Dec 18, 2014

NEWS - Doomraiser: Album cover art revealed ...

Doomraiser reveal the cover art for their fourth album "Reverse (Passaggio Inverso)". The artist is Roberto Toderico (Todericoart.Com), who worked upon the band's concept.

The album will be released for BloodRock Records on January the 13th, 2015 on CD, LP and DD.

Next shows:

23/01 | Rome | Traffic Club - Release Party (with Shores of Null e Funeral Mantra)
24/01 | Brescia | Play It Doom Festival II @ Colony - Reprise Party

Posted By Savannah

Dec 17, 2014

News: The Grand Astoria is invading Europe again for their Winter Mini-Tour …

The Grand Astoria, old acquaintance of the readers at Doommantia (
) and outstanding Russian band fronted by eclectic Kamille Sharapodinov, is about to come back to Europe for enlighting the winter gloom with a load of great and original psychedelic experimental fuzz metallic rock.

Better than the comet!
Let’s remind that The Grand Astoria consists of mastermind Kamille Sharapodinov on vocals and guitar, Daniel Danilov on vocals, keyboards and percussion, Igor Suvorov on guitar and Dmitry Ogorodnov on bass and backing vocals. Plus notable guests and friends collaborating for music, sound engineering and art to the innumerable and always substantial releases of this prolific and valuable band. The Grand Astoria guys are very busy in organizing their new, big 2015 Spring-Summer tour which will involve several other cool bands of the European psych stoner/doom scene, like, for example, Samavayo from Germany and Doctor Cyclops from Italy.

The mega tour next year will culminate in the release of more new music including a split with Samavayo. But our Russian friends were also able to find energies and opportunities for organizing a highly intensive Winter blitz across Europe! As you can see from the banner, the tour will start on saturday December 20th till sunday December 28th 2014 and involve Riga (Latvia), the German cities of Berlin and Nurnberg (right on Christmas Day) and three sites in northern Italy, Dalmine (near Milano), Torino and Parma.

Let’s say that a more than good reason for The Grand Astoria doing this tour may be their latest, fine full-length album, La Belle Epoque. This is surely not the only release for this year, as this ultra-productive band was involved in two splits (one with band Montenegro from Argentina and one with band Mother Mars from Australia), plus an EP and a fat Black Flag tribute album!  You can find everything on the band’s highly populated Bandcamp page.  And if you add the other musical projects involving Kamille Sharapodinov, i.e. Organic is Orgasmic and The Legendary Flower Punk, well you may start feeling a bit dizzy …  The incredible thing is that such relentless creative activity is coupled with top quality!

Anyway, back to the latest full-length album La Belle Epoque, the album has been available as digital download on Bandcamp since last September, but now the vinyl edition of the album, including spectacular violet LP version, is ready and will be available during the tour! Of course there will also be the cool digipack version of the album, in addition to other stuff, likely including the reissue of The Grand Astoria debut CD equipped with a fancy comic book. Another good excuse, beside excellent trippy but energetic, smart, and, yes, kickass heavy music, for those who are along the track beaten by these Russians!

Keep the Facebook page of The Grand Astoria folks checked out for details about the locations of the tour.

For those who will not be able to be there but who would like to put their hands on solid music, including that violet beauty, you can always contact the band and/or visit the webpage of the German label Setalight Records.

Words: Marilena Moroni

The Grand Astoria @ Facebook
The Grand Astoria @ Bandcamp

Dec 15, 2014

News: epic doom metal band King Heavy recording their debut full-length album, and more …

Some cool news are coming from King Heavy, the epic doom metal band gathering fine doomsters from Chile and Belgium.

Just a few months have passed since King Heavy concluded their first successful tour across South America in occasion of the release of their debut EP Horror Absoluto (as CD digipack). The Ep is also part of Almas Malditas, a substatial split 12” LP with Puerto Rico heavy doom metal squadron DoomLord (related to Dantesco) who provided an equally powerful contribution.
The split LP is released by the French label Emanes Metal Records

Well, King Heavy are back to work for a new load of passionate and majestic doom. No wonder, as the band features excellent musicians and performers, including Luther Veldmark (Hooded Priest) on (impressive) vocals and ex-Procession member Daniel Perez Saa on bass.

A few days ago the band announced the beginning of the recording sessions for their debut full length album (7 new songs), which due out via the Italian label Cruz Del Sur Music, home to other substantial heavy doom/metal bands such as Slough Feg, Argus, Atlantean Kodex, Bible of the Devil, While heaven Wept, among others. The new album is planned for a mid-2015 release, which will be followed by a Chilean and European Tour in October/November 2015.As to the latter, those who will attend the next edition of the glorious Malta Doom Metal Fest during late October 2015 (including me, hopefully ..) will have the opportunity of enjoying one of the exhibitions of mighty King Heavy on tour. In the meantime enjoy the official live videoclip for “The Origin Of The Witch Hunts” (from King Heavy’s debut EP “Horror Absoluto”) and get hold of one of the last copies of the EP and/or the split LP by contacting the “royal headquarters” of the band at and/or from Emanes metal Records.

