Today, SVART RECORDS announces June 14th as the international release date for CANDLEMASS' vinyl-only Epicus Doomicus Metallicus - Live at Roadburn 2011 album. CANDLEMASS' debut album Epicus Doomicus Metallicus is a genre-defining classic if there ever was one - the starting point of modern epic doom metal, even. In 2010 and 2011 CANDLEMASS invited the original Epicus vocalist Johan Längqvist back into the fold for a few select shows celebrating the album's 25th birthday. This vinyl-only release captures the band performing Epicus Doomicus Metallicus album live at the sold-out Roadburn Festival in Holland, April 2011. Mixed from a professional 32-track recording and mastered vinyl under the supervision of band founder/mainman Leif Edling, this is the ultimate live version of the classic.
The SVART release has the album spread over three sides of vinyl and an etching on side D. The two LPs are wrapped in a gatefold jacket, and the set is available on black or white vinyl. Both versions are limited to 400. Comments Leif Edling: "No volcano could stop us this time to perform the Epicus album at the Roadburn festival in Holland. It was a very special day, filled with great music, incredible fans, and a band that had a lot of fun doing this! After 25 years original, Epicus singer Johan Längqvist is onstage with us to perform something that people say is one of the doom metal classics. And I think we did a pretty good job there at Roadburn. We played well, and the show was a total success! So here it is, CANDLEMASS live at the Roadburn festival…as it was, no overdubs…recorded on 32 channels…a fine slice of legendary doom released on big, fat, double-packed vinyl!"
Festival founded in 2001 and located in the very geographical center of Germany, in the area of Erfurt (Thuringen): Stoned From The Underground grew from a one day indoor event with 400 visitors in 2001 to a 3 days outdoor event with 3000 visitors last year ! Located a few kilometers away from the city, in a nest of nature bordered by the Alperstedter Lake, the festival is the perfect location for a very first relaxing summer weekend ! Whether you want to sit in the grass, puffing up clouds of smoke, sipping a beer while checking out the best Rock & Stoner acts of the moment, Or whether you want to chill out laying on your belly on the sand of the beach with your toes cooling down in Lake's water.....STONED FROM THE UNDERGROUND is the place where all your dreams will come true.
EARTHLESS ( Usa) MUSTASCH (Swe) POTHEAD (Ger) TRUCKFIGHTERS (Swe) THE GATES OF SLUMBER (Usa) BEEN OBSCENE (At) LOWRIDER (Swe) HORISONT(Swe) TROUBLED HORSE (Swe) ISOPTERA (Ger) LORD VICAR (Fin) MIRROR QUEEN (Usa) ACID KING (Usa) PELICAN (Usa) THE OPERATORS (Ger) THE ATOMIC BITCHWAX (Usa) FIVE HORSE JOHNSON (Usa) SARDONIS (Bel) HYNE (Ger) DEVILLE (Swe) BLACK BOMBAIM (Por) HERKULES PROPAGANDA (Ger) TRECKER (Ger)
Venezuelan psychedelic sludgers CULTURA TRES are pleased to present to the world their new album “Rezando Al Miedo“, out now on CD through Devouter Records which can be purchased HERE, while the digital download is available from CULTURA TRES bandcamp page HERE as well as all usual digital outlets and can also be streamed below.
With “Rezando Al Miedo” CULTURA TRES further explore their own mesmerizing brand of South American Sludge, blending classic psychedelic rock, 90′s death metal and gloomy grunge. The eight tracks of the album entice the listener to embark on a disturbing journey from anger to desolation. The music is more dynamic than ever, digging into the harshness of the thrashing roots of the band and the polyphonic movie soundtrack approach that characterizes CULTURA TRES. Perfectly complementing the mood of the album, the cover artwork for the band’s third full-length is taken from the painting “Judgement Day” by Damian Michaels. “Rezando Al Miedo” was produced, mixed and mastered by Alejandro Londono and recorded in CULTURA TRES studios by Juan De Ferrari and Alejandro Londono.
Next CULTURA TRES European live appearances are as follows:
12.06 Dresden, Germany @ Chemiefabrik w/ MORKOBOT & ZAAR
13.06 Warsaw, Poland @ Fonobar
14.06 Wroclaw, Poland @ Madness
15.06 Germany TBA
ATTENTION: We are looking for someone to make artwork for the new compilation ASAP. If anyone can help, please send a message to sally@doommantia.com. Thank you and please donate, Ed hasn't had a decent meal in 2 weeks and still can't get his prescriptions filled.
