Feb 26, 2015

News: Samavayo and The Grand Astoria ready for invading Europe …

OK, the time has come.  Heavy rock addicts, be ready because your upcoming, chilly early spring nights and weeks till the end of March 2015 will get boiling hot thanks to invaders from Germany and Russia!
Yep, this is the kind of invasion we dig most: an alliance of heavy stoner and fuzz psych rockers, and specifically those belonging to Samavayo and The Grand Astoria! After heating up the engine during the short but successful compact Euro tour last late December-early January, The Grand Astoria are ready for giving gas and starting the bigger tour across Europe that had been announced some time ago.
Kamille Sharapodinov and his mates will be “comrades-at-arms” with the long-lived Berlin-based heavy kraut/stoner rock band Samavayo for a long tour in central/southern Europe.

As reported in the bands’ pages, the two bands will hit the road together on 27th  of February 2015:
“2 bands, 4 countries and 22 gigs of hard rocking and dizzy stoner blitzkrieg”.

The tour will end on the 28th of March 2015. You can check the dates, locations in Germany, France, Italy, Switzerland and Austria and any update (including local bands for support) in the tour poster as well as on the bands’ webpages.

There are always good “excuses” to cool bands for touring around and spreading their balming rock vibes. The Grand Astoria are a tireless forge of eclectic psych rock vibes (see HERE).

Samavayo have been crafting an attractive blend of heavy stoner, krautrock and warm retro hard rock vibes since year 2000 and in recent times they released three albums in a row, between 2010 and 2012: One Million Things, Cosmic Knockout and Soul Invictus. This time the “excuse” for the tour is the release of the split 10” LP of Samavayo and The Grand Astoria. The new, split LP is ready for purchase right now via the German label Setalight Records and will, of course, be available at the merch stalls of the bands during the tour.  So you can get the stuff, this new LP and the other albums too, directly from the rockers’ hands.

Words: Marilena Moroni

Samavayo @ Bandcamp

@ Facebook
The Grand Astoria @ Bandcamp

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The Grand Astoria @ Facebook

Samavayo “Disbelief”

The Grand Astoria “Gravity Bong”

News: BRETWALDAS 'Seven Bloodied Ramparts' re-released on cassette ...

Some good news from the British Midland and much deserved revived attention for Bretwaldas of Heathen Doom, a cool and deeply underground band keeping the flag of British Doom flying in their peculiar and original way in spite of some life issues. Bretwaldas of Heathen Doom are part of King Penda Productions, underground label specialized in spreading “heathen escapism” since 2003 via folk, doom, ambient and pagan metal bands “from the heart of England”. The label recently announced that a deal was struck with label Caligari Records to release the last, sold-out Bretwaldas’ 2010 album Seven Bloodied Ramparts in the “hardworking label's exclusive format - cassette!”

In the photo you can admire the coolness of the blood-red cassette shell “cased in hillfort green”. The tape cassette is also endowed with the necessary three panel fold out J-card with all lyrics. The reissue is done as limited edition. Did you miss Bretwaldas of Heathen Doom before? Well, that’s the moment for checking them out!

In case you want to refresh memory, you can read a few words about Bretwaldas’ discography here and a long, pleasant interview with the two doom warriors behind the band here.

Bretwaldas of Heathen Doom play in a particular, unorthodox style self-defined as “English Heathen Blackened-Doom-Crust-Metal”. Years ago legendary blogger Renrats had chiselled a perfect description of this band: “ They play a really dirty kind of doom that sounds like Motörhead and Venom mixed with Saint Vitus and a touch of Hellhammer thrown in for good measure. It is truly unlike anything I've ever heard before or since.”  Some reviewers had compared Breatwaldas to a “blend of Sabbathian tunes and Joy Division from the Unknown Pleasures debut LP”.

So check out the webpages of King Penda Productions and Caligari Records for the cool limited edition tape reissue of Seven Bloodied Ramparts (see links below). But you may also check out the label pages for the all the other Bretwaldas’ albums which may be either still available or sold out in their solid versions but are accessible in full via Bandcamp. And, of course you can also appreciate the other bands of the King Penda’s roster.