Words: Marilena Moroni

King Heavy - The Origin Of The Witch Hunts

News – first announcements for the Malta Doom Metal Fest 2015 …

The Maltese doomsters are surely no people who like to rest on their laurels. Less than two months have passed since the last successful edition of the Malta Doom Metal Fest, but the organizing committee, involving both musicians and fans (like Albert Bell of Nomad Son/Forsaken/Sacro Sanctus and Glenn Gauci – here), started quite rapidly working on the next edition, which will be the seventh!

So in the last few days the organization was already able to announce a substantial part of what the juicy bill will be for the Malta Doom Metal Fest 2015.
The festival will take place during October 23rd and 24th 2015 at the by now classic, picturesque location of the Buskett, right in the middle of the woodland occupying the heart of the charming Malta Island.
Here is the comment that officially announced the festival:

“ MDM returns for a mammoth and much awaited seventh edition on the 23rd and 24th of October 2015 with a hard-hitting line-up that should appeal to doomheads and true metallers alike; covering all the shades and hues of doom metal and related genres including epic metal, NWOBHM and early thrash!”

And here is the preliminary list of the bands that so-far confirmed their attendance to the festival (in alphabetical order):

Circle of Witches (Italy) Stoner metal

Doomed (Germany) Doom Death

King Heavy (Chile) Heavy Epic Doom

Marche Funebre (Belgium) Doom Death

Mother of Six (Wales) Stoner/alt Rock

Stonegriff (Sweden) Doom Metal

Void Moon (Sweden) Epic Doom Metal

Many more bands will be announced in the next future.
Hence the official website of the festival as well as its Facebook pages should be kept checked out by those who would very much like to experience this highly involving festival again (like me, for example …) or else for the first time! And it won’t likely be the last one …

Words: Marilena Moroni

Malta Doom Metal Fest 2015 Links
Official Website
Facebook Event Page

News: first announcements for the Heavy Days in Doom Town Festival 2015 …

These last two weeks saw a busy activity by the committee of heavy music lovers behind the organization of the fine Heavy Days in Doom Town festival in Copenhagen, Denmark. The festival is well known for covering a wide range of genres such as doom, sludge, stonerrock, psych, heavyrock and more.  The next edition of the festival, the 4th one, was announced and a good part of the super fat bill was already uncovered. The fans of this excellent festival have become used to the no-less than monumental bills of this cool festival which is again bound to last for 4 days for its next 2015 edition, between April 30th and May 3rd 2015.

To quote the organizing committee … “Expect something out of the ordinary!”

But the whole thing started with an unpleasant announcement too. As many of you know, this big festival has been and is organized and run according to DIY ethics by the Danish underground music association, “Undergrundsmusikkens Fremme”, the same entity behind the great Killtown Deathfest. The Killtown Deathfest celebrated its’ “funeral edition” last September 2014 with a spectacular event. Well, unfortunately the association decided to put an end to the experience of the Heavy Days in Doom Town festival as well. So the 2015 edition will be the last one too, the “Doomsday Celebration”. Hopefully this will be only a temporary interruption for both festivals.

Anyway let’s appreciate the half full glass, and let’s see what is to be expected for the four days of the 2015 Heavy Days in Doom Town edition, by listing the very first bands so-far announced, only a few but enough for drooling all over like a slug!

Abysmal Grief (Italy)
Official Website

Acid Witch (USA)
Hellsheadbangers Bandcamp

Bell Witch (USA)

Conan (UK)

Dopethrone (Canada)

Epitaph (Italy)

Hooded Menace (Finland)

Guevnna (Japan)

Mirror of Deception (Germany)
Official Website

Night Viper (Sweden)

SaturninE (Italy)

Serpent Throne (USA) – first show in Europe ever!

Weak (Denmark)

Worm Ouroboros (USA)

Not bad, eh?
Keep the webpages of the festival checked out for constant updates and any other practical information, including the purchase of the tickets (pre-sale starting on January 1st 2015, at 12 am).

Words: Marilena Moroni

Heavy Days in Doom Town Festival 2015 Links

Heavy Days In Doomtown Official Website
Heavy Days In Doomtown Facebook
Facebook Events Page

NEWS: Tank86 Unleash New Video ...

Dutch instrumental heavyweights TANK86 have released a music video for the track “Vault” from their new Album “OBEY”, scheduled for release on Lighttown Fidelity / Rising Magma records in January 2015. The band just completed a successful kickstarter campaign to raise funds fo the follow up of 2011’s critically acclaimed “Rise”.

The video depicts an atmospheric battle between two grim figures shot in full stop-motion.

TANK86 has been creating its own particular brand of heavy instrumentalism since 2005. Two guitars, bass and drums are all the tools this band needs to get their heavy point across. A high dosage of riffs, harmonized layers and unconventional song structures effectively dismiss any need for vocals. No time for singing when you are pounded into oblivion...

