and former members of Withered, Clinging To The Trees of A Forest Fire, Death of Self and Reproacher).   In October of 2012 they recorded their debut LP "Scorn" at Flatline Audio with Dave Otero (Cephalic Carnage, Cobalt, Catheter, CTTTOAFF). Scorn was released a collaboration between Throatruiner and Mordgrimm Records. After the release of "Scorn" the band parted ways with Kennedy and recruited Isidro "Spy" Soto to take over on drums. The band also released a "noise" ep on Tartarus Tapes entitled P//M.  The band toured extensively in 2013 and will continue to do so in 2014.  

    Primitive Man is E. McCarthy, Spy Soto, and Jonathan Campos.

    HEXIS: Hexis is a band from Copenhagen, Denmark, playing a mix of Hardcore and doomy black metal. The band has existed since 2010, but has already played 150 shows in Cuba, Island, Russia, the UK and all-over Europe.

    Filip - Vocals. Tobias - Guitar. Rasmus - Guitar. Kenn - Bass. Simon - Drums

    Primitive Man Official Website
    Primitive Man Bandcamp
    Halo Of Flies Store
    Halo Of Flies Bandcamp
    Hexis Facebook
    Hexis Bandcamp
    Hexis Store

    Posted By Savannah

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    The new Doommantia Comp Volume 3 is now available.

    20 bands, 20 tracks with a total playing time of over 2 hours. Bands featured are Abbotoir, Blut, Cardinals Folly, Chronobot, Merrin, Mist, Moonbow, Mortalicum, My Silent Wake, Pektop, Spiral Shades, Swamp Witch, Twin Giant, Void Of Sleep, Bretus, Wicked Inquistion, Myoptic Empire, Ordus, Wiljen Wij, and Nevertanezra. Only $7 will get you this killer compilation.

    Head to the Downloads page or The Doommantia Bandcamp

    Don't forget the other 2 compilations as well. You can pick up over 100 tracks and hours and hours of killer riffs for just $24.

    Posted by Savannah

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