Words: Marilena Moroni

Find the blood-red tape  - via King Penda Productions HERE and via Caligari Records HERE

Bretwaldas of Heathen Doom @ Bandcamp: HERE
Bretwaldas of Heathen Doom @ official webpage: HERE
Bretwaldas of Heathen Doom @ Facebook: HERE

News: ABYSMAL GRIEF / RUNES ORDER split 12" LP out soon from Italian Doom Metal Records ...

Here is a news which will please the addicts of slow, dark sounds and, of course, the fans of Italian-styled, creepy and gothic-flavoured doom/dark music.
The kings of cemeterial keyboard-driven retro horror/dark doom Abysmal Grief will soon be back from their baroque graves for entertaining you with a brand new album, a 12" split with Runes Order.
Abysmal Grief are well known to Doommantia readers (see all reviews and interviews here).

As to the other half of the split, Runes Order is a long-lived Italian act started by Claudio Dondo back in 1988 and involving different guest musicians in each release. Music-wise the Runes Order project devoted to a decadent and contaminated dark ambient genre which started from neofolk, industrial sounds and progressively drifted towards retro electronics, acid and cosmic psychedelia or krautrock à-la-Tangerine Dream/Klaus Schulze, horror film soundtracks, prog, metal, etc.

The Abysmal Grief/Runes Order split LP is due out via label Italian Doom Metal Records on April 13th 2015. The bleak and decadent mood of the release is masterfully expressed by the haunting, unsettling vintage photos of the cover art.  On the split LP the two bands will express their own macabre hommage to darkness, esoterism, pessimism and death cult (piece Hymn Of The Afterlife by Abysmal Grief) or else blasphemy and lust (piece Snuff The Nun by Runes Order). The LP will be released in 500 copies, 200 in grey vinyl and 300 in black vinyl. A strictly limited number of copies will come with a numbered certificate handsigned by both bands.

You can read more details and get further updates about the release by visiting the bands’ webpages and especially via the Italian Doom Metal webzine.

Words: Marilena Moroni

Abysmal Grief : Official Website
Runes Order : Facebook

Italian Doom Metal Records
webshop : HERE
facebook: HERE
Italian Doom Metal : HERE

Crawl - Old Wood & Broken Dreams ...

Some time ago Crawl had enjoyed themselves while infecting you with their beloved “destructo-sludge/drone” style, for example in their debut demo or in the super-heavy split with Black Tar Prophet back in 2012. Well, Crawl, our three American healthy-looking metallers from the deep South (Atlanta, Georgia), did not waste much time inbetween the intense live activity (still ongoing) with cool bands both from Atlanta and elsewhere, e.g. Sons of Tonatiuh, Order of the Owl, Demonaut, Fistula, US Christmas, Lazer/Wulf and Generation of Vipers, Black Tusk, etc.  The trio, i.e. Eric Crowe on guitars and vocals, Tommy Butler on drums and, new entry, Patrick Lowe on bass, came back into action soon with their debut full-length album, Old Wood & Broken Dreams, out during Fall 2014. The album includes 6 tracks for over 40 intensive minutes.

Crawl will again entertain you with loads of thick, corrosive sludge but this time dripping with even more blazing hot groove making you immediately grab an ice-cold beer can first for refreshing your brow and neck and then for joining the party …. So, yes, Crawl built their debut full-length album on a most classic backbone of genuine, filthy, swampy sludge metal badassery. However the band did not slavishly stick to that reference genre but created an original work of great impact by means of some contamination and even experimentation without, however, straying too much from their true love in music.

What this true love is for Crawl is immediately clear as from the shortish instrumental intro Crack Tea, a straightforward, catchy fuzz-laden welcome to the concise but finger-licking juicy Don’t Kid Me. This track is a glorious ode to the most infectious and sweaty southern sludge metal straight from the lagoon in the name of Buzzov*en, Weedeater, Iron Monkey, Eyehategod, Crowbar, Wo-Fat, etc. Here as well in the rest of the album saturated buzzy sounds, coarsely distorted mammoth riffs, pounding rhythms and laid-back yet ferociously sick vocals, all remind of the “southern-fried doom”, of sludge metal seasoned in oak barrels, of the rebellious old-school hardcore spirit which make the musical background of all band members. This is especially true for generously bearded guitarist/vocalist Eric Crowe, whose CV lists bands like Hog Mountin, Molehill, Social Infestation, just to mention some ….