Tank86 @ Bandcamp

Dec 14, 2014

Doomology Vol. 4 - Stone Garden ...

This edition of Doomology features a band from Lewiston, Idaho who went by  the name Stone Garden. Featuring many different members and lineup changes, the group existed from 1967 to early 1972 and took inspiration from artists such as Jimi Hendrix, The Beatles, The Stones, Cream, and Creedence Clearwater Revival. The band was initially formed by three siblings in the early sixties. The Three Dimensions, as they were called at the time, consisted of Paul and Gary Speer on guitars, with brother Neal playing the skins. They landed their first gig while barely even teenagers performing at a city pool for a “Swim and Dance Party,” which earned them some minor exposure and $65 in cash. While in junior high the brothers added on Dan Merrell who contributed his bass playing abilities to the band. A name change was in order as well and they became The Knights Of Sound. Around this time (1965) the Knights were given a chance to record their first song.

“The World Is Coming To An End”, was recorded in a basement facility owned by a Doug Smith, in Clarkston, Washington. By this point the band was frequently playing live venues and this helped attract the attention of a potential manager, Don Tunnell. Seeing this as a chance at super-stardom (and for the fact that he only lived a block away and was old enough to buy beer), the band hooked up with Tunnell, who also gave them their newest moniker, Stone Garden; borrowed from a psychedelic poster Don had seen amidst the then blossoming flower power revolution. For the next few years the band was able to build up a solid reputation playing all over the Pacific Northwest with sets containing both originals and typical cover songs by groups such as The Doors, Hendrix, The Beatles, etc. In 1969 they were once again invited by sound engineer Doug Smith to record material in his new and improved basement recording studio.

With the help of multi-instrumentalist John Purviance playing the sax and harmonica, the group pressed 300 copies of a single containing the songs Oceans Inside Me and Stop My Thinking. Following this a disc jockey and big supporter of the band going by the name Chris Adams, set them up at a professional 8-track recording facility to record some more songs, including a second version of Oceans Inside Me. These recordings were never released at the time, but eventually made their way onto a compilation CD of the band’s work released in 1998 by the label Rockadelic. In the fall of 1969 Gary decided to part with the band and pursue a college education and was replaced by Russ Pratt, a singer/songwriter and organ player from a fellow band in a nearby town. More personnel shifts occurred after Russ, Dan, and Paul graduated high school in 1970. Russ and Dan left the group and were replaced with Charles Weisgerber for bass duties and Rand Harrison for his vocal and keyboard talents. Unfortunately Rand did not fit quite right with the band. Luckily though, Gary Speer was able to return and took over for Harrison. Eventually they set their sights on bigger and better things by relocating to Seattle where fellow Lewistonian, David Lee, joined the group playing the electric piano and handling additional vocals.

This lineup was short lived though and Charles Weisgerber returned to Lewiston and was replaced with John Helton. This final incarnation of Stone Garden (now calling themselves The Speer Brothers Band, but according to Paul Speer it was really the continuing legacy of Stone Garden) lasted until early 1972 when the group finally decided to throw in the towel. Following the disbanding all the members continued to play music either part of full time. Bandleader, Paul Speer went on to enjoy a successful career in producing and has over 250 albums to his name, in addition to a Grammy nomination for a video collaboration with Queensryche drummer Scott Rockenfield. Sadly Dan Merrell was killed by a hit and run driver in 1972 and Gary Speer passed away in 1994. The band went through many members throughout its history and was unfortunately never able to release any proper albums or recordings minus the one single, but luckily many of their fantastic recordings survived and were able to find their way to a much larger audience thanks to the Rockadelic compilation and the reissues that followed.

Other than the single containing the tracks Oceans Inside Me and Stop My Thinking, the band never officially released any material during their active years. Fortunately Rockadelic was kind enough to remaster and put together a good collection of ten of the band’s cuts which Paul Speer felt were good representations of their overall sound. These guys have a fairly heavy reputation among fans of the genre and the opening cut of the album definitely shows why. It’s full on proto doom and totally fuzzed out. Just the way heavy psych ought to be. Following this we have It’s A Beautiful Day. You may be expecting a mellow, flower power type folk song, but despite the title it continues the heavy fuzz tradition started with Oceans Inside Me. There are softer cuts yet to come, but they’re still quite listenable. The band’s very first recorded song comes next and while nowhere near as heavy as the previous songs, it’s still a nice little ditty. It’s especially impressive for the fact that the oldest person in the band was around 15 or 16 at the time of recording. The following track brings us back to the heaviness and is bestial fuzz onslaught. Six minutes of delicious psychedelic jamming. For my ears this is the stand-out track on the album. The blandly titled Da Da Da Da Da is a bit of a weaker song, but it’s nothing insulting.

