DOOMMANTIA

Movie Review: God Bless Ozzy Osbourne ...

2012-01-27T11:08:00.000-08:00

I must admit, I didn't hold out much hope for God Bless Ozzy Osbourne, produced by his son Jack Osbourne, I thought like many people it would end up just another self-promotional piece with not much substance. I also thought, like most people that there is really nothing else to be said about Ozzy. This movie however is a surprise and for those people still intent on throwing crap at Ozzy at every chance they get, you may have to re-think your opinion on the man after seeing this. All the negative stuff you read about Ozzy is still mostly correct. He or should I say his wife did turn him into a laughing-stock with the The Osbourne's reality series and Sharon Osbourne has made some awful career decisions for her husband over the last 30 years. Speaking personally, I am not even a Ozzy solo fan at all. I think the Blizzard of Oz album is one of the most overrated metal albums ever recorded and to be honest, in my opinion I think he has only ever made one really good solo record in his entire career, that being Diary of a Madman.

So I watched this movie for the first time with a very biased and opinionated outlook but the truth is, this movie is a totally engaging look at one of heavy metal's most famous and celebrated frontmen. Yes, we all know his voice is shot these days and his albums are nothing on his time in Black Sabbath but put all that aside and watch this movie with a open-mind and should find it very entertaining. The film begins with Ozzy performing for a very wild South American crowd. The camera follows his life around from dressing room to the stage and it gets very upfront and personal. The movie shifts to the fans throughout the years before taking a look at Ozzy's 60th birthday celebration in Las Vegas. From there it covers most of his career, I say most because there is some people who are left out of the movie completely that played major roles in his career. Poor old Bob Daisley again gets the shove even though he wrote most of Ozzy's lyrics on the first two solo records and people like Jake E Lee are ignored as well so the movie is very selective in that way. That in itself is a big point off in the rating of this movie for me. I know they had to crammed a lot into 90 minutes but still, there is a hell of a lot that is left out of the film that I feel should have got at least a mention.

There are interviews with his Sabbath band mates, Tony Iommi, Geezer Butler, and Bill Ward but not enough in my view and there is some background on his upbringing. "A lot of kids turned to crime, but I wasn't very good at it," reveals Ozzy which is interspersed with footage of bombed out Birmingham buildings. One of the film's big scores is Paul McCartney who makes the quote that darkness "hadn't been dealt with until Black Sabbath started dealing with it". The interview with Mc Cartney proves to be one of the films most important features and one of the most interesting. There is one section of the film where Ozzy tells how his father made crosses for the band, something I never knew about and he also goes into some detail over his passing. You get to see not much in the way of rare footage, I think most hardcore Sabbath/Ozzy fans would have seen all of what this film has to offer but there is some interesting commentary to go along with it. Then of course there is drugs and the death of Randy Rhodes along with other topics that have been discussed a million times before, the biting the head of a dove, how he almost killed his wife and so on.

The film is hardly perfect and considering everything he has been though, it is a bit short at 90 minutes but this a heartfelt, warm and honest look at his life and career. Of course I am only reviewing it here because of the Black Sabbath connection but it is a well-made and interesting film anyway. I still cringe at some of the tunes (from the 80's especially) and the song selection for this movie could have been better but the music is not really the focus here, it is about the man himself and on that level it is worth seeing. Love him or hate him, there is no denying his career have been a fascinating one and I thought that there was nothing more to be said about Ozzy, well I was wrong....8/10

Fading Sun - Yawning Void ...

2012-01-26T14:14:00.000-08:00

Fading Sun is a two-man band from Belarus who I confess I know nothing about except they have a split release available with another equally obscure band called DSOLTB, whatever that means. I imagine by listening to this, they are young, fresh and very green in the art of song construction. This release has just one 19 minute monolithic track titled 'Yawning Void.'

The style can only be described as a funeral doom/death doom blend of atmospheric, mostly repetitive dirge. It must be said that the production on this is very rough and raw and doesn't do anything to enhance what they are trying to do so it is automatically a tough listen just for that alone.

The track is long, meandering, and kind of industrial in the why everything sounds machine-like. The vocals are the usual generic growling type and the musicianship is solid enough but unremarkable and certainly nothing to be mesmerized by. One thing that they have though is a great vision for the "doom-epic." Despite the extra-long playing time of this track, it flows very well and never falls into the trap of going in circles even though it is a little repetitive.

There are small but still interesting variations in the style and approach which is the main reason I manage to sit through the rather sub-standard production values. This is another band that falls in the "Has Potential" file but they still have a way to go and while this is nothing to get excited about, it shouldn't be totally ignored either. If you are an extreme doom listener and you treat this as a "rough demo," then you should get something out of this. For fans of Wormphlegm, Hierophant, and Evoken. I am looking forward to hearing (hopefully) more polished works in the future from this band....6/10.

No known Website Link.

Dies Irae - Secret Veils Of Passion ...

2012-01-25T15:56:00.000-08:00

Sometimes a reviewers life is a cruel and painful experience, people expect me to review the most awful garbage at times and usually I just refused. There is nothing worse than having to sit down to write something negative for the sake of a review. I would rather just not published anything but I keep getting requests for my opinion on this album so here we go but hang on, it is going to be a bumpy ride. This album by Dies Irae is an oddball one, it doesn't sit comfortably in any one genre. Some people say, well it is different, or it too original to fall under any banner. It is different, I will admit but no way is it good or that original in my mind. Interestingly enough, the band has had as many good reviews for this album as they have had bad ones. Headlines like "Uh, this got published?" to "Ahead of its time" goes to show you how divided people are over this album titled 'Secret Veils of Passion.'

The only reason I am reviewing it at all is at times they remind a little of Katatonia or Anathema but you can also hear traces of a Alice In Chains and some early Swedish death metal in there as well. As far as the headline, "Ahead of its time" is concerned, I don't know what that dude is on but I want some, I need it just withstand anymore than 10 minutes of this frustrating album. So lets not beat around the bush, here is why I think they stink. The music here is filled with overly ambitious passages which are sections of music they don't seem to have the talent for. It comes off as amateurish most of the time. You have to admire them for trying something a bit different but if you are going to try your hand at jazzy passages of music, at least learn how to play jazz first. The vocals are awful to the point of almost unlistenable - enough said about that.

There are some hints at strong melody here and there but the vocals destroy it and there are moments of some decent guitar playing but the tone of the guitar is extremely thin and irritating. If you dig and dig through the album, you find passages where the band have their shit together and everything works but they are short-lived moments which makes this a very un-even affair. The heavier moments are where the band shines the most but there are not many real heavy passages to speak of at all really and at times the band sounds like a post-rock experiment gone wrong. There are what sounds like alternative rock passages, psychedelia, doom but without the heaviness or the atmosphere, and then there are the aforementioned attempts at jazzy, proggy interludes so it is at least different. Some will see this as "challenging" music but for me the only challenge is listening to it without throwing the CD in the nearest dumpster.....2/10.