Probably the dilated, almost 12 minutes-long, instrumental piece Pildust is the way for reminding the affection of the band also to drony sounds (like in Fulci, another distinguished affiliation on Eric Crowe’s resumé). Pildust is driven by a slowly evolving desert rock melody developing in a cyclic way for several minutes and thus turning into a pleasantly hypnotic refrain. A sense of void and immensity is evoked as soon as the sounds basically die away into silence and then progressively, and hypnotically, grow back in intensity as a dull, monotonic, if not funereal, thumping sound. How refreshing is, therefore, the rapid escape into the tight riffing of a steaming hot bluesy groove about halfway through the piece! And that brief but memorable, deep guitar howl like in sabbathian Sabbra Cadabra! Then, like a dense slimy brine the funereal psychedelic rhythm will swallow  the groove till the end. But maximum groove and sickness are going to reign back again thanks to a killer cover of Buzzov*en’s track Useless. There Eric’s vocals will vomit nihilism and devastation and will rip your gutter while guitars and drums grow to explode in majestic ultra-dense flow of roars and feedback.

Nigredo is another piece exceeding 12 minutes length where the Crawl guys will blend different moods radically. The very first notes of Nigredo are pure vitamines for fuzz-lovers. The trio like to enrich their sludgey sound with a high-tension, dynamic, when not convoluted lead. In Nigredo the extremely  coarse sound of the mid-tempo churning riffs and Eric Crowe’s raucous barking are remarkably contrasting with the rather clean, booming sound of Tommy Butler’s agile drumming. The leading melody is quite simple and aggressive, and duly sinister in its mild dissonance. The sticky, toxic viscosity of this relentless music is claustrophobic and quickly burning out your oxygen, and Crowe’s guttural roars become like your suffocated seek for air. So the evolution of the rhythm in the second half of this long track comes almost as a surprise, and a mouthful of fresh air. Almost … The sudden interruption of the galloping rhythm is like a precipitous pressure drop into a dark, numb emptiness where slow vibrations of the chords and Eric’s clean vocals (oh, how cool!) combine into a mournful, minimalistic chant of meditative charm in the vein of the latest Om. Sequences of delicate, almost acoustic touches over the fret board are actually the trick for revitalizing the initial beat and gradually bringing back the tight and coarsely fuzzy riffing, this time contaminated by spacey psychedelic effects. 

The album is closed by the gloomy track 3 AM and a Loaded Gun, rather short (less than 6 minutes) but a hymn to total desperation of rare intensity. This track is probably the most grievous one of the whole album, and drenched with great, distilled destructo-sludge introduced by bleak mixture of drony, industrial-like noise with warped vocal samples. Eric’s voice too is deformed into tortured gurgles and moans that seem to emerge with extreme effort from the leading, mammoth-paced death march, the last, slow, dull, implacable beat you’ll hear …     

Crawl’s album Old Wood & Broken Dreams is available via Bandcamp, together with the rest of the band’s production, in multiple high-quality formats and on i-Tunes. There is cool merch also available via the
Stone Groove Records store.
However I hope some solidly material version, i.e., in good ol’ thick, pitch black, heavyweight vinyl, of this first powerful full-length album will hopefully be available soon as well.

Words: Marilena Moroni

1. Crack Tea  (01:36) 
2. Don't Kid Me (04:44)    
3. Pildust     (11:33) 
4. Useless [Buzzov*en cover] (04:45)    
5. Nigredo     (12:35)    
6. 3 AM and a Loaded Gun (05:57)



Feb 25, 2015


Well Axis/Orbit are a 3 piece outta beautiful Long Island . These fellas have put forth a three song EP that took me for some unexpected turns while I listened. These gents play spaced out stoner tunes with a sprinkle of prog that any one who regularly loads their bong, vapo, or pipe will ultimately enjoy having these fellas serenade the rituals of getting high.

This EP starts with the track “Hazy”, slowly building up until Billy Fridrich(guitars,vox) kicks distortion into gear. The name “Hazy” definitely fits the vibe of this tune as I instantly had flashbacks to my late teens where i’m in a smoke filled basement/jam room full of people getting into ‘er. Damn those were some great times. As I continued to listen to this EP I noticed that someone seemed to be playing around with the faders and the l/r mixes on the guitars. Things would pan hard then slide back to the center. At first I put I thought it was due to the amount of ol’ Mr. Jim Beam I’d been enjoying.