Halfway through the compilation and we have heard two softer songs and three heavy ones. Not a bad ratio, and it basically continues on like this for the remainder. Stop My Thinking is a fairly uninteresting blues song, and may be a turn off for the heavy heads. But once again it’s not a total waste of sound and even at their worst this band can still entertain. Track number seven returns the heavy fuzz to our ears and gets us ready for the big grand finale. Well not actually the finale, but Woodstick would definitely be an appropriate closer. It’s long, drenched in blistering hot psychedelic vibrations, and overloaded with the groovy fuzz this band excels at. Definitely a highlight and probably the heaviest track here. Now unfortunately the last two songs kind of...don’t do much. First there’s the (in my opinion) pointless and inferior 45 version of Oceans Inside Me which is bogged down by unattractive saxophone noise. Stick with the other version of the song, it’s much better. And then there’s the infamous SF (San Francisco) Policeman Blues track. After several listens the song might grow on you like it did me - it’s pretty fun, lighthearted and harmless - but I can definitely see others absolutely hating it. It’s totally out of place and if you didn’t know better you’d have know idea it’s the same band performing it. Like I said, I can dig it somewhat, but still be on guard for it. Now I just found out while doing research for this band that a reissue of the album was released in 2008 containing five additional bonus cuts. I searched YouTube (not very thoroughly mind you ha ha) and was unable to find them to listen to so I had to rely on short previews of the songs found on But from what I’ve heard I can say that they keep the same level of consistency found on the original ten songs; some heavy fuzz monsters and some mellow, bluesey type songs. Overall this one is a great listen and if there’s one thing to take from this review it’s the word fuzz which there is plenty to go around on this record.


These guys won’t destroy your speakers every time, but when they do, they really fucking do. You’re not going to find many other flower power bands this heavy and fuzzed out. Also consider the fact that the majority of the their recordings were done while the band was in high school. So enough reading this, go out there and make purchase of their sole compilation and DIG ON THE FUZZ!

Recommended tracks:
-Oceans Inside Me (not the 45 version)
-It’s A Beautiful Day
-The World Is Coming To An End

Words: Brian

Dec 11, 2014

NEWS: HIGH ON FIRE Taps Producer KURT BALLOU For New Album ...

California heavy rockers HIGH ON FIRE will enter Salem, Massachusetts' GodCity Studios with producer Kurt Ballou at the end of January to record their as-yet-untitled new album for a mid-2015 release via eOne Music. Earlier in the year, the trio — guitarist/vocalist Matt Pike, drummer Des Kensel and bassist Jeff Matz — convened for strategic writing sessions in both New Orleans, Lousiana and Oakland, California, with early reports indicating the band's new material to be both "epic" and "sonically huge."

"Everyone is asking what the new HIGH ON FIRE music sounds like," said Kensel. "Chew on some mescaline and listen to side B of SABBATH's 'Master Of Reality' backwards at 78 RPM and it might give you an idea."

HIGH ON FIRE will kick off a short run of U.S. dates on January 6 in Birmingham, Alabama. The trek will continue with stops in Richmond, Virginia (Jan. 8); Brooklyn, New York (Jan. 9); and more, wrapping up on January 14 in Providence, Rhode Island.

HIGH ON FIRE released the first official live recordings of its career with the two-volume set "Spitting Fire Live", which has been hailed as "high-volume intensity" by the Austin Chronicle, "hot as the infernos" by Pitchfork and a "documentation of the band's undiminished ferocity onstage" by the SF Weekly. Recorded over a two-evening New York City headlining stint at both Bowery Ballroom and Brooklyn's Music Hall Of Williamsburg, "Spitting Fire Live" showcases HIGH ON FIRE at its incendiary best, containing songs from each of the band's critically acclaimed studio albums including 2012's "De Vermis Mysteriis".

Photo credit: Travis Shinn

Dec 7, 2014

Quemos – S/T ...

“Born outside the laws of God and man, (The Cult of) QUEMOS invoke the primordial darkness that has always existed and will always exist.”

This is what introduces, and concisely defines, the music by Quemos, an occult doom act from Lima, Peru. Quemos started its activity rather recently (early 2012) as a duo gradually turning into a quartet. But  the dark, minimalistic and sacrilegious music conveyed by these acolytes seems to belong to archaic times.  The name of the band, Quemos, is deriving from Chemosh or Chamos, the “destroyer”, the abominous, blood-thirsty god adored by the Moabites and introduced by King Salomon to Jerusalem (as told in the Old Testament). Like the akin ancient deities Moloch and Baal, Chemosh was worshipped even by celebrating human sacrifices.

The members of this occult Quemos clan bear ritualistic names without revealing their real identity. If you are curious you are invited to go and check out the band’s pages in order to find out who is behind this project. But for the music purpose it is cool enough to know that the owner of the threatening, nasty voice leading the bloody sacrifice is High Priest of Moab, while the other cult ministers creating the grim, ultra-slowly plodding and obsessively drony carpet are Harvester of the Dying Sun (in charge of “seeds of knowledge & soundscapes of madness”), He-Who-Walks-Among-The-Shadows (imposing “discipline, aural obscurity & beyond”) and Kenotic Deconsecrator (emitting “unholy blasts of darkness”).