PS: Listen with caution if you must but it will take more than a open-mind for most people to enjoy anything about this release.

Dies Irae @ MySpace

Now on the Podcast page: Soggy Bog 60 Music inspired by Moorcock and Howard and song intro by Karl of The Gates of Slumber ...

2012-01-25T07:43:00.000-08:00

From Soggy Bog's Bob:
Im glad i was able to do this show this week. I hope you guys enjoy the epic-oisity of these tunes! All of these tunes were inspired by Michael Moorcock and Robert E. Howard.

I would like to thank Karl for taking the time to send me over his intro to Suffer No Guilt! Thank you sir!

"Dead God's Homecoming. In which, at long last, Elric's fate begins to be revealed to him as the forces of Law and Chaos gather strength for the final battle which will decide the future of Elric's world..."
The Chronicle of the Black SwordMichael Moorcock, StormBringer

"Bloodshed and violence and savagery were the natural elements of the life Conan knew; he could not, and would never understand the little things that are so dear to the souls of civilized men and women. "
REH-Beyond the Black River

Download show here
Tune in at The Doommantia Podcast Page

KING GIANT - Dismal Hollow ...

2012-01-24T19:27:00.000-08:00

I don't know why it has taking me so long to getting around to review this masterpiece by King Giant but I apologize to the band and perhaps more importantly to the readers because you guys and gals need to know how kick-ass this album is. If you have ever wondered what Black Sabbath might have sounded like if they had have been born in the deep south of USA instead of the industrial hole of Birmingham in the UK, then listen to King Giant. The band are doomy, down and dirty but with a deep southern rock, almost bluesy type swagger that makes this essential listening for anyone who enjoys a no-holds barred riffy, catchy, boozy kind of heavy rock album.

There are eight irresistible rock masterpieces on this release that kicks off with a tune titled 'Appomattox.' The inspiration for the song comes from the final battle of General Robert E. Lee’s Army of Northern Virginia and that is important to mention because this song sounds like a band heading into battle with the intent of destroying all in front of them. Vocalist Dave Hammerly has a commanding voice, perfect for the vibe they are putting across. He has a southern style crooning growl that is a killer hook to have in combination with dual guitars of Todd Ingram and David Kowalski. The main element this band has going for it is grooves and lots of them. The following track, 'Tale of Mathias' is a good example of how groovy this band can be without ever missing a beat in the Sabbathian heaviness department. This track is far moodier than what else is on the record, made even more so with the addition of female vocals from Alexia Church.

The album gets a doom boost with the next tune, 'A Steward’s Prayer' which is an atmospheric, menacing doomy piece of cool riffage and infectious but slighty haunted melody lines. The album shifts direction for a brief period with the acoustic opening of the next tune 'Pistols and Penance.' It doesn't last too long though before again, the flood-gates are opened with more of the heavy doom laden riff work but this is one of the albums more mellow moments overall. It even features what sounds a cello in its closing section. Next up is '6 O’clock Swill' that puts the album back on its bludgeoning, ever so heavy journey with more great guitar work, mesmerizing vocals and infectious hooks and grooves. 'The Fog' signals another change in direction to sinister doom riffage and whisky soaked grooves. The album is full of memorable guitar solos but this track has one of the very best, pure magic!

'Road to Eleusis' is the album's instrumental piece and a very moody one at that with great, menacing but with a great melodic feel and again the spotlight is on the excellent guitar work. The album then ends on another classic King Giant stomper called 'O' Drifter' Such is the greatness of this album that this is a killer tune but at the same time, the weakest cut on the record. Without a doubt, 'Dismal Hollow' is a step up from the 'Southern Darkness' album. It is not a huge leap but then again 'Southern Darkness' is a killer album in its own right. If King Giant hadn't made an impact on you before, they should now. This album is almost perfect in every detail....9.5/10.

Official Site

Majestic Downfall - The Blood Dance ...

2012-01-24T08:48:00.000-08:00

'The Blood Dance' is a rawish yet well produced, big sounding record of quality but hang on, this is a one-man band is it not, well one man and a session drummer. One man bands generally are not suppose to sound this good so I don't know what the secret is to Jacobo Córdova (Vocals, Guitar, Bass, Keyboards) and his Majestic Downfall death-doom project but whatever it is, he better keep it up and for other one-man bands out there reading this, you might want to listen to this to pick up some pointers. On the death-doom scale of things, the work of Cordova leans more towards the death-metal side of the fence with a sound that is like Draconian butting heads with Amon Amarth with the occasional interference from early Katatonia. Getting the death and the doom in just the right quantities is never a easy task but Majestic Downfall succeed in doing that remarkably well.

The guitar sound is abrasive, sometimes a little too raw and also a little loud in places overshadowing what the bass and drums are doing but it still seems to work as it gives the album a unique atmosphere. The album unleashes many passages of melancholic death-doom and normally the rawness would seem like a mis-match but it actually works wonders for these songs. The drums are slightly buried with mostly only the cymbals crashing and a piecing snare cutting through the sound. Again, normally that would be a big no-no but it gives this album an original vibe even though the songs are hardly breaking any new ground for the death-doom genre. They even manage to take the usual deathly growls to a unique place by pushing them into the background slightly and this is also something that makes this album interesting and kind of hypnotic.

Talking tunes and there isn't a real weak one to be heard. Even though most of the pieces range from 7 to 11 minutes in length, they add enough variations to the well-used death doom formula that it never has a moment of monotony. Right from the get-go the opening duo of 'The Blood Dance' and 'From Black to Dead' have a commanding presence. It is has the chugging riffing to make you nod the head but it is also oddly relaxing in its emotionally-charged approach. These songs are big on melodies and hooks but it also has a grimness to it that can match it with any atmospheric black-metal bands that are out there today. As the album plays on, it just seems to get better. 'Majestic Embrace.' 'Dimension Plague,' and 'Army of Salvation' are a trio of songs that are all energetic yet relaxed doomy onslaughts with equal amounts of sheer heaviness and raw emotion.

The album ends on three of the albums best tunes, 'An Untravelled Road,' 'Cronos' and 'On Silent Wings.' It is more of the same however so if you don't like what you have been hearing by this point in the album, you might as well hit stop and forget about it. 'The Blood Dance' is a surprisingly good album but it is not without its cracks and at times these cracks are of the earthquake variety. First up there are the guitar solos, some are good, some are very weak and sound very amateurish and sometimes, they just sound wrong. These moments I must admit are rare but they are cringe-worthy just the same. Even worse though is the growls. While the band has done the listener a great service by keeping the vocals down lower than what they usually are in this style of metal, at times they are just too over enthusiastic which makes it come off as kind of goofy and childish. Like the issues with the solos, these vocal flaws are rare but they are HUGE monumental clangers.