The first ever Doommantia.Com Compilation is now available for download for only $7 from BANDCAMP. Immediate download of no less than 39 tracks of doomy goodness, over 4 hours long. Bands featured are Blackwolfgoat, At Devil Dirt, Low Gravity, Ichabod, Fister, Undersmile, Compel, Iron Man, Wizard's Beard, Oceans Rainbow, Beelzefuzz, Conan, Lazarus Complex, Spyderbone, Order Of The Owl, Dope Flood, War Injun, Heathen Bastard, Halmos, Kriz, Bongripper, Demonaut, In The Company Of Serpents, Switchblade Jesus, Pale Divine, When The Deadbolt Breaks, Bastards Of The Skies, Gorgantherron, Screaming Mad Dee and Alex Vanderzeeuw, Chowder, War Iron, Hollow Leg, Crawl, Desolation, Ketea, Sludgethrone, Vulture, Wolfpussy and The Departure. That is some bang for your buck!!!
All proceeds go to the Ed Barnard homeless fund so it is a very worthy cause. Thanks to all the bands involved and to Tim Davis who worked so hard putting all of this together. Head to BANDCAMP now to get your download.
In 2012, backwoods psychedelic doom band Windhand released their self-titled LP & it was met with critical acclaim.The band is putting the finishing touches on their second LP for Relapse, due out this fall, which was recorded & mixed by the band’s own Garrett Morris at The Darkroom & mastered by James Plotkin, in their hometown of Richmond, VA. The band will trek across North America this summer ushering their audiences into their menacing grooves & showcasing songs from their upcoming album.
About Windhand Formed in 2009, Richmond, VA’s Windhand (Asechiah Bogdan – Guitar, Parker Chandler – Bass, Dorthia Cottrell – Vocals, Garrett Morris – Guitar, and Ryan Wolfe – Drums) play what has been described as a tinnitus inducing mix of eerie psychedelia and haunting ambient doom. 2012 saw the release of their critically acclaimed, self-titled debut LP via Forcefield Records. A subsequent heavy dose of East Coast touring followed, culminating with a four week U.S. tour in August of that year.
Tour 06/05 – Baltimore, MD – Ottobar 06/06 – Philadelphia, PA – Golden Tea House 06/07 – Brooklyn, NY – St. Vitus Bar 06/08 – Providence, RI – AS220 ! 06/09 – Boston, MA – O’Brien’s 06/10 – Cherry Valley, NY – Steve’s Koi Pond 06/11 – Buffalo, NY – Vault Art Space 06/12 – Pittsburgh, PA – Gooski’s 06/13 – Columbus, OH – Ace of Cups 06/14 – Chicago, IL – Ultra Lounge 06/15 – St. Paul, MN – The Turf Club 06/16 – Milwaukee, WI – Quarter’s Rock n Roll 06/17 – Indianapolis, IN – The Sinking Ship # 06/18 – Newport, KY – South Gate Revival House 06/19 -Nashville, TN – The End % 06/20 – Knoxville, TN – The Pilot Light % 06/21 – Raleigh, NC – Slim’s $ 06/22 – Richmond, VA – Strange Matter $
! = w/ Elder and Morne # = w/ Skeletonwitch % = w/ Generation of Vipers $ = w/ Inter Arma
Thank you to the people who donated over the weekend. It wasn't much but it cheered me up when I thought all hope was lost and maybe it still is, I don't know anymore. Keep on reading Doommantia.Com. I will return one-day soon I hope but lacks of meds leaves me incapable of sitting here and typing for long but if I can do anything to get back to doing what I love, I will do it. It is a lonely feeling being sick and homeless but it is even worse when you can't do the things you love.....Ed Barnard
Almost 10,000 page views now without a donation. I know times are tough for some of you but really, this is apathy at its worst...Sally
3,666 page views to this home-page yesterday and not a single donation so I guess we have to re-post. People make me sad....Doctor Doom.
Today Ed and his adorable lady Sally are stuck at the hospital while Ed goes through his usual testing procedures. This tedious and expensive task involves a 2 hour bus ride there and another 2 hours to get back home. Plus with waiting times and the usual slower than a slug service that hospitals supply these days, these poor souls will be stuck in the hospital for most, if not all of the day. This makes me think it is time for another Ed Update. Most of the readers will know by now that the situation is virtually hopeless and all anyone can do know is try and see that medicines and treatments are maintained and sadly, this is still not the case. I have included a portion of a medical statement from last February (edited for patient privacy) and if you think it looks bad, I can assure you the debt has almost doubled by now.
Thanks to all the folks that bought the Doommantia Compilation but the honeymoon is over on that one and now we set our sights on Volume Two of the compilation but until then, we have no money coming in at all to help our dear friends. So this another heads-up on what is happening. Ed's health is stable but fragile with his biggest hurdle being the on again, off again medical supply. Please ..... the time to help is now....