The very first archaic rituals by Quemos are gathered in their debut self-titled full-length album, three poisonously obscure litanies which will benumb you for over 48 minutes. The titles of the tracks are rather clearly marking the progress of a nocturnal rite in honour of the blood-hungry deity: the opening piece called “The Portal Must Be Opened With The Blood Of Their Throats” is an over 26 minutes-long suite followed by Light Is No Longer With Us, a similarly dilated evil, ceremonial prayer. The closure of the ritual is lead by the short (almost 3 minutes-long) atmospheric track Dawn Of Moab.

There is no actual leading melody, or maybe there is a faint one,  to be followed in Quemos’ ritualistic doom, and, well, “doom” is not exhaustingly defining the music. Quemos’ music seems overly minimalistic but it is blending elements from a wealth of genres, like ultra-slow, funeral and occult doom, dark ambient/psychedelia and drone mixed with black metal, the latter particularly for the ferocious vocal style. Quemos, let’s say, take their time in developing their dilated, deadly mystic litanies. For example the first track starts with a very long intro where some sinister drony vibration, drum “blasts”, the hissing of cymbals and the malevolent gurgling voice are literally absorbing the light and dragging you with an unbearable slowness into the core of the rite where other “noises”, e.g. from guitars (maybe) are added. The guitar sounds are low and reverbered, they do not build any normal “metal” riff, they emit a series of deep, low howling melody echoing out like coming from the bottom of a cave and mostly alternating with the grim chanting. Is this the voice of the god interacting with the propitiatory prayer of his minister? If so, it is impressive! In any case, the choice of not overlapping sounds and vocals in cacophony and, instead, of letting the sounds die away in silence for a few seconds is tremendously effective for imposing a suffocating ambience. Guitars, drums, drony noise and vocals will end up overlapping in several occasions towards the end of the long suite with quite dramatic effects. We are deep into the bloody ritual.

The second majestic track is no less gloomy as far as atmosphere is concerned. The very first start takes place with the sudden sound of cymbal, so much typical for ancient rites. The vibration of the cymbal will die out in silence from where sinister background noises, the sound of organ, the nasty growling voice, accompanied by the howls of a wolf, will progressively grow, inflate and deflate like agitated ghosts. Scary! The complete decoupling between the irregular pattern of the drumming, the obsessive vibrations of the feedback and the slow chanting creates an interesting effect related to both the way sounds were treated during mastering/production and the fact that it is impossible to predict how the “melody” will develop. You’ll stay hooked to this odd, malignant litany for 19 long minutes, till the almost abrupt end of the ritual will leave you, or what is left of you, free, probably …

The way music was treated in the studio is stunning: the first impression may seem of lo-fi music, and this may contribute to the “archaic” feeling. But sounds (vocals, drums, guitars etc.) are perfectly clear, no matter if they are in the background or loud. The final result is a remarkable tri-dimensional soundscape, which makes Quemos’ music even more suffocating.

Vocals, music style and features in Quemos reminded me of several bands and acts, definitely Grave Temple, SunnO))), but also Om, Sleep as well as ultra-slow bands like Funeral Moth (especially in their overly sick 2006 demo The Moth Flying to the Funeral Sky – by the way, read the interview to Funeral Moth here) and Moss. The stream of abyssal evil emanating from Quemos’ music also reminds me of the mammoth-heavy ferocity in doom-death metal bands like Grave Upheaval and Anatomia in their slowest moments.

The music crafted by Quemos was abysmal enough, and surely cool enough, for attracting Golden Procession Records, the “Doom Division” of the Japanese label Deathrash Armageddon. Quemos’ debut album was released during 2013 and is available as CD format via Golden Procession Records/Deathrash Armageddon (or else by contacting the band via Facebook). The album is available for full streaming on Bandcamp. Quemos are writing new blood-curdling rituals, you are warned …

Words: Marilena Moroni

Full streaming: HERE.
Video: Quemos – Dawn of Moab: HERE.
Quemos @ Bandcamp
Quemos @ Facebook
Label Golden Procession Records / Deathrash Armageddon

1. The Portal Must Be Opened With The Blood Of Their Throats 26:32
2. Light Is No Longer With Us 19:14
3. Dawn Of Moab 02:56

News:Dirty Grave are back with two new songs ...

After a year, the wait is finally over for all Dirty Grave fans. Brazilian Occult/ Traditional doomsters Dirty Grave are back with the new EP titled Single Vol.II. You can find two new songs titled "Evil Heart" and "Madman's Revenge". You can listen to it HERE.

If you want to listen to their first EP, click HERE.

Dirty Grave first appeared in mid-2013 in Orlândia SP, Brazil, with Mark Rainbow and Victor Bergy. They started the compositions for the first EP, even without a drummer, they recorded(record home) the EP Dirty Grave.  The band performs his first rehearsals with Arthur Assis occupying the position of drummer and follows for the release of their first album.

Official Facebook page: HERE.
Bandcamp: HERE.