When it is all said and done though, you could do far worse than check this band and album out. Over the course of 64 minutes, there are some very good moments of death/doom crossover and these songs just keep on moving, developing and expanding so much that even the weak sections are quickly forgotten about. I just wonder how much better than the album would be though if they have done some fine tweaking to some of these tunes. Nevertheless, this is a mostly solid and enjoyable slice of death-doom that deserves to be on your "must-hear" list....8/10.

Majestic Downfall Official Site
Majestic Downfall @ Facebook

The DOOMMANTIA MEGA RAFFLE - ENTER NOW ...

2012-01-23T22:47:00.000-08:00

The first EVER DOOMMANTIA.COM raffle is here. Over the next three months, you will be able to enter to win over $500 worth of CD's, Badges, Stickers, Postcards, and various other goodies. Some of the swag up for grabs includes CD's by 2 Nevertanezra CD's, Reclusiam, Mortalicum, Ride The Sun, Lazarus Complex, Quicksand Dream, Borracho Special Pack with CD, Shirt & Shotglass, 2 Alunah CD's, Ice Dragon, Lethargy of Death, Grave Siesta, compilations from the Metal on Metal label, a selection of Solitude Productions and Badmoodman Record Releases and this is just the tip of the iceberg. I will be adding many more items to the swag over the next couple of months so watch for updates. The estimated value of the prize for the lucky winner is expected to be between $600 to $800 worth of killer goods for your measly $5 investment. Most of the goods have been kindly donated by bands or labels or come from me personally as I want to give something back to one lucky reader out there. To enter, it is just $5 a ticket and you can buy as many tickets as you want. The lucky winner will be chosen at random by someone not associated with the website. Don't miss out on your chance to score the loot.

Firelord - The Burning EP ...

2012-01-23T07:48:00.001-08:00

This is my first Firelord album, but surely not my last. Firelord started in Turin in 2007 from the ashes of a Doom Metal project named Saint Judas founded by Mario E. Bussini a few years prior. In 2007, Beppe Tozza, Daniele Biffaro and Giulio Buscaglione joined the project. The 6 track EP is a very interesting piece of work.

“Time for Vengence” is the opening track with no fillers and is straight to the point. Typical Stoner Doom Guitar sounds, with very good vocals to support it. The drumming is pretty crisp and fast. It is a catchy track to start off; and very few bands get it right and to be very honest these guys knows which track should come first and which one later. The production of this album is what I’d like to begin with. In a word, HEAVY! Really low, pulsing, riffs bellow out of the speakers thicker than the smoke coming out of your mouth! The same banging riffs are thickly distorted much like the world around you while you listen to it. The music is layered and dense allowing for the listener to pick it apart and examine each aspect of the sound, but at the same time the flow is as smooth as ever.
“Crazy little witch” and “Riding with the death” are really good tracks. Speaking of guitars, the riffs on this album are catchy, rocking, and heavy. Mostly slower catchy riffs that WILL get stuck in your head, but the occasional solo or haunting guitar bending like at the intro.

The bass is not as astounding, but that is for the best. It is audible throughout the work which I like, but there are no moments it does anything you wouldn’t expect. The drums fall into the same category as the bass. It is pretty decent and carries along very well with rest of the other instruments. Each track is very different from the other, which is really good and not boring
I am definitely getting more and more into Firelord now and I hope they will come up with a killer Full length release shortly. It is a pretty good EP and gets you going. Lay your hands on them!!!

Words: Mahesh

Firelord @ Myspace

Wiht Calls It Quits ...

2012-01-23T07:41:00.000-08:00

Sad news, the great band Wiht have decided to call it a day. It wasn't too long ago they released the impressive 'The Harrowing of the North' album but now it seems to be all over. I wish them the best for the future, the doom scene will miss you guys.......Ed.

From their Facebook page ....
It is with sadness and a great sense of pride, that we have decided to call it a day. This is a completely amicable decision and has been made in the best interests of the band. It has come to a point where we are no longer able to progress and take the band further, we feel this band deserves more respect than just to fade away. This simply is an issue of lack of time and funds; two of the three of us now have families and time has become a lot more precious. To progress as a band we need to dedicate a certain ammount of time to write and record, let alone gigging and touring. This is why we have decided to call it a day at a point where we feel this is something to be proud of.

To have played and made music in a band comprised of three oldest and best mates for three years has been an absolute pleasure. We feel incredibly proud of what we have accheived with the limited time and resources that we have had. We are not for one moment suggesting this is something exclusive to our band, many bands manage to write, record and tour with limited funds and with children, unfortunately it hasn't worked for us. We would like to thank the following bands and people for your huge support and influence over the years, it wouldn't have been possible without you. Ross at Ghosttown Studios, Neil Best Edward, Dan at Desertscene Rock, Dave at Future Noise, Chris at Witch Hunter Records, Matthew Lee, Charlie Barnes, Elles, all our friends and family Ceara, Lorna, Bekki, Sydney, Vincent & Oscar.

Huge shout to the bands we have played with and that have helped us out, Khuda; Wizards Beard, Tree of Sores, A Forest of Stars, Haar, Undersmile, Desert Storm, Conan, Slabdragger, Dead Existence, Lords of Bastard & everyone else that we have had the pleasure of sharing the stage with. But don't fret, we have a killer finale for you. Line-up including Khuda, Wiards Beard and Tree of Sores on 30th March at Royal Park Cellars, it would be amazing if you could come and send us off Leeds style! But before that we will be helping Wizards Beard celebrate their album launch at the same venue on 18th February with some killer bands from around the UK.

Hails and Ales.
Wiht.

Wiht @ Bandcamp
Wiht @ Facebook

In Loving Memory - Negation Of Life ...

2012-01-22T20:45:00.000-08:00

After three years between albums, the Spanish band In Loving Memory returned with an album that is more of a doomy effort compared to their last album, 'Tragedy & Moon.' However, the band is one of those crossover acts that still rides the borderline between death metal and melodic doom metal without never really nailing either genre but that is not a bad thing in this case. This newbie, 'Negation Of Life' displays the band sounding more mature and much more sure of itself than in the past. The album released on the Solitude Productions label out of Russia is a natural progression from earlier works in many ways but it is also far more intense and atmospheric.

Starting with 'Even A God Can Die' and 'Skilled Nihilism' the album gets off on the right foot, delivering a barrage of intensity, bleak emotion all held together with catchy chugging riffs. The crossover appeal of this band doesn't take long to rear its menacing head with black metalish growls and even a piano part which has a very atmospheric black-metal vibe about it. The main change for In Loving Memory is the switch from the more gothic-flavored style they had on the early demos and first album to this, a death-doom crossover approach. A lot of this has come about with the addition of Juanma (guitars & vocals) who took over from a female goth-rock kind of vocalist that they had back in 2007. The band has certainly embraced a lot of traditional doom, funeral doom, and death-doom elements and inserted it into their (still) deathly sounds and the band sounds much better for it. The songs are more hook-laden than before but without sacrificing any of the brutality and intensity.