When the whole metal movement was started and as it slowly started to gain momentum the attitude that embodied this music form was that of an unhinged expression of self and not really caring what others wanted. It was all about the music and the joy of being a miniscule part of something huge. However as time went on, all the various sub genres of music slowly got submissive towards the lure of money and instead of being an unadulterated and pure outpouring of one’s deepest emotions turned into producing that what others wanted, and thus turned into everything that the metal movement was opposed to.
However amidst all this doom metal stood its ground, reminding them what the genre was all about and stayed away from trends and this is possibly the biggest reason why the doom genre is as big as it is today. The hallowed grounds of doom remain so because of the fans and the numerous bands those remain true to themselves and to metal. Also, another reason why the genre continues to flourish is the continuous emergence of new bands that with their, often unique take on this genre expand the fan base of doom and the keep the current ones proud to be hardcore fans of the genre, and joining the army of this doom metal movement is three piece Bay area based band collectively known as ‘Cardinal Wyrm’.
Looking at the artwork that adorns this unique piece of music which as described by its creator and bassist Marcelle Marais in her words as "inspired by what is beneath the surface of the human form. That was my main driving force. My artwork is inspired by the recomposing and decomposing cycles of life, the journey of the soul through suffering, despair, hope, faith, love ecstasy, betrayal, lust, reparation and strength. So, I find it fits in well with our music.” leaves the onlooker enthralled to say the least. While most bands create artwork that almost instantaneously bring to mind what kind of music is encapsulated within it, this is the kind that keeps the beholder guessing and thinking. It is the kind of expression one can create not by following one’s peers and predecessors but is only possible from an unabashed emotional outpouring stemming from the deepest entrails, a trait that most bands seem to be missing nowadays. To call Cardinal Wyrm another doom band in the hordes present today would be a gross vituperation, the music itself being as unique and often as hard hitting as the artwork.
Necessity, they say is the mother of creation, and in this case certainly was. Tired of black metal influenced crust bands with tinny riffs and continuous screaming the band set out on creating something that reeked and permeated doom metal through and through and after a few line up changes put out their debut album entitled ‘Another Holy Trinity’ in the April of 2013. Describing this peculiar piece of music that stretches over 5 tracks and lasts 49 minutes isn’t exactly a cakewalk since the band have done some major thinking out of the box and in the process stayed away from conventional music tags. The music that the band play not only revolves around the nucleus of doom metal but also acts as a portal between the past and the present with influences from 90‘s sludge to the occult drenched doom of the 10’s to name a few. The way the band concocts this unique mesh wherein you can hear the malevolent aggression of Church Of Misery as well and long drawn out passages that take the listener into the stoner influenced unknown expanses of the unknown is laudatory. Cardinal Wyrm bastes with utmost repose into this already unique mix influences ranging from epic doom styling of early Solitude Aeternus and maddeningly gargantuan sludgy riffs. Though mostly mid paced the tempo changes often ranging from the snail paced lumbering advances on tracks like ‘The Procession of the Gilded Wyrm’ to all out ragers like my favorite track on the album ‘The Circle’. Another thing that grabbed my attention here was the immense out of variation present here.
On one hand if you have the well channeled grit of inordinately copious riffs on ‘The Rope’, you also have the long forgotten art of the art of dirty, aggressive, angry, filthy and violent attitude of the punk influenced, feedback drowned sludge of the early ‘s ala Noothgrush and Acid Bath on ‘Ruin’. As the oppressively down tuned guitars of Natan are bolstered the brutally heavy plodding basswork by Marcelle the band moves forward with a swagger that sometimes resonates of utter destruction and at other times is reminiscent of some unholy ritual in full flow in an abandoned forest. The performance that warrants special mention though is that of Pranjal Tiwari who along with supporting the band with his drum work has slapped us with some of most versatile and unique vocals I have ever heard. With influences from the authoritative epic doom preaching of Messiah Marcolin or Robert Lowe, he also wanders into territory so well established by Hour of 13‘s Phil Swanson’s occult drenched vocal delivery only to morph into an alter ego spewing forth some of the most mephitic and toxic guttural vocals which with its hostility acts as the glue to create a sound that Cardinal Wyrm an call its own.