Source: Jan Zajc

Alessandro Parisi & Adamennon - Il Plenilunio del Fuoco split LP ...

Italian eclectic musician Adam Van Maledict, or Adamennon, has been getting his fan base used to wide-angled intriguing, or better bloodcurdling, escapes into underground dark and heavy music.

Adam has been experimenting in various genres and especially ranging from punk to a hybrid, “de-progressive” genre incorporating dark/black, ritual ambient, industrial, noise, doom, drone etc. elements.

The latter hybrid  genre is well represented in its varying shades by Adamennon’s solo albums (two of them featured on Doommantia here and here) as well as by the author’s collaborations with acts like Null, Traumasutra, L.C.B., Beta (a.k.a. Mike in chaotic sludge-grind band Viscera///), Nessuno (a.k.a. Michele Carnielli in Kröwnn), or else, very recently, with the ultra-gloomy project Liturgia Maleficarum.

In addition Adam and his recording studio (SFR Studio) have been and are a key reference for issues related to sound engineering and production for several bands born in the deep underground and soon object of much deserved international attention. I may just mention the doom-death metal banshees SaturninE as well as the funereal necromancers Fuoco Fatuo and Black Temple Below.
With the albums Nero and subsequent MMXII Adamennon has been further widening and enriching the paths of experimentation started with his solo dark-drone ambient production. Adam has been progressively abandoning the once substantial industrial elements in favour of the incorporation of horror prog-like features typical of the Italian prog rock tradition. Adamennon’s most obvious references for this newer course are groups like Jacula/Antonius Rex and Goblin, i.e. bands/projects where keyboards, and particularly organ, are dominant. More than ever Adamennon’s music turned into “narrative” and evoking, obscure and esoteric as much as the music of those soundtracks for vintage horror movies that doom lovers dig so much.

Hence it comes as no surprise if this passion brought Adamennon to collaborate with musicians who are mostly into electronic music, i.e. a reference music genre especially for soundtracks to horror and sci-fi movies. One of the fruits of such collaborations is the recent split between Adamennon and Alessandro Parisi. Alessandro Parisi is a young, talented and internationally known Italian composer/producer devoted to minimalistic electronic music and broadly inspired by the cyber-punk culture and, in general, by anything esoteric and gloomy. Alessandro’s main sources of stylistic inspiration are electro-techno-house acts like Legowelt and Daft Punk and composers such as Jean-Michel Jarre, John Carpenter and invariably Goblin and that creepy, scary intro of album Tubular Bells by Mike Oldfield (try and listen to Alessandro Parisi’s recent EP La Porta Ermetica – on Bandcamp …).

The partnership between Adamennon and Alessandro Parisi culminated into the release of the split 12”LP “Il Plenilunio del Fuoco” during May 2014 as ultra-limited edition via the British label Flight Recorder. The split LP is accessible in full streaming via Bandcamp. Apparently the album is sold out, however the label should be contacted about possible reissues.

The LP consists of music for the ideal creepy soundtrack to an ideal, definitely dark movie that doesn’t exist yet! The cover art is adorned by a typical medieval-looking heraldic symbol with shield and swords, rather simple style-wise but stained by blood. The very titles of the album and the tracks (in Italian and Latin) are like a jump straight into occult, necromantic ambience: e.g., “the Nihil is calling you”, “the ritual”, “baptism of blood”, “purification” … Each side of the split LP includes two rather short (never over 5 minutes-long each) but incisive tracks consisting of a solo song and a collaborative song. This is actually something different from most splits around where bands/artists contribute their separate tracks independently. This split LP is a way for approaching the essential features of each musician, Adamennon and Alessandro Parisi, and, at the same time, for observing how the two musicians blend their styles, experiences and creativity while composing together.

You may appreciate the alchemy of this mutual influence right from the first combined track, "Il Nulla Chiama A Sè”, whose title (“The Nihil is calling you”) is an ideal bridge with the “subject” of Adamennon’s album MMXII, dedicated to the Nihil and to the end of Everything. Immediately Adamennon’s keyboards lead the dances. The solemn and tremendously sinister sound of the organ is involved in braided constructions with a deep bass line imparting a tridimensional thickness to the sound. Over these sonic spires some malignant entities are fluctuating: their bleak, trembling voice stems from Alessandro Parisi’s electronic tricks and Adamennon’s piano touches … If the hypnotic rhythms numbed your mind, just a single creepy whisper is able to drag you into the story told by this soundtrack music, a story that doesn’t exist yet but that you are bound to build up while listening and being inspired by music.

The second combined track, "Aperiens Ad Lunam (Baptismum Sanguis)" brings horror in its very title (“blood baptism”) but it is surprisingly introduced by a rather intimate melody driven by a violin-like sound from the synth. If the first collaborative track is recalling the horror/sci-fi movie soundtracks from the 60-70’s, this second combined track is lead by a plodding, almost martial rhythm marked by the trembling cymbals, by the galloping vibrations of the bass and, above all, by the ancient, folkish, almost medieval/renaissance-like flavour. Here as well Alessandro Parisi and Adamennon seem to have good time in combining diverging melodic lines and electronic effects around the backbone of the vibrating cymbals. After a progressive growth of sounds into the core of the ballad, the leitmotif will gradually get simpler until the violin-like sound will be almost dissolved into silence, into Nihil, like a troubled soul which is recalled by a séance and then it is sent back to the otherworld dimension it belongs to.