'Skilled Nihilism' proves itself to be one of the album's highlights. It is not the most creative, inventive or original track on the album but it is easily the most memorable. 'Adversus Pugna Tenebras' is a long but interesting track where they DO unleash some creativity and more complex than usual arrangement ideas. The following title track however is when this album seems to dig itself a bit of a hole. This 8 minute epic is pretty much over just as it starts and lacks any of the spark that is heard on the albums earlier tracks. The album does bounce back a bit with 'November Cries' and especially 'Shimmering Divinity' which is a nice blend of pulverizing death-doom riffing and menacing but hooky melody lines. It is with this track the album hits its peak but never regains its strength. The next three tracks, 'Through A Raindrop,' 'Celestial,' and 'Nulla Religio, Solum Veritas ' which ends the album are just more of the same but without the kick factor. Indeed these songs are heavy, emotional, well constructed and played but lack the spark that makes the rest of 'Negation of Life' so memorable.

In Loving Memory deliver some twists to the norm in death doom on 'Negation Of Life' but that doesn't mean it is always good as it is the more straight-forward moments on this release that seem to have the biggest impact. However and this is a big however, most of this 63 minute release is satisfying as even the weaker moments which are mostly in the albums last 20 minutes are still volume-worthy death-doom onslaughts. How much of this that can past as "doom" is debatable as they are still treading the line between death and doom metal but this is an album that is very hard to put down. The flaws are minor and its pleasures are major and the band should be well-pleased with this fine release. A special mention must go to the Solitude Productions/Badmoodman label who have really been releasing some great albums in the past 6 months or so and this is no exception. This will excite both death metal and doom metal fans who like their doominess to be a bit more up-beat and chugging than the usual doom metal that currently being released....8/10

Official In Loving Memory Myspace

Heads Up: Hypnotist 101 EP Review ...

2012-01-22T12:26:00.001-08:00

Well, this is completely out of the left field for me. I usually have these little moments where I am looking for something good, but everything I listen to is shit and I listen to tons and tons of songs and albums, but nothing seems to stick… until an unassuming little piece like Hypnotist that I fully expect to hate comes along, and sticks to me like a leech and won’t let go.

But more than anything, it was the basic concept behind the band that sold me on it. See, hailing from Russia, Hypnotist play doom rock – that is, they can shift to heavier, Sabbathian pastures or to lighter, Witchcraft-like passages but what they always have in abundance is groove, flow and harmony. The band is a focused entity, with each part moving along the song itself – like the flag raising in Iwo Jima. But the twist is that they, at least in this offering, do not write lyrics. No, the songs are basically music to William Blake and Robert Frost poems – and I am so not kidding. There are no lyrics but what’s in the poems themselves (“…and miles to go before I sleep” becomes a chorus line) and that, by itself, is a very interesting idea that the band used to great effect.

Besides all that, I have no info about Hypnotist. The sound is what you’d expect from a band like this: slightly down-tuned guitars churning out easy-going, catchy grooves to a Sabbathian sway, nice drums, pronounced based and sweeping, chilled vocalizations embellishing the landscape with the words of great poets.

The only offering from Hypnotist to my knowledge is on their bandcamp, a three-track EP titled “101.” Which is appropriate, as this is Hypnotist-101, and showcases the band’s general style well. The first song is “Love’s Secret” which is basically a layered, catchy, easy-going riff repeating to great effect, and the song orbits around that. With varied drums, a few variations on the riff itself, great vocals singing William Blake’s words. Nice.

“Stopping by Woods on a Snowy Evening” brings that heavier, more Sabbathian groove into the mix, churns out a slow burn and follows that with the appropriate vocals. The partitions in this one mingle well with one another and they manage to transition smoothly from one part to the next, and the actual groove is a joy to listen to.

“Human Abstract” carries more of a Witchcraft vein, to be perfectly honest, with softer guitars moving to classical-rock-like passages with a nice tempo and cool groove. The main riff is soothing, and the more action-laden parts do so around the mid-tempo baseline, and the slight wahwah passage into the solo is much appreciated – it’s a beautiful example of how to build up layers until you reach the explosion, condensed into about thirty seconds.

As it stands, the offering by Hypnotist may be scarce, but it’s plenty if you want some quality ten minutes or so to kill with grooves and doomy rock beauty. Keep an open mind, and an eye out for these guys, I have a feeling we’ll be hearing from them soon. P.S.: The EP is up for free. Go.

Words: Sarp Esin

<a href="http://hypnotist.bandcamp.com/album/101">101 by Hypnotist</a>
Visit The Band @ Bandcamp

MARES OF THRACE: Calgary Doom Duo Sign Worldwide Deal With Sonic Unyon Metal And Set To Release New Album ...

2012-01-22T09:54:00.000-08:00

Hamilton, Ontario-based Sonic Unyon Metal are proud to announce the multi-album signing of noise-doom duo MARES OF THRACE to their label’s ever-expanding roster.
Based out of Calgary, Alberta, the crushing MARES OF THRACE is comprised simply of guitarist/vocalist Thérèse Lanz and drummer Stefani MacKichan, who coalesce their talents into an organic style of beautiful and destructive atmospheric doom-laden metal.
“Some of the most influential records in my life, from way back in the 90s up till now, were Sonic Unyon releases,” says Lanz about the signing. “It’s impossible to understate the impact the label has had on Canadian independent music. Accordingly we are incredibly proud and stoked to partner with Sonic Unyon Metal for our upcoming records.”
MARES OF THRACE released their debut album The Moulting in 2010 via Arctodus Records. The Moulting was instantaneously well-received by North American press outlets including Decibel, Revolver, Blabbermouth, even scoring the #1 spot on Hellbound.ca’s Canadian metal album of the year list. The band toured Canada in support of the album immediately after its release, followed by a US tour in 2011. Additionally, Thérèse played bass for KEN Mode for the first half of 2011, touring with them in support of their latest album Venerable (Profound Lore).
The newly completed new LP from MARES OF THRACE, and first for Sonic Unyon Metal, is entitled The Pilgrimage. Recorded in October and November of 2011 at Chicago’s Engine Studio with producer Sanford Parker (Nachtmystium, Pelican, YOB) and mastered by Collin Jordan at Boiler Room, the final touches on the release are being handled now, preparing the album for worldwide release this April.
Stay tuned for more info on the release of The Pilgrimage as well as North American tour announcements for MARES OF THRACE over the coming weeks.
( Source: The Sleeping Shaman )

Facebook
Bandcamp
http://www.sonicunyon.com/metal

Yes, It Is Still Happening...

2012-01-21T20:59:00.000-08:00

Herem - II ...