With a continuous undercurrent of emotion permeating throughout this release, the band has created a varied release which at times abrasive and other times slightly melodic makes sure the attention of the listener never meanders elsewhere throughout the album which flows foreword with extreme fluidity where each tempo change, each riff and each section of each song has been placed only after utmost thought to aesthetics and so as to have the greatest impact possible on the listener. There is nothing much like this out there at the moment and ‘Another Holy Trinity’ deserves your attention and is something that the connoisseur of doom will certainly enjoy....8.5/10
Kings Destroy is a twisted, thundering gang of musicians. The doom metal unit takes its name from an infamous late ’70s/ early ’80s Bronx-based graffiti crew, which make sense, as the principle members of Kings Destroy have been playing together in New York City hardcore bands and heavy music projects since as far back as 1986. Guitarist Carl Porcaro is a founding member of the New York hardcore/punk bands Breakdown, Electric Frankenstein, and Killing Time. Guitarist Chris Skowronski also plays with Killing Time and first met singer Steve Murphy and drummer Rob Sefcik in 1988 when he joined their NYHC outfit, Uppercut.
Kings Destroy on tour: Jun. 07 Brooklyn, NY – Saint Vitus (Record Release Show w/ Clamfight, Windhand, Belus) Jun. 20 Chicago, IL – Reggies (w/ the Swan King and Yakuza) Jun. 21 Milwaukee, WI – Days of the Doomed Fest June 22 Columbus, OH – Cafe Bourbon St (w/ Tank Destroyer)
OCEAN CHIEF is one of the most underrated Sludge/Doom/Stoner bands in the scene. Started as Doom/Stoner band in the vein of SLEEP they quickly evolved into something much more heavy, aggressive and…did I say heavy? Oh well, double heavy. This year the uncrowned kings of dark fuzz return with their fourth full-length “Sten”. “Sten” carries on from where “Den Forste” left off but has more clear brutal orientation. In this album OCEAN CHIEF slightly deviate from their SLEEP worshiping roots to add new exciting features. I don’t know exactly how to describe it but if you think of SLEEP’s “Dopesmoker” being played by members of AHAB (without the death growls) then you’ll have a good idea of what this record is about. The dominant element of “Sten” is without doubt the heaviness. However, under the tons of fuzz, the tower-high stacks of amps and the unbearable heavy riffs you will find some damn unconventional epic (both in character and duration) compositions. Actually, “Sten” may easily make a sane man wanna grab an axe and chop some heads off, for no particular reason. Additionally, the use of stoner touches which relieves the songs structures from their agonizing Doom bulk adds more interest to the “difficult” giant-size compositions.
Still, “Sten” is not an album for everyone…the combination of “too long/ too heavy” has never been mainstream, but hey, something is not right if you claim you like heavy music and you turn a blind eye in the bone-crashing majesty of songs like “Stenhog” just because it spans a little more than 15 minutes.
“Sten” may not be the band’s best album to date but f**k…this is some of the heaviest shit you can find out there. Personally, I was expecting something a little extra from a band with the history of OCEAN CHIEF but make no mistake “Sten” impresses just with its volume, heaviness and brutality. If you don’t know them just make sure to check out “The Oden Sessions” and the more approachable, “Tor”.
Chicago doom-metal legends TROUBLE will release their first studio album in six years, "The Distortion Field", in North America on July 16 and in Europe on July 26 via FRW Records. The 13-song follow-up to 2007's "Simple Mind Condition" is being helmed by veteran producer Bill Metoyer (SLAYER, W.A.S.P., ARMORED SAINT, DARK ANGEL, SACRED REICH, CRYPTIC SLAUGHTER, D.R.I.) and marks the recording debut with TROUBLE of lead singer Kyle Thomas following the departure of the group's frontman of four years, Kory Clarke (of WARRIOR SOUL fame).
Says TROUBLE founder and guitarist Rick Wartell: "Kyle
is one of the most impressive singers I've ever heard, and by far the
most extraodinary singer I've ever had the pleasure of working with.
He's got incredible range, incredible power, and an incredible knowledge
of TROUBLE, as he's been a fan for 20-something years. We've known him forever, and he innately understands what TROUBLE is about. He's like the perfect guy to come in and do this job. It's awesome."
He adds: "Musically, I think this album is a true TROUBLE record.
"In
the early days, we used to just write what we felt and didn't really
care about what anyone said. We just wrote heavy riffs and played our
music our way. But outside influences can kind of get a hold of you and
start telling you what to do.
"When we were writing this album,
the thinking was, we don't care what anybody thinks. We're going to
write what we write. So this is basically a return to our roots, while
combining some reflections of our band's long history as well.
"With the two different music writers, Bruce [Franklin, guitar] and myself, we have a slight variation in our writing; Bruce has more of a '70s groove to his writing, and I'm more the old-school doomy metal thing. And when you put it together, you get TROUBLE."
Thomas, former lead vocalist for EXHORDER, FLOODGATE and ALABAMA THUNDERPUSSY, was no stranger to TROUBLE as he previously fronted the band for four live shows between 1997 and 1999, including Stoner Hands Of Doom festival in Maryland and Expo Of The Extreme in Chicago. Thomas has also collaborated on projects with members of SLIPKNOT, DOWN, OBITUARY and DEICIDE.