So I set my glass down. But after rewinding a few dozen times realized it was the mix. Damn, was this fuckin great I thought. My cats who at first had left the room were now sitting in front of the speakers eyes closed enjoying every minute of this EP. I did also notice the snare cut thru just a bit too much sometimes but thats minimal. The fuzzed out bass guits of Lee Greenman keeps Riot Canal rolling along until the guitars scream back in with another lightning solo. Talk about laying it down. Mike “Magoo”Margulis keeps a laid back beat at times but knows when to turn it up and fucking light the lamp. The bottom line here is that Axis/Orbit keep it groovy and mellow yet know when to take the safety off and kick it hard. Enjoy.

Words: Matt Berube


Feb 22, 2015

Doomology Vol. 6 - Josefus ...

1969 is when the story of Josefus begins. Houston, Texas being the where. The band was formed out of the ashes of the group, United Gas by vocalist Pete Bailey, drummer Doug Tull, guitarist Dave Mitchell, and bassist Ray Turner. They started off playing for free in parks which gained them much popularity. After only a few months producer Jim Musil expressed interest in recording an album with the band; however he demanded they change their name to Come, which they hesitantly did for the recording opportunity. The band travelled to Phoenix and recorded the album in December of 1969 but it was unfortunately shelved for the time being (it was later released as Get Off My Case in the early nineties). This prompted the group to return to Houston and become Josefus once more. As things with Musil failed to go anywhere, the band was forced to look elsewhere for funding and any more recording opportunities. But thanks to the help of family members, Josefus was able to continue. Doug Tull’s father and father-in-law were able to put money up for recording another album, and Ray Turner’s dad created the Hookah label to release it. By March of 1970 they were back in Phoenix for their second attempt at recording. Over the course of eight hours they had recorded Dead Man, which featured most of the songs recorded on the initial album. 3000 copies were pressed by Hookah and were distributed throughout Texas where the LP sold reasonably well. They continued performing many shows following this, still mostly for free, and opened for many big name bands who happened to be playing in the area. Eventually they caught the eye of Mainstream Records, who signed Josefus to record another album. The band went to Miami to record this time with producer Bob Shad. Unfortunately though, thanks to pressure from the label, they were forced to hastily write and record the songs within a two week time frame. Unlike the tracks from Dead Man, which the band had been performing and perfecting constantly before recording the album, these songs were all new and not as rehearsed and were subsequently rushed onto tape. As a result the band was not pleased with the album and it was not as well received. Tensions were also growing within the band.

According to Dave Mitchell, Doug Tull, seemed to care more about the business side of things and less about the music and became somewhat of a dictator amongst the group. Due to this friction, Josefus decided to split in December of 1970. Pete Bailey and Ray Turner began playing with a group called Stone Axe (who only released a lone single, but it is fantastic and absolutely recommended as well) and Doug Tull would join the band Christopher to utilize his percussion skills. However in 1978 the band attempted a reunion with all the original members other than Tull who was replaced by Stone Axe drummer, Jerry Ontiberoz. Unfortunately the reunion only lasted about a year or so as the disco infection had already spread throughout the country and made success for a band like Josefus more than difficult to obtain. The band has reunited several times since though, and has released many live recordings, re-recorded versions of old material, and new material; along with the 1993 archival release of the band’s first album as mentioned earlier. Son Of Dead Man was released in 1990 and features ten newly recorded songs that had originally been written in the 70’s, plus a cover of The Zombies’ She’s Not There. Following this Dead Man Alive was released which contains recordings from the band that would become Josefus, United Gas. It also contains several tracks recorded by the band during their heyday, as well as some songs recorded during the 1978-1979 reunion. Other releases include Not Dead Yet, which is comprised of more live material from ‘78-’79, the self explanatory album Halloween 2004 Live, and an EP (I think) from 2013 entitled Black And White. Currently the only member still regularly playing music is Ray Turner who is involved with a soul band in Houston. Dave Mitchell is currently employed as a computer programmer and Pete Bailey still occasionally plays music when he’s not pursuing his favourite pastime, fishing. He has also written a book called Josefus: The Inside Stories. And sadly Doug Tull reportedly committed suicide in his prison cell after being arrested for speeding in 1990.