2012-01-21T18:21:00.000-08:00

Herem’s is a quintet from what is becoming a major doom capital, Finland. Even more important is it seems every band you hear from there just blows me away and a lot of other people away as well from what I can tell. This CD arrive in my PO Box with little information, no big sales-pitch, just a CD that I popped into the CD player and got quickly blowed away by. This album is called II so I am thinking they must have another album out and if so, I must hear it if this is anything to go by. This album is released on the Inverse Records which is quickly becoming a major player in the underground doom scene.

When you first hear this band, all you think of is classic, classic, classic doom, stoner, and funeral doom but not necessarily in that order. I am talking about a band that picks the very best elements of Yob, Electric Wizard and Thorr’s Hammer and puts in a blender and stirs it up with menacing fury. In short, this is killer stuff.

The band is fronted by a female doom warrior by the name of Valendis Suomalainen that has one of the most exciting female voices for doom that I have heard in a long time and that was really the first thing to grab me on the first spin of the album. On further spins however, all this spell-binding music emerged that I didn't soak up too much at first. There is the excellent twin-axe playing of Jubo Laitinen and Patrick Ellison who unleashed some mesmerizing melodies and distorted, pulverizing riffage.

The bass playing of Tommi Hartin and drumming of Jani Peltola is equally as potent. Herem are not your usual by-the-numbers kind of doom band. The songs here move and constantly shift in various directions and are always interesting. The one-two punch in the stomach that kicks off the album is solid proof that this band is the real deal. The opening 'Heavens' which in a mass of feedback and orgasmic noise leads into the following track called 'Earth' which blends psychedelia, sludge, funeral death doom and irresistible doomy grooves and it is all served up with lashings of killer melody and hooks.

'Dogs of Doom' throws up more killer riffs, hooks, and grooves and again, it is a melting pot of different doom sub-genres all rolled into one. As a vocalist Valendis Suomalainen really shows her talents in this one, possessing a great range and a flair for unleashing different emotions at will. Just when you thought it wont get any heavier, they present to you 'Promise' that features some of the albums most stomach-churning heavy passages. The following tune 'Water' pushes even more grooves out and a set of riffs that are simply majestic yet bombastic. The last track is the icing on the cake as it is one of the album highlights. This sinister closer titled 'Babylon' is the perfect closing statement for this album. It is more monolithic in terms of atmosphere and it winds the album down to its ultimate spine-chilling, headache inducing climax.

Words are hard to come by with a release as vast and multi-faceted as this one. The band deliver a lot of early Electric Wizard styled dirge but they have as a counterpoint, melodies that would be more at home with a death-doom band but without the cheese watering it down. This is the kind of album that fans of real extreme doom metal crave but only comes along a few times a year if you are lucky. I can't really say they are breaking down any walls with this release but they are certainly delivering all the key goods to an excellent doom album. Riffs, power, melodies, dynamics, powerful vocals and captivating arrangements is what this album has and more. This is an easy early pick for a top 5 album for 2012 so you wont want to miss this one...10/10.

Herem Official Website
Inverse Records
Interview @ Deaf Sparrow

Ides Of Gemini – The Disruption Writ ...

2012-01-20T08:27:00.000-08:00

Here is a very nice psychedelic doom three-piece called Ides Of Gemeni. It is not as much doom in the musical sense, as it is qua atmosphere. As I read on I think last.fm, the vocals of Sera Timms (vocals and bass, also of Black Math Horseman fame) are very 4AD-esque: think Cocteau Twins (best band ever?) and Dead Can Dance. Just over sixteen minutes, Ides Of Gemini serve up a nice full platter of doomy psychedelic rock. It’s not easy really to pigeonhole Ides Of Gemini.

There is a bit of no wave / post-punk in their sound too, think of Joyless for example. I find Ides Of Gemini a very rewarding band to listen to. It’s a bit as depressive as Joyless, but it is also beautiful and haunting, in your best Cocteau Twins tradition. The other main member of Ides Of Gemini is J. Bennett (guitar and backing vocals), according to Blabbermouth.net a music and film journalist writing for Decibel, Terrorizer, Revolver, Alternative Press and Thrasher. The complementing third member of Ides Of Gemini is Kelly Johnston: drums and backing vocals. According to the same news item on Blabbermouth, Ides Of Gemini are set to release their debut album on Neurot Recordings spring 2012.

The Disruption Writ is their debut EP, released 14th of November 2010. The four songs: Martyrium Of The Hippolyt; Slain In Spirit; The Vessel & The Stake and closing track Resurrectionists. Relistening to this album also brings Earth – but played somewhat faster – to mind.

Show again how hard it is to pigeonhole them! What is also extremely cool: they made a t-shirt (See It Here) with the exact same image I was thinking of making myself: it’s called Hanging Man and it features an upside down hanging man similar to the figure killed and hanged upside down in the awesome movie The Ninth Gate.

Watch their beautiful Martyrium of the Hippolyt video at the link below. There is also a split release with Vermapyre (Belgian, featuring Integrity’s Dwid) on Magic Bullet Records. This split 12” features Martyrium Of The Hippolyt and a new song called Constantinople. Needless to say I’m looking forward to their debut album! Consider this EP as a warmup! ....8/10.

Words: Sandrijn van den Oever

Official Website
Facebook
Blogspot
Magic Bullet Records

Orchid’s Capricorn Album On Vinyl At Last ...

2012-01-19T20:31:00.000-08:00

VIA: THE SODA SHOP

Been waiting for this masterpiece to hit vinyl? Well good news because the band posted this Facebook status recently:
O.K. OFFICIAL VINYL UPDATE…….We’re in the process of finishing up the last little bit of layout for the gate fold and then it goes out to the presses early next week…then… it’s up to the pressing plant and the dark lord below…but a couple of weeks we imagine. VERY EXCITED!!! cheers!!!
Thanks for your support and patience!! ORCHID

Tears of Mankind - Memoria ...

2012-01-19T18:56:00.000-08:00

Tears of Mankind, which is mostly the work of one Russian guy Phil Skrobelin is an interesting project put out by the always curious and consistently doom label Badmoodman Music. The style, sound, and the atmosphere is essentially the same kettle of doom to be found on many other Badmoodman and Solitude Productions releases. It is death-doom that is tragically back-dated to the 90's and the original death-doom bands such as My Dying Bride and all that. There is nothing wrong with this really, especially if you are a fan of the 90's death-doom style but the predictability level is very high and dare I say is started to sound dated and well tired. However, the music contained within this album is full of strong melodies, fine playing, and dramatic vocals. The album is different in the sense it is spilt into two parts, the first half sung in English while the second half is in Russian. The texts are also 50% English and 50% Russian so don't ask me what the last four songs are titled, I just have to rely on what I hear which is depressive to psychedelic to crushing death and funeral doom.