In an interview with Metal Kaoz, Bruce Franklin stated about Kyle's addition to TROUBLE, "We didn't need to change any of the [new] music [to suit Kyle's vocals]. He really knows how to sing to TROUBLE stuff because he was a fan from way back."
Added Kyle:
"They had given me four songs to work on when I was jamming with them
in anticipation of possibly doing the album that came to be 'Simple Mind Condition'.
I did demo one song, but nothing I did ever made it to the album.
Things turned out the way that they have between then and now, and here I
am."
He continued, "Bruce and Rick [Wartell,
guitar] have always been great to me as people and business partners. I
was made to feel an equal back then, and the same goes for now. That is
monumental for me — I grew up listening to these guys and now I am a
member of one of my favorite bands. You can't beat that."
TROUBLE 2013 is:
Kyle Thomas: Vocals Bruce Franklin: Guitar Rick Wartell: Guitar Mark Lira: Drums
Fanttasma is a name of new intriguing doom band from Sao Paulo, Brazil. These men gathered just a year ago and look – they already have full-length album “Another Sleepless Night”, a true and complex monolith of death doom with post and avant-garde vibes. It’s highly energetic, enigmatic, dark and sinister, but one of most interesting elements of Fanttasma music is jazz influences, so you may wonder when you’ll hear sax or female vocals in some songs yet touch of death doom prevails above all extraneous effects in “Another Sleepless Night”. It was necessary to spread a word about this band, so look – here comes that guy…
Salute comrade! Who’s on-line today? Won’t you mind if we start with questions about Fanttasma’s creation? How did you create the band?
Hey comrade! This is Rafael Augusto Lopes, guitar player. When I left my former band (Torture Squad), I had many songs recorded that I wanted to finish and release, so I took the time and did it, then I called Rafael Galbes, our drummer and Thiago Andrade our vocalist to play the songs on the record, and now we three are Fanttasma.
Oh, Rafael, let me clarify one thing: is Fanttasma still a trio or did you finally get rid of third guy who always wears that funny pack onto his head?
Haha that guy is Thiago our vocalist, he needed a new life, so we killed him. We killed him so he could reborn, he needed a rebirth!
Hah, then that’s okay ‘cause I was starting to think that you have a criminal background! Brazilian doom-mafia who chasing critics and listeners which leave negative responses in forums… Such a strange idea, right? But I bet that you still got only positive reviews, and one of them was written for “Roadie Crew Magazine”, don’t you miss those times when CDs, audio tapes and paper magazines rule?
I actually really liked your idea! The Brazilian Doom Mafia should be an interesting group! But to be completely honest our reviews are way better than what we expected. So far many great reviews and opinions about our music, which makes us very happy. I miss printed magazines and physical albums, but this is our time, we live in the digital era, so what matter most is the message not the medium.
I see that your debut album of Fanttasma “Another Sleepless Night” still exists as a digital release, what is the latest news from the band? Did you find any worthy label to release that great piece of nontrivial doom metal?
Thanks for the words! Yeah, actually our physical record is coming, we’re just waiting for the copies to arrive, here it should take about a month. The label is called Warlock. They’re from Brazil.
Glad to hear it! How did you find this label and did you get offerings from abroad?
That label is Brazilian. I know them for many years now, it’s called Warlock. And we are glad to know we’ll have the physical copies very soon. There were many labels from abroad that showed some interest in us, but they all asked for physical copy, which we couldn’t provide.
“Another Sleepless Night” is seven great songs in a vein of doom metal with post- and even jazz-elements. What did drive you to create such interesting combination?
I don’t know actually, I just like tons of different genres of music, I like Black Metal, Thrash, everything in the Extreme Metal side, but I like Jazz, some electronic, darkened electronic stuff. I like Hard Rock, I just like a lot of stuff so I think it reflects on our music whether I choose it or not.
As I understand jazz-influences are most original feature of your music – what’s about this side of Fanttasma?
I think my major influence on guitar is blues, actually all rock came from blues, so guitar and blues go along together perfectly for me. And I always liked the saxophone, it’s just so expressive and have an amazing texture, it adds another dimension for us. So I think these things combined make what our music is.
I know another bloody good doom band from Sao Paulo, it’s Abske Fides. Did you ever share the stage with them? And do you know them at all? I was trying to contact with them once but I failed.
I know at least one of the guys from Abske Fides. I also like it a lot, it’s very depressing and has this hypnotizing vibe I enjoy. But we never shared the stage yet. Maybe one day in the future, who knows…
Fanttasma “Faith In Vengeance”
So Fanttasma plays live time to time, does it? How often do you play and what is a common situation with doom gigs in Brazilia?