In his “Rituale (Electi Initiationem)", Adamennon unleashes his beloved keyboards. This bleak and dreary lithany is lead by the piano possessing an almost painfully acute, crystalline sound. The resulting glacial, metallic, lower-key, piano-driven melody is dissonant and is growing over a gloomy and gurgling base of organ and unsettling electronic effects similar to rattles (often heard in horror movies). The composition of the “Rituale” is a sort of never-ending spiral emerging from silence for us and then gradually plunging back into silence. Alessandro Parisi is closing the split with his ballad "Caeli Rore (Purificatio)". Alessandro likes to lead the story by means of a heavy, dark and majestic drone carpet populated by his innumerable, insidious ghostly, Goblin-style electronic effects. These effects consist of obsessive sounds glued together by the dull and rapid tolls of the percussions in the background, as well as of sudden noise flashes similar to voices deformed by theremin. Alessandro’s own track is overly grievous, dominated by oppressive, tenebrous darkness, the same darkness which is eventually going to swallow all the sounds belonging to this occult ritual.

The ritual is officially over, but you cannot be relaxed because, sincerely, 20 minutes are far too short for exhausting the scary, morbid story that you have been building up, and plunging into, while transported by music …

Words: Marilena Moroni

Full streaming: HERE.
Video: HERE.
Adamennon @ Bandcamp
Adamennon @ Facebook
Alessandro Parisi @ Bandcamp
Alessandro Parisi @ Facebook
Flight Recorder @ Facebook

Side 1
1. Alessandro Parisi & Adamennon - "Il Nulla Chiama A Se (Orior Omnia)" 04:04
2. Adamennon - "Il Rituale (Electi Initiationem)" 04:31
Side 2
1. Alessandro Parisi & Adamennon - "Aperiens Ad Lunam (Baptismum Sanguis)" 04:57
2. Alessandro Parisi - "Caeli Rore (Purificatio)" 04:50

Dec 4, 2014

Japanese Extreme Doom Metal: Interview With Funeral Moth ...

When you mention Japanese doom bands most people instantly think of Corrupted, Coffins and Church of Misery. However, Funeral Moth is among them as one of the absolute best.
Funeral Moth mastermind and Weird Truth Productions founder Makoto Fujishima was kind enough to do an interview with Doommantia. Regardless of your familiarity with the band and label

MV -Thank you for doing this interview with us. Would you mind tell us little about yourself?

Makoto - You are welcome! Thanks for giving us the chance to introduce ourselves to Doommantia! My name is Makoto and I'm playing guitar and doing vocals in Funeral Moth. Besides that, I'm also running a label called Weird Truth since 1999 which has released many extreme doom stuffs.

MV - How did you get your start playing doom metal? When did you officially start/join your first band, and who are your biggest influences?

Makoto - Around 2000, I played in a doom band called Mourning Shadow. But MS released only 1 song on In Search of Weird Truth compilation tape released by my own label. Perhaps, it was the first time for me to play in a doom band. As for my first band, it's Nyarlathotep I started in 1993. To begin with, I started it with 3 other guys and played something like old school doomed death metal with some bizarre elements. I started to listen to metal music when I was 14 or so. First metal album I bought was Operation:Mindcrime of Queensryche. Then, I started to devote myself into metal music and 3 or 4 years later I found the underground death metal scene. All the bands I listened to through my metal journey influenced me in every way. I can't choose only one who influenced me. Well..., I think Mournful Congregation, Worship, diSEMBOWELMENT are the biggest influences for me to play in a doom band.

MV - The last Funeral Moth recording (a self titled EP) came out in 2008, why did it take so long to release 'Dense Fog'?

Makoto - Yes, it took very very long time. We had already had all the songs on "dense fog" album in the beginning of 2010. At that time, we were 3 piece band and those songs were meant to be for single guitar. Then we toured with Mournful Congregation in July/2010. For that tour, Matsubara-san from ex-Mortalized/Gridlink joined us as a guest guitar player. It turned out really great and we recognized that we would need the 2nd guitar player as a permanent member. Unfortunately he lives very far from our home town, so it was impossible to ask him to join us as a permanent member. So we postponed the recording and started to seek another guitar player. In 2011, Mayo joined us and we started to re-arrange the songs for 2 guitars. It took about a year or so then we started recording in spring 2013. But Mayo left the band while we are recording the album. Fortunately, we could find Tomohiro and continued the recording. But it took much longer than we expected.

MV - This work is more varied than you other material. Dense Fog reminded me a little of Worship. It's heavier and the playing is more advanced than the EP. What made you decide to go this route and when can we expect your next release?