Dead Man (1970) - Josefus’ Dead Man is another absolutely essential gem of proto-doom rock that more than keeps up with the bigger acts of the day. Side one contains the majority of the tracks, with the second side being reserved for the band’s magnum opus song, Dead Man; along with a quick, but nice little ditty entitled Situation. And darkness abounds all throughout this record. Crazy Man, a groovy Zeppelin-like rocker, starts us off and from there we’re propelled into the cosmos of a Texas fuzz trip of doomadelic proportions. I don’t even really know what that last sentence means, but I do know that the second and third tracks kick things way into the next gear. I Need A Woman shows that this band isn't planning on playing nicely with it’s aggressive and macho fuzz riffing. They then present to us their version of Gimme Shelter (spelled Gimmie on the sleeve) and give it some far out, new spices to create something to rival the Stones’ classic.

The last two songs on the first side continue the groovy vibe and do many pleasant things to the head as well. However once you flip the record over (or wait several seconds if listening to a CD) you’ll realize it’s soon time to die. You’ll have just under two minutes before the album’s main attraction kicks in. The title track is 17 minutes of pure doom and gloom and a relentless barrage of stoned to high heaven jamming. This song is where this album and this band gets their reputation from and is worth the admission price alone. “Josefus...A strong group...A heavy sound...Emitting from the darkness of obscurity, bursting forth with the drive and impact of a celestial happening...Josefus come alive with “Dead Man” making this album a genesis of sound...One you’ll never forget.” That is what’s written on the back of the record sleeve and it says it all. This record is an absolute must-have for fans of this type of music.....10/10

Josefus (1970) - Dead Man is tough act to follow. And that’s why this album suffers and just does not leave the same lasting impression as its predecessor. However don’t pass this one up because it is still a worthy record....just not compared to their first. The first half is full of nice, bluesy jams and all the songs have that awesome Josefus feel. They just don’t have the same power or energy this time around it seems. And although the quality of the tracks remains consistently high for the entire first side, nothing really stands out or remains extremely memorable after it’s over. Side two shakes things up a bit for better and for worse. Jimmy, Jimmy, starts it off and at first glance seems like a goofy, throwaway song and sounds fairly out of place. But when you pay attention to the lyrics you’ll see that they’re singing about a pretty dark and disturbing subject.

This completely changed my opinion of the song and I now consider it a highlight of the album thanks to the lyrical content. Following this they return to some standard, but still highly enjoyable heavy blues jams, which entertain but don’t stick with you once again; except for I Saw A Killin’ which is pretty menacing and fuzzed up. Unfortunately the final track is just not my cup of tea though. I guess if soft country rock is your thing you’ll probably dig it, but it definitely doesn’t float my boat. They’ve certainly mellowed out a bit on this one and the songs aren’t as memorable, but in the end it is still a damn fine listen and shouldn’t be missed......8/10

This is a band that gets mentioned a lot when discussing these proto-doom gems and for good reason. Dead Man is a must-listen and the following album, while not quite as fantastic, is worthwhile as well. This band also thankfully has a lot of unreleased recordings and live material to check out which is a nice change considering all the forgotten, obscure bands out there that only have one or two albums of material to listen to. So waste no more time and see what else Texas has to offer other than huge belt buckles and chainsaw massacres- Dark, heavy, bluesy, doomy, psych going under the moniker Josefus.

Recommended tracks:

-I Need A Woman (Dead Man)
-Gimmie Shelter (Dead Man)
-Proposition (Dead Man)
-Situation (Dead Man)
-Dead Man (Dead Man)
-Jimmy, Jimmy (Josefus)
-I Saw A Killin’ (Josefus)

Words: Brian

Feb 20, 2015

Deep - Celebrity Death EP (2014) ...

Deep are from Finland and on this EP they deliver four tracks of solid doom. Some nice melodies, a bunch of heavy riffs and strong clean vocals are what you can expect. It's nothing groundbreaking but it's not generic and boring either.