Since I left my former band (Torture Squad) I choose to not do that many gigs, because I spent the last years of my life in the road and I needed time to to build my life back here. But later this year we should start focusing on live activities. There aren’t that many Doom Metal gigs around here, but overall is getting better.
It’s obvious that such qualitative can’t be record by those who just came into studio straight from the street, I’m sure that all of yours know how to deal with your instruments. But I know only that you (guitars, bass) did play in other bands before Fanttasma, what’s about another Rafael (drums) and Thiago (vocals)?
Our drummer, Rafael, is rebuilding his band, Thrash/Death Metal stuff. Thiago plays in a band called Deadly Curse, more modern Thrash with some very cool melodies, worth checking out.
I always consider that question as a kind of cheating in interviews but I really would like to ask you give comments to songs of “Another Sleepless Night”. I hope it’s not too difficult and boring for you, isn’t it?
Corona – This was one of the last songs to be composed for this album, it’s a late one. I think it shows a bit what Fanttasma is about so it was a good choice for the first song. The Passing Of Nibirus – This song features one of the greatest voices I ever recorded, the guy is called Daniel Wergan has an amazing range and did some very atmospheric voices. Metropolis – This song is about consumerism, life in big cities can get pretty pointless sometimes. The Night Fever – I love the saxophone in this song, originally that melody was created for the guitar, but it was not fitting at all. When the sax player played it for the first time, it was like “This is it!” Also a song that portraits what Fanttasma is. Life Is War – This song has a bluesy lick that repeats throughout the verses and features the voice of Fernanda Lira from the Thrash band Nervosa. This song is problably our most popular one on our Bandcamp. Faith In Vengeace – This one is a bit more aggressive maybe, with two leads, first the guitar than the sax. The saxophone player did an amazing job on this one, really cool solo, simple and effective. Seven Valleys – Our most Doom Metal song, I really like this one, actually like all of them, it’s pretty hard to write about our own music, is just so difficult.
How did you find such astonishing art-work for the album? I couldn’t believe that I see it as cover for death doom album, such impressive and fresh it is!
I also love it! The artist is a friend of mine, I produced his former band called Imminent Attack, which is Thrash, crossover. I always liked Impressionism and specially Van Gogh, I asked him a cover artwork inspired in that movement and he gave a amazing work of Art. I’m very happy with it too.
Fanttasma “Another Sleepless Night” teaser
If I get you right the theme of loneliness in the city is one of motives in your songs, it’s one of most popular themes in lyrics of underground bands; how does this problem touches you?
Well, I’m borned and raised in monster, because that is what São Paulo is, a monster, and living inside one takes the energy out of you, life is very stressing in cities like ours. But there are many cities like São Paulo around this planet where state of the art technology meets inhuman living conditions.
Rafael, thank you for your time! Wish you all the best on your way and be careful with Thiago in a future! Good luck!
Thank you Aleksey! Thanks so much for this interview, I hope that everything goes according to our plans and Fanttasma is able to play in Russia as soons as possible. When touring, I’ve been so close, went to many east Europe countries but unfortunally I never had to privilege to play in Russia. Can’t wait to bring our darkenes music to your land. Cheers!
Slow, bone crushing, dark Doom in the vein of ELECTRIC WIZARD, or WITCHSORROW? After joining Rise Above Records, MOSS don’t sound much like their past “horrible” selves. In their new album “Horrible Night”, the band decided to move in much more approachable paths so this time forhet about noise/drone stuff, now their riffs are clean and strong. Forget about extreme vocals because in this album you will only find spaced out ones. Their flavor of Doom may be less extreme and by all means less unique, but make no mistake this is still not music for pussies. Obviously, this is not the best Doom record I’ve heard and in truth there is much room for improvement in the songwriting department but the mix of heavy riffage and dark psychedelic tunes is definitely rewarding. You better consider this as the first step of a new exciting era for one of the most beloved underground acts on the extreme Doom scene.
Let me introduce Mark Thompson, formerly known as a painter and photograph he started his own solo project Dispersed Ashes in 2009 recording two demos – “Earth and Dust” and “Scattered Traces”. He did continue to calculate an optimal formula of perfect funeral doom onto his first full-length “Arithmetic of Souls” and through collaboration on two split-records he came to second big work with a grandiose title “The Nature of Things” which was released in the end of 2012 by Rain Without End Records. Are you ready to plunge into philosophical and analytical cold funeral doom metal? Just follow me, Mark is here.
Hi Mark! How are you comrade? Hope you’re in a good mood ‘cause last album of Dispersed Ashes “The Nature of Things” sounds pretty depressive and dark. At least were you happy with final result of this work?