Makoto - Yes! Our 2008 EP included only 2 songs and they were much simpler and heavier doom stuff compared to "dense fog" album. When we were making "dense fog" album, we tried to make more atmospheric music and it was natural improvement for us. As for 2008 EP, it was recorded a few months after Azegami-san joined. So there weren't so much input from him at that time. This time, he arranged his drumming by himself, and Tomohiro is a really well-experienced guitar player, who helped us to go into next step. Yes, we must admit that Worship is one of the biggest influences but I think our music has our own uniqueness. Their music is extremely depressive, but our music isn't so extreme and yet it's much more emotional. Now, we have already had 2 new songs and we are going to start the recording sometime in 2015. I think those 2 songs are also different from the songs on "dense fog" album. They are much more progressive and emotional I think.

MV - What was the primary source of inspiration for Funeral Moth in the first place? What does it represent to you?

Makoto - First 2 songs of Funeral Moth were written by Sento-san, our bass player. He's deeply into Worship and tried to make the band like them when we started FM. So I think we are influenced by Worship a lot in our early days. But he's also into some hardcore stuff, so I think there are some hardcore feelings in those 2 songs.

MV - What other bands are you and the members of the band involved with?

Makoto - I'm only plying in Funeral Moth now. Sento-san is playing in the band called Midian whose music is something like dark and gloomy punk. Azegami-san is playing in 2 grind bands, Brob and Realized. Tomohiro is also playing bass for Realized, and he's also playing in some other bands, Realm(drumless/vocalless doom) and Discrete Corporality(Catasexual Urge Motivation worshipping gore death/grind).

MV - Most of what comes from your country seems to be either grind or power metal, is there a doom scene in Japan?

Makoto - I think it's not correct. There are great death metal bands like Anatomia, Coffins, Deadly Spawn, Intestine Baalism and so on. As for thrash and black metal, there are also great bands like Sabbat, Abigail, Fastkill and so on. Anyway, It is certainly so that doom isn't so strong here, especially extreme doom like we are playing. There are some good "doom rock" bands and it seems there are something like scene for them here. But as far as extreme doom is concerned, there are only a few bands. Perhaps you know, Corrupted is the most popular and famous band who are playing this kind of doom. I think they are the one and only band who are recognized a lot outside of Japan in this genre. And there are also one good extreme doom band called Begräbnis, who are playing extremely dark and ritualistic doom with some industrial feelings. But it's still small world unfortunately...

MV - What are you interests outside of music?

Makoto - I enjoy climbing mountains. As for the cover photo of "dense fog" album, it was taken by me when I climbed the mountain in Oita prefacture, which is in the west part of Japan. It leaves a great impression feeling the vibe of nature while I'm walking alone in the mountains!

MV - If you could see any concert in the world what would your ideal line up be?

Makoto - Mournful Congregation, Worship, Ataraxie, Profetus, Dea Marica, Begräbnis and Estrangement all Weird Truth doom bands who are active now! Plus my doom, doom/death idols like Inverloch, Skepticism, Unholy, Evoken, and Candlemass!!!!!

MV - Thank you for letting me interview you. Do you have any parting words?

Makoto - Thanks for the interview! Keep on doomin'!

Interview By MV

Official Website

Dec 3, 2014

Video - THE SKULL Featuring Former TROUBLE Members: Fan-Filmed Footage Of DAY OF DOOM Performance ...

Fan-filmed video footage of THE SKULL — the new band featuring two original members of American doom metal legends TROUBLE, Eric Wagner (vocals) and Jeff "Oly" Olson (drums), alongside longtime TROUBLE bassist Ron Holzner, guitarist Lothar Keller (SACRED DAWN) and former PENTAGRAM guitarist Matt Goldsborough — performing on October 10 at the Day Of Doom festival in Barcelona, Spain can be seen below.

THE SKULL released its debut album, "For Those Which Are Asleep", on November 4 via Tee Pee Records.

Written and recorded this past spring, "For Those Which Are Asleep" is the first full-length album to feature Wagner, Holzner and Olson since the 1995 release of TROUBLE's critically acclaimed LP "Plastic Green Head". The new record's greatest strength is how well it captures the apocalyptic trudge that TROUBLE delivered from the first downbeat of their 1984 debut, but now unequivocally propelled by the hallmarks of a hungry new band fueled by new blood. The mighty voice of Wagner is on full display; the vocalist proving on "For Those Which Are Asleep" that he still wields an eerie power at the mic. Titanic riffs abound as Keller and Goldsborough weave ominous atmospheres over the molten, crushing core of Holzner and Olson's sinister strut.

"For Those Which Are Asleep" track listing:
01. Trapped Inside My Mind
02. The Touch Of Reality
03. Sick Of It All
04. The Door
05. Send Judas Down
06. A New Generation
07. Till The Sun Turns Black
08. For Those Which Are Asleep
09. Sometime Yesterday Mourning
10. The Last Judgment

See More: HERE
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