All the trademark death doom ingredients are here from searing guitar parts, crushing riffs, to melancholic piano, keyboards, synthesizer and gentle ambience. There is nothing complex about the album. Nearly all the songs are filled with pretty simple arrangements but there are some well-thought-out passages of music that catches the ear. I have to go back to my opening comments: something about this sounds recycled and re-used and abused, whether it is My Dying Bride or any other number of death-doom bands from the 90's. Nothing sounds like a direct rip-off but it is a case of heard it all before and done better than this. The music does have some key elements to take note of however. The guitar at times is abrasive and cuts right through the listener and the drums are thunderous in parts. There is also a huge difference between the English and Russian sections of the album like this is really a split album of two different bands both playing in the same vein and style.

Real memorable tracks are few and far between but 'So Long And So Recently' stands out to me as a personal favorite. The way the track builds from gentle piano to some abrasive guitar and vocal is beautifully executed. 'In the Embrace of Eternal Sunshine' is dark and ominous and captivating while 'Deadly Desire' is a tour de-force of pounding drums, savage guitar work clashing with emotionally draining piano passages. By the time the second half of the album gets on its way, it loses me a little. It is not just that everything has switched to Russian but just the tracks are not as hypnotic to my ears. Newbies to the death doom scene could find this album enjoyable but those of us who have been hearing this stuff for the last 20 plus years may find it too little, too late. Not a bad album at all but nothing special but I am sure some death doom fans will disagree with me on this one....6/10.

Tears of Mankind @ Myspace
Solitude Productions Website

1000 Funerals - Butterfly Decadence...

2012-01-18T20:46:00.000-08:00

After a 6 year break between albums, Iran's 1000 Funerals have returned with 'Butterfly Decadence,' another installment of their brand of funeral meets gothic, death-doom. This album comes with a new line-up and is released through a Russian label, Satanarsa Records. Their début album 'Portrait Of A Dream' showed potential but failed to raise too much attention from the worldwide doom metal community but this album should do a lot better. This album is really a mixture of doom styles from funeral to gothic to death to the very atmospheric and ambient and they do each style with a fair amount of flair and finesse. If you like doom metal that paints a little picture in your head with each passage of music, then 1000 Funerals should be your cup of tea. I have a few issues with this album but they are all minor gripes as overall, this is a decent doom release.

I am guessing the main element they are going for here is atmosphere and in that regard, this is a big win. The instrumentation on the other hand is nothing to write home about, not that it is bad, it just isn't anything too mind-blowing. You would think after more than five years between albums, they would have found their sound but they still sound largely like Shape Of Despair but that is not too much of a bad thing. They take that influence one step further with a cover of the Shape of Despair's 'Night's Dew' so I guess I will start there even though it is the last track on 'Butterfly Decadence.' They don't really add anything new to the song but it is easily the most assessable tune the album offers. The rest of the album follows the Shape of Despair musical blueprint but with a few atmospheric twists and turns along the way.

The opening instrumental track 'Sutured Lips' gets the album off to a very atmospheric start with big melodic keyboards parts, flute, and violin. The tune is a spacey one, but not with a typical space-rock kind of vibe but it is very psychedelic in its own way. This leads into the 10 minute 'Of Love Then Deceit' and the atmosphere turns very ambient apart from the usual death-doom chugging riffing that comes and goes throughout the track. Some black-metalish growls are used in conjunction with chants and spoken word as vocals giving the track some funeralized moments. 'Nothing Has Ever Been' and the title track come next and they take the album into a more mellow direction while keeping the atmosphere firmly entrenched in the darkness.

The last track to talk about is 'Vast Infinite Beauty' and it is another powerfully atmospheric funeral doom track. This album which is short by funeral doom standards at under 40 minutes has its mesmerizing moments but also has its fair share of repetitive riffs and ideas that don't add much to the album. Some of the riffing is great but they tend to over-do things at times. Its main feature is the overwhelming, cinematic atmosphere which is quite captivating but musically, it is a little dull in parts. The sound while still heavy is lacking in some much-needed bottom-end and that does take away some of the magic this album could have had. However the production is very good as it usually is with any doom band that puts something out on a Russian label these days. The packaging is a bit of a let-down with average art and a lack of info but like I said in the first paragraph, these are all minor flaws. 'Butterfly Decadence' is unlikely to set the doom underground on fire but it is still a solid doom release......7.5/10.

1000 Funerals @ Myspace

Whores - Ruiner ...

2012-01-18T08:33:00.000-08:00

I have a uncontainable and unashamed love for Bandcamp. Mostly because, with the help of good sites like The Soda Shop, it allows me to get my ears on some music that would possibly have a hard time being regularly distributed through different channel. A band like Whores would've been ruling, in the age of Amphetamine Reptile. Now, if you know me, that sentence is a major sign of how much I loved this EP. I am a BIG fan of the harshest, sludgiest school of noise rock, the type that Unsane before their underwhelming reunion, early Helmet or the seminal Jesus Lizard. But let's be clear: Whores are way heavier than that. Their roots are in that sound, with its big, steady drumming, the pounding riffage and the harsh, psychotic vocals. Only the band plays it through a coat of devastating, tar like heaviness that make the impact of the mixture lethal.

It's a very short Ep, five tracks that reach barely twenty minutes, but it is incredibly intense. From the opening head-crushing slam of “Daddy's Money” to the final (and quintessential AmRep-esque) neurotic explosion of “Tell Me Something Scientific”, Whores are out to kill. The best way to describe the feeling this thing left me with is crushed and craving. The monolithic, mammoth noise sludge will hit hard, play it loud and you'll see., And you'll want more.....8/10

Words: Andrea Contanzo

Ruiner by Whores.
Bandcamp
Facebook

Wyrm – Paramount ...

2012-01-17T19:04:00.000-08:00

The Danish underground “netlabel” Drowning is not new to Doommantia.
For those who don’t know it already, Drowning label is run by music lover Danny Kreutzfeldt, it features bands from both sides of the Atlantic Ocean and also from Asia, it is devoted to doom and drone as basic genres and distributes its releases as free digital downloads.
Last year I had gone through Black Cloud Of Becoming, the latest, fascinating album/tape by the Danish experimental doom-death act Sol.
Other artists share their own experimentations in the fields of black metal, drone, doom, sludge and electronics via Drowning. This is the case for bands like Sick To The Back Teeth, Depriver, Pest Lives, Dead Black Arms and also Nernes/Skagen, a Norwegian project involving Kjetil Nernes, guitarist in Arabrot, and experimental artist Stian Skagen.

Recently a new entity entered the roster of this cool label, Wyrm.
Wyrm is a rather new project by Texas-based Bryan Ferguson, who may be not completely new to some of you who maybe know or read about his other cool, heavy, obscure and hypnotic doom drone band, Bring Me The Head Of Orion, here on Doommantia.

The experience of Bring Me The Head Of Orion finished and Wyrm is now the new active project by multi-instrumentalist Bryan Ferguson. The band/project has an official page on Bandcamp, where you can thoroughly explore Wyrm’s output since 2010.
However you’ll find Wyrm’s debut full-length album Paramount on label Drowning.