Hi Aleks! It has been a long day in the studio, but a good one thanks. Yes, “The Nature of Things“ feels to have been a positive step forward from the first album. It‘s more confident and dense in sound, and is therefore closer to the sound that I had in my head before making the recordings. I think it is also more cohesive as a whole. I‘m not entirely sure I‘m ever completely happy with anything, but I am at least content with it as a marker in the ongoing path of Dispersed Ashes
“The Nature of Things” is quiet ambitious title for doom album, what was a matter of your researches in this work? What kind of results did you reach as person in a process of recording this stuff?
Taken from the title of a poetic work by Greek philosopher Lucretius, I stumbled upon it whilst researching something else entirely. It was a very happy accident however, and it quickly became obvious that it was to inform my work in some way. I have always specifically avoided any arcane or esoteric references in my lyrics and titles, opting instead to keep it squarely in the realm of actual human experience. The original poem deals with reality in an entirely UN-superstitious manner, attempting to see nature and matter for what they really are. This unflinching look at things has proved very useful to me as I approach the human condition in my work. One thing that became very apparent was the observation that although times have changed, people haven‘t. We‘re still hag-ridden by wish thinking and what amounts to a fear of the dark. Recording the album was a very emotional process… this is something that has intensified as I have written subsequent songs.
Mark, I know that you’re not only a musician but also you’re known as painter. Are those feelings which you express through your works similar to those which are projected through Dispersed Ashes? And where can we find your drawings?
My creative work is primarily as a painter, and I started Dispersed Ashes in response to a need to express certain ideas that didn‘t translate into painting. In many ways the two disciplines require very different approaches, but as time has gone by they seem to be moving closer together. In both my musical and visual output I try to understand my own humanity, time and memory through place and allusion, but perhaps where they most differ is in the level of emotional intent. D A is much more dark and aggressive because of the physical difference in time it takes to make a painting or play a piece of music. The paintings take an extended period to complete and are thus more reflective and measured… D A is still quite contemplative in a way, but is more pointed and immediate. I exhibit my work quite regularly, but if you wish to get a taste of my visual work online, visit my website: www.markthompson-artist.com
Oh, I see… And I’m ready to agree now that Dispersed Ashes continue the line of your paintings, I’m starting to understand it’s distorted sound better. Can you name artists who do inspire you in musical and other artistic ways?
I gain inspiration from many sources some visual some musical, and they have begun to cross pollinate, as it were. Most of the musicians/bands I admire seem to follow their own path rather than being allied to any particular genre, and many of them are outside of metal. For example, I love the work of trumpeter Arve Henriksen… he uses note combinations that never cease to amaze me. There is also a great deal of space and silence in his compositions. Similarly, I have started to really enjoy some of David Sylvian‘s recent albums. Within metal, Cult of Luna are not so much an influence as a source of wonder. Their song writing and attention to detail is startling. Altar of Plagues are also plowing their own furrow musically, and I find myself returning time and time again to their albums. Lantlos are also a band that I‘m listening to a lot at the moment. The phrase ‘post metal‘ is a little vacuous, but it does encompass any band that defies classification. I do of course listen to a lot of doom as well – mainly within the funeral or blackened areas; bands like Nortt or Tyranny. I also very much like modern classical and have recently been listening to Rachel Grimes, Dakota Suite, that sort of thing…
Visual artists that interest me are somewhat easier for me to identify. I love the work of photographer Sally Mann. Her photographs continually surprise me with their beauty and unflinching gaze at us as animals. In a different way, the sheer mastery of Hiroshi Sugimoto and Thomas Joshua Cooper are constant sources of inspiration. Within the realm of painting, Anslem Kiefer never fails to surprise me. His imagery is so rugged and dense with meaning. Recently I‘ve also been enjoying the work of Luc Tymans. His paintings are quiet but deeply serious and uncompromising.
Dispersed Ashes “Nature of Things” teaser
By the way, I note that some of your works have a common details – I’m meaning that straightforward lines or rails. How do you interpret that image for yourself?
I tend to respond most to imagery or music that is deceptively simple – unadorned and uncluttered. If by lines or rails you mean the perspective in the paintings and the building patterns in the music, they are quite intentional. It‘s a way into the work, both literally and metaphorically. I don‘t want to make the kind of compositions that the eye or ear cannot penetrate or are purely about the surface appearance. I want to invite you in… I‘m sure a psycho-analyst would have a field day with me!
Your previous full-length album was named “An Arithmetic of Souls”, another good title. What was behind it? You’re from Stuttgart and German philosophical school is still one of most famous one, is it a kind of your national feature?