Musically we are talking epic doom with gloomy and bitter rather than mournful lyrics. The tempo is slow but it's not extremely slow and all the songs have a nice flow to them. It´s tempting to compare Deep to Reverend Bizarre but while they do sound alike I don't think it's a fair comparison, Deep play them same kind of epic doom but in a slightly different way. The main difference is that Deep have a lot more tempo in their riffs whereas the Reverend spend more time on making each note as heavy as possible even if they only use 6 of them in one song... I like Reverend Bizarre a lot by the way.

The production and mix is very good and the guitars have a rather dry sound that lets the bass fill out the riffs nicely. Over the riffs and melodies the vocals soar clean and melancholic, they are really very good. On "All Shall Die" there are some back-up vocals that join with the lead singer to form a choir of the damned, it sounds great and makes the track stand out. Another high point is the drumming, the drummer keeps things interesting but without stealing attention from the guitars. I especially like the drumming on "Resurrection".

Like I said this is a really solid slab of doom with lots of strong points. Nothing innovative but who needs that when sticking to your guns works this well? I really like these songs and there are more in the works. This EP is well worth checking out on their bandcamp where you can download it but I recommend you write them and see if there are any more CD's left. I got lucky but they might be running out.



Words: Joachim Eversholt

Feb 12, 2015

Purpura Tenebras - Demon One 2014 ...

Purpura Tenebras is a rather special experience. This is the first demo from this band, it's actually just one guy, that comes from Chile. The sound is reminiscent of Electric Wizard on "Withchult Today" or "Black Masses" but it doesn't ACTUALLY sound like EW, it's more that I get similar vibes? I have a hard time putting my finger on it but I don't know what else to compare it to. I like it a lot though!

The demo has a nice production, not clean but not really dirty either, it has a kind of psychedelic feel thanks to making good use of various effects on vocals and guitar. The vocals are good clean vocals but the use of effects that I mentioned really bring them to life.

The only thing that bothers me are the drums, they are effective and there some unexpected rhythm-patterns and fills here and there but they sound sort of like a drum-machine.

I don't know if this is the case or not but I, personally, dislike the use of drum-machines or even digital drum-sets. That's just a personal preference but it really bothers me quite a bit.

I got this free from bandcamp and I really recommend this demo. Despite the sound of the drums I listen to this demo a lot and it really is a great demo, Purpura Tenebras showcase a sound that is unique in some ways and that is pretty rare. Also, the last time I spoke to they guy he said he was working on an album. Really looking forward to that!


Tinieblas Records @ Bandcamp

Words: Joachim Eversholt

Cruthu - Creation, demo 2014 ...

This is another band that goes for that retro sound and it does sound retro I guess but I find it lacking. It's not that it is horribly bad, or bad even, but it fails to engage me and I come away feeling a bit disappointed. The great artwork really got my hopes up.

All instruments are competently played and can be picked out of the mix. We are treated to a good demo sound that actually still sounds like a demo, I don't know why but I like it when a demo sounds like a demo.
Cruthu has two singers, one male and one female but I actually prefer the male singers clean vocals. On the second track of this demo they are singing at the same time and the idea is really cool and would have worked better if the guy wasn't using black metal vocals. It doesn't work for me but like I said, it's a really cool idea. The riffs are decent but get a bit boring from time to time.

Despite being flawed this demo shows that the band has some good ideas and they do show some promise. I'm a bit bummed out that this demo wasn't better, I was really looking forward to it after I saw the artwork and read some other peoples responses. I actually rather liked it at first but repeat listening changed my feelings for it. Did I say how awesome the artwork was by the way?

Cruthu @ Bandcamp


Words: Joachim Eversholt

Demon Head - Demo 2014 ...

Demon Head are from Denmark and are currently working on their debut album and if this four track demo is anything to go by the album should be pretty awesome.

Demon Head play a kind of proto-doom in a way that reminds me a lot of early Pentagram. However they sound more like a contemporary band with more or less the same influences rather than a modern band trying to rip them off.

They have moments of pure brilliance like the chorus in "Undertaker" or the break and following verse in the middle of "Three".

The production has the right retro sound for this kind of music, even the vocals sound like they were recorded before Bobby Liebling started looking like the living dead. The sound works really well with the material and every instrument is clearly audible. The guitar has a warm and crunchy tone which really hits the spot for me.

If you like old Pentagram and/or Witchcraft then this is really something worth checking out. It's a very well executed take on the retro-doom thing that a lot of other bands are trying to do with lesser results. The demo is free on the Demon Heads bandcamp so you've got nothing to lose, go ahead and download it now!