Album Paramount comprises four long tracks unfolding over 38 minutes of ethereal slow-paced, drony, spacey dark ambient vibes, where slowness conveyed by some heavy sounds (riffings with effects, dull tribal drumming, keyboards, etc.) is counterbalanced by the lightness and the drowsiness of electronic space drone sounds. The careful use of industrial noise and hints to black metal-inspired grimness help in breaking the magic, in poisoning the honey and add an icy-cold sense of alienation.

The titles of the four suites, lasting between 7 and +12 minutes, are halfway between menacing and alienating. For example, we range from “A Vulture Brooding Over White Bones” to “Cursed Ground Above Which Even A Murder Will Not Fly” up to the melancholic view expressed by a title like “We Cannot Hear The Stars”. The fourth track, Ouroburous Harpegnathos, involves Greek names evoking the perpetual circle of the renewal of life and ants, one of the types of animals sometimes evoked for seemingly absurd, frenetic activity especially when observed from a distance.

The first track starts with a slow but growing drony sound derived from blending echoing and mesmerizing, solemn melodies with some disturbing noise. The echoing effects help in broadening the imaginary horizon depicted by this beautiful suite. The vultures in the title seem to fluctuate on wind currents thousands of meters over wide open spaces more than being stuck on poor dry bones laying on the sand. The simple and repetitive oscillation of the leading melody is not completely numbing because there’s a distant, dull but vibrating drumming in the background that is both enhancing the sense of solemnity as well as keeping the attention by slightly but effectively varying the rhythm of the beating. Like thousand tribal drums perfectly playing together and sending their distant call up at the vulture floating in the sky …

Since from its beginning the second, very long (+12 minutes) track evokes a more sinister atmosphere by means of the slightly dissonant drony-noisy leading melody. Alienation is induced in the first part by an almost acute, distorted keyboard-like sound vibrating over the background dull drony base. Halfway across the track keyboards briefly turn into that characteristic gloomy sound employed by occult doom bands like Abysmal Grief or retro prog/doom/dark rock bands like Malombra. Towards the end of the tracks sounds get messed up, and noisy. The pace is rather slow, the sound is not aggressive at all, but the sense of oppression is great and the atmosphere is dark, sometimes sepulchral, and freezing till the end.

The third track bears the melancholic but charming title We Cannot Hear The Stars. This is a +10 minutes-long suite starting with a relieving although rapidly hypnotizing, when not numbing, endlessly cyclic soft, minimalist melody which, again, gets poisoned by drony, dissonant industrial noise. The resulting, layered sounds are more affine to dynamic electronic post-rock than he ethereal to doomy dark ambient style of the previous tracks. Anyway, as in the previous tracks, the wavy intensity of the superposed sounds makes the latter almost “tri-dimensional”: they create the soundscape, e.g., the distant cosmos where, according to the title, we are supposed to be looking at, or maybe desperately longing for billions of distant stars with our hungry but feeble eyes and our nose up …

The album ends with another dark and solemn suite lead by multiple keyboard-like sounds and gritty electronic background noise. I spite of what I wrote just now, the resulting melody is light, or better is dense like a fog but is as light as mist. And as a scented mist, it fades away, softly, into silence after a bit more than 6 minutes …
Wymr’s sound is definitely less doomy, and less punishing than in Bring Me The Head Of Orion. Wyrm’s style has been defined as “ kraut-doom droning black metal”. Actually this debut is rich in spacey sounds and great atmospheres encompassing ambient, shoegaze, doom, industrial and black metal. For me the latter is not materialized by actual, “orthodox” black metal sounds, at least in this album compared to what I heard in some tracks of the demos on Bandcamp. However I caught a “sense” of black metal in Paramount as well thanks to the occasional sepulchral to sulphureous atmospheres evoked, together with the rawness of the small but essential amount of noise employed.

This album is not unbearably long, develops a definitely composite but minimalist style but it is unexpectedly various in its shades. I am normally not too crazy about ambient, drone albums, either dark, ethereal or noisy, where “nothing happens” for 15 minutes. But I do enjoy this kind of experimental music when the musician I able to create different soundscapes in a dynamic way and adding flavours to the melodies, no matter how drowsy or mind-warping they are. For example, I am not able to appreciate the style of bands like Sigillum Dei whereas I enjoy the variety in experimentation as in dark ambient bands like Adamennon.

In Wyrm’s outputs, both on Paramount and in the demos on Bandcamp, I also found quite enjoyable the effect of the balanced, not excessive amount of noise employed. In Paramount noise summed up with doom distortion, it made the sound gritty, “solid” and sometimes almost “vintage”, as if it came from an old dusty heavy black bakelite LP.
Wyrm’s debut release Paramount is out on label Drowning since the end of November 2011 and is available for free download on the label’s website well worth exploring for Wyrm and the other releases on offer. 8.5/10

Review by Marilena Moroni

<a href="http://wyrm.bandcamp.com/track/cursed-ground-above-which-even-a-murder-will-not-fly">Cursed Ground Above Which Even A Murder Will Not Fly by Wyrm</a>
Wyrm @ Drowning
Drowning Official Website
Wyrm @ Bandcamp

Mare Infinitum - Sea of Infinity ...

2012-01-16T20:22:00.000-08:00

This album brings together two of the most well-known musicians in the Russian doom scene, A.K. iEezor (Comatose Vigil, Abstract Spirit) and Homer (ex-Who Dies In Siberian Slush) who have formed a project named Mare Infinity and released 'Sea of Infinity' which is nearly an hours worth of doom-death and funeral doom for your doomy pleasure. Stylistically, this band is all over the map in terms of the death doom and funeral doom genres. There are elements of Shape of Despair, Skepticism, Ahab and of course My Dying Bride (remember, they are Russian). Whenever some new Russian doom comes my way, usually via the Solitude Productions label, it is always a hit and miss situation for me personally but despite that, it is always interesting listening. I would go as far to say that Russia regularly comes up with the most interesting doom bands in the world, mainly because you never know what you are getting till you hit the play button. Sometimes it is awfully predictable with these Russian doom bands, sometimes stunning, and sometimes both and that brings me to Mare Infinitum.

Now this band refers to themselves as "atmospheric black metal" which has always been a wishy-washy tag if there ever was one. Most of the bands that come under this banner are basically doom metal with black metalish growls and this album is no different. The growls on this album I must say are impressive. The demonic, evil growl is nothing new of course but few bands do it as effectively as what you hear on this album but still, I find it to be the weak link of the band, even though the growls are good. However, the music on this album is stunning at times and it gets off to a spectacular start with the opening track, the 14 minute 'In Absence We Dwell.' The band begins the tune with angry intent, sounding like the most vicious of thunderstorms. Drums sound huge, pounding and sounding very atmospheric while the riffing is intense. Over the course of the next 14 minutes, the band takes the listener through a variety of different doom sub-genres and feels. There are melodic guitar breaks as well as nasty chugging riffs. There are also positive passages that dig their way out of the depressive melancholic moments. This is a great track and one that keeps me mesmerized for all of its extended, epic duration.