Thank you Aleks. I dislike the arbitrary and throw away, so try to consider the song and album titles carefully. “An Arithmetic of Souls” was in many ways a statement about my view of superstition, religious dogma in particular, and how it attempts to govern and constrain the most important and celebrated moments of life by wrapping them in ritual. From cradle to grave, we have for millennia lived our short lives in fear of harming our ‘immortal souls‘ in some way or other and thus losing them to an ill-carpented and fictional hell. Even now our spiritual anxieties stand in the way of free enquiry. The album somewhat obliquely dealt with these ideas, and how they related to my state of mind. Whilst I live in Stuttgart, I am originally from England and thus cannot really comment on the German psyche or traditions.
Oh, that’s my fault – excuse me. Yet it’s funny, because it always seems the music as a form of art have a lack of such “arithmetical” logic as unconsciousness prevails, but I’m ready to suggest that Dispersed Ashes is exception. Heart or mind – which one plays leading role when you create?
They play equal but opposing roles. The initial spark is purely intuitive, and the songs come out in something of a flood. Within that process however I am very aware of my note choices and the musical clichés that are best avoided. As I get older and am exposed to a broader spectrum of music, it is impossible not to have all of it at the back of my mind, informing my self-editing. I think also that working as a one-man project gives me the freedom but also the responsibility to dictate the direction of Dispersed Ashes, and I try to be as rigorous with the songs as possible. I would find it difficult to approach them purely through reason and logic, but in order for me to move forward and progress I have to engage a certain self-criticism that prevents easy solutions.
I guess that you’re as a man with versatile artistic talent should have a complex method of writing not only music but also lyrics. What are your lyrics about?
As hinted at above, the lyrical content is centred loosely on the human condition, mine specifically, and how I process memory and experience. They deal with longing and loss, and the affect of time on both. The songs have no traditional verse/chorus structure as such, and so I am free to essentially write poems that explore the emotional content of the music. Describing lyrics is not unlike attempting to explain a joke – when reduced to its formal aspects it ceases to be funny - but I purposely included the lyrics in the cover design in case anyone is interested to read them.
What were your most important achievements onto “The Nature of Things” and in a whole period of Dispersed Ashes activity?
“The Nature of Things” is much more confident than my previous output. As a purely studio based project, it lives and dies on the recordings, so as I have gained in experience I hope the communication of my ideas has become more transparent. I have a very long way to go in sound engineering – the curse of all one man bands – but the more I learn the more I‘ll be able to let the music breathe. For example, when one is starting out there is always the temptation to drown everything in reverb and distortion… I‘ve rolled a lot of that off to reveal the personality of my playing a bit more. Besides the obvious artistic and intuitive aspects, I have also learnt a very little more about the craft of songwriting. I am very aware however that I have a long, long way to go…
I don’t remember funeral doom with clean vocals, don’t you ever think to be one of first explorers in this territory?
The clean parts of my vocals tend to be either mumbled or whispered; touching on the melodic at times, but never exactly sung. I prefer the more musical aspects of what I do to be handled by the guitars, treating the voice as more of a threatening presence. That said, as my work develops I cannot rule anything out. I‘m not even sure I can claim a place in the genre…
What are you plans for nearby future? Will you spend a whole summer behind black curtains composing another monolith of funeral and blacky doom metal or would you like to head on to countryside or some southern beaches?
On the visual side of things I have an extremely busy end to this year, with three exhibitions that will run concurrently. The summer will therefore be a flurry of paintbrushes to get everything ready in time. Musically I already have enough new material for two new albums, but the drive to write and record is constant so, whilst I won‘t exactly be sequestered behind black curtains, I will surely have a guitar on my lap for a lot of the time. All that said, I will be heading towards the sea for a short period to continue a photographic project… does that count as a holiday?
Well, I’m not sure… But I have one more question: how does new stuff of Dispersed Ashes sound? I’m meaning a whole conception of your forthcoming work and some new musical ideas which you of course embodied in it.
The new work… well, to my ear it is much more varied. The hard parts are progressively more aggressive and angular, yet there is much more space and expression. I‘m trying to leave more room for the songs to have their own personalities, yet obviously to still sound like DA. I hope the next album with be a denser, fuller, and ever more emotional work.
Mark, that was my last question for today, thank you for your time and patience. I wish you productive and interesting summer; please let me know when you’ll be ready to return spreading new Dispersed Ashes.
Aleks, I shall make sure to keep you fully informed! Thanks for your continued support of Dispersed Ashes – it is very much appreciated. Something to look out for in the future is a new project that I have become involved in. I am the designated guitarist and melody writer for a new post-metal/doom band, with members from As Autumn Calls, and black metal act Lebensnacht. It‘s a different challenge for me, and it‘s starting to sound ‘interesting‘…