Words: Joachim Eversholt

Demon Head @ Bandcamp

Feb 9, 2015

NEWS: Bongzilla Are Back ...

Gure Hitzak proudly presents the comeback of the Stoner-Sludge legends BONGZILLA after a hiatus of several years.

BONGZILLA became a classic band in the Sludge/Doom/Stoner scene in the begining of the 2000s with albums like "Stash" or "Gateway".  In 2005 came out their last studio album "Amerijuanican" recorded with "Dixie" Dave Collins bass-player of WEEDEATER as a member. Later the band got into a hiatus till now, during this period some members has been active in other musical projects like AQUILONIAN, with Mike (vocalist/guitarist) and Magma (Drummer).

Bongzilla returns, to the stages only for now, with the line-up of "Gateway" album. Some gig in the U.S. and a bunch of selected gigs in Europe and Russia, including performance in festivals like Temples in Bristol, U.K. and Heavy Days in Doomtown in Copenhagen, Denmark.

This is the list of the gigs in Europe and Russia:

Friday 1.5 - Low Fi, Milan, Italy
 Saturday 2.5 - Heavy days in doomtown festival, Copenhagen, Denmark
Monday 4.5 - Blitz, Oslo, Norway
Tuesday 5.5 - Nalen, Stockholm, Sweden
Wednesday 6.5 - Klubi, Turku, Finland + GANGRENED
Thursday 7.5 - Rentukka, Jyväskylä, Finland + GANGRENED
Friday 8.5 - Varjobaari, Tampere, Finland + GANGRENED
Saturday 9.5 - Lepakkomies, Helsinki, Finland + GANGRENED
Sunday 10.5 - Monaclub, Moscow, Russia
Friday 29.5 - Temples festival, Bristol, U.K.

Bongzilla @ Relapse
Bongzilla @ Bandcamp
Bongzilla @ Facebook

Feb 8, 2015

Alucarda - D.F.F.L Demo 2013 ..

Alucarda are from Denmark and I was lucky enough to get one of the last tapes of this demo. I actually traded for it but I'd have happily paid the price of a 12" for this nasty piece of music.

Alucarda have a lot of similarities with Satan’s Satyrs (SS) but I honestly prefer Alucarda! It's like they took what SS did on their demo and said "This is how it's supposed to be done!”
The music on the demo is a good mix of doom elements thrown in to break up the barrage of fuzzed out and vicious punk riffs. While the guitars rip away the drums clatter along as if played by a speedfreak trying to outrun the grim reality of coming down. The bass is all fuzz and hard to pick up clearly, except on "Wicked Sabbath" which is a very nice instrumental track.

Over all this the vocals howl and holler in a raucous manner, you can almost hear the Sid Vicious like sneer behind the microphone. This fuzzy, filthy collection of songs summon vision of all the boobs, fake blood and scuzzy bikers of the 70s underground cinema.

Alucardas debut album has already been released on tape (I have heard it's sold out as well) but the vinyl and CD release is coming in March or April I think. I strongly suggest you order it as soon as you possibly can!

Words: Joachim Eversholt

Alucarda @ Bandcamp

Aldri - Demo 2014 ...

Aldri is a doom outfit from Norway, the name means never, and they are now split-up. It's too bad because this demo showed a lot of promise.

The demo has three tracks with a decent amount of variety with some nice stoner breaks thrown in to break it up. The production is very clean for a demo but is not lacking in heaviness and it has a nice "dull" sound. The bass is clearly audible throughout the demo which is a nice touch.

Quality riffs build the songs and the drumming is nice and effective but nothing special on its own. The leads are what really shine on the demo, they a bit melodic and bluesy on occasion and they really add to the songs. I also like the vocals a lot. The vocals are clean and have a semi-epic quality to them, sort of like what Fenriz did in Isengard but not a "folksy". A fair amount of reverb and sticking to their native language really work well with the singers’ voice and makes the vocals stick out just a bit.

All in all it's a good demo which I listen to from time to time. The best reference points I can think of are Windhand and Witchsorrow. Like I said the band is split-up but the demo is available as a free download from bandcamp.

Words: Joachim Eversholt

Aldri @ Bandcamp
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