Following that monolithic track comes the title track 'Sea of Infinity' and things get a lot more generic but it is still a strong track blending different funeral, ambient, and blackened death-doom moments. The evil growls are joined by some clean vocals in this one and it is rare for me to say this but I wish they would have just stuck with the growls as the clean vocals are nothing too special. There are infections of goth-doom with a piano and string section added in but overall, this is pure depressive, funeralized doom metal. If that track seemed a little on the predictable side of things, the next track is even more so. 'Beholding the Unseen' is another epic that is 10 minutes long and it is, a repeat of the musical angle taken by the previous tune. More clean and blackened vocals are mangled together, more chugging riffs clashing with melodic guitar sections and the atmosphere again is one of total despair. One thing this band has got is a fine talent for mixing the gorgeous with the downright ugly as their songs can go from the bleak and downtrodden to the beautiful and uplifting in the blink of an eye.

'November Euphoria' is up-next and is the albums shortest track even though it is still almost 9 minutes long. This piece takes it sweet time getting going anywhere but once it does, it is an excellent piece of dramatic death doom. There seems to be a lot of padding in this track, I could have done without the, what seems like never-ending solo that is exceptionally well-played but gets dull very quickly and yet the entire song seems to revolve around that one element. The album then ends on the 12 minute 'In The Name of my Sin' which is really a compilation of everything heard on the album thus far. More weeping guitar clashing head-long into huge, crushing riffs, more death growls, and more of the uplifting meets a bleak arrangement. This track has a lot of repetitive guitar riffs which this album is guilty of at different times but it is still very impressive and a fine way to finish off the album.

There is a lot to like about 'Mare Infinitum' from the excellent playing and production to the overwhelming, depressive atmosphere. The vocals are good for the most part and most of the arrangements are hypnotic and addictive listening. For the experienced death-doom listener, there is probably not a lot you haven't heard before if anything but it is done so beautifully and it is so well-crafted, I doubt if anyone will care if they find it a bit predictable. Fans of Ahab should connect with the bands funeral doom elements and fans of classic death-doom will surely find this album excellent. It kind of lacks that kick factor for me to get too carried away with praises but I still find this to be one of the better death-doom albums released in the last couple of years... 8.5/10.

Sea Of Infinity by Mare Infinitum

Bandcamp

WHILE HEAVEN WEPT, SOLACE, ORODRUIN, SNAKE DANCE Confirmed For Wisconsin's Days Of The Doomed II ...

2012-01-16T18:05:00.000-08:00

WHILE HEAVEN WEPT, SOLACE, ORODRUIN and SNAKE DANCE are confirmed for the Days Of The Doomed Fest II which is scheduled for June 22nd - 23rd, at the P.L.A.V. in Kenosha, WI.

Temples - Periplaneta Nova ...

2012-01-15T20:35:00.000-08:00

It is rare when you hear a band progress in such huge leaps and bounds as you do when you listen to this, the début EP from Temples titled 'Periplaneta Nova.' The band released three demos, all within a space of a year or so and they progressed with each of those and now with this album, they have made their début with a monumental serving of monolithic, crushing doomy space rock that exceeds all expectations. Trying to sum up the bands doom meets psychedelic stoner rock is awkward. They are generic but yet again, different from everybody else. There is something to this band that nobody has got but trying to put that into words is almost impossible without blubbering incoherently.

In one way, the band is a bit like Sleep and a bit like early Electric Wizard but they also shoot-off into space rock jams a-la Color Haze, Om and Ufommamut at times. This 40 minute four tracker is beyond heavy, it is sprawling, dynamic, and LOUD. I don't know what it is with bands from Finland but they just seem different from bands from other parts of the world. Temples almost sound like they are not of this world at all. Lyrics like 'Swirling cosmic dust in a constant state of flux in time' which appear in one song, 'The Atheist' kind of describe the otherworldly trip they take you with these mostly long, spaced-out doom jams. In terms of instrumentation, the band are incredibly gifted players but they are even more gifted in terms of making mesmerizing arrangements.

These four songs breathe, move and twist and are constantly throwing out curve-balls that are hypnotic. Now there are plenty of this kind of heavy jam-rock bands circulating around the universe at the moment but few are so instantly addictive as this. I am almost lost for words about this. This is the best début release I have heard for a long time so this is highly recommended. Be ready to be crushed by their high volume riffing power and mesmerizing vibe. Simply brilliant....10/10.

<a href="http://temples.bandcamp.com/album/periplaneta-nova">Periplaneta Nova by Temples

Bandcamp
Temples @ MySpace
Listen And Buy @ Mikofoni

Signaculum Domini - A Interview With Wedding In Hades ...

2012-01-15T16:06:00.000-08:00

As people would know by now I have a bit of a dislike for goth-doom and most death-doom bands in general but like everything when it comes to different sub-genres, there are always exceptions to the rule. Wedding In Hades are one of those exceptions. This band released a exceptional album some time back and Aleks got to have chat with Stéphane (Bass/Vocals) about what the band has been up to, hope you like it......Ed.

Hi Stéphane! How do you spend this New Year vacations? Or it’s only here in Russia it lasts for 10 days as other countries work meanwhile…

-Well I’ve spend the whole week with my family that’s all. You know, since I was a child I never figured out the reason why The New Year’s Eve could bring so much delight and excitement to people, it sounds totally absurd to me… it is just an insignificant matter of date on a calendar and nothing more.

I know that you’re on the way to release second full-length CD and it names “Misbehaviour”, right? So what is your progress man?

-Yes indeed! Everything is complete and we’re waiting for this new album to be released in early spring. I started to write the first songs around summer 2009 just after the recording sessions of our debut album and it took 2 years to get them finished and recorded. 50% of this new album was written by the four of us together and I wrote the other half by myself. As the sound engineer already worked with us on our first record, he really managed to get a cleaner and deepest sound on that one, especially regarding the drums and the bass which I stopped using as a rhythm guitar.

Your previous work “Elements of Disorder” was released via Russian label Solitude Productions, do you already have offers from some certain labels? And how do you feel – is it time to think and choose some new label with good contract? Or contract means nothing at all in these times, does it?

-Some people think that a label isn’t useful anymore with the opportunities that the Internet brings to sell your own music or communicate via social networks, but Solitude Productions really helped us to promote our debut album. They also took charge of the whole manufacture and the worldwide distribution of the CDs. We didn’t attempt to find another label and didn’t even think about it either, why would we? I do think that they bring on the table the most interesting stuff in the whole current Doom Metal scene. They have a roster of terrific bands and to be part of this was received as a great reward for us, which we’re truly proud of.

How did you spend 2011 besides preparing new stuff for “Misbehaviour”? Did you take part in any metal festivals? I wonder how much of good shows were in Europe last year, I bet this year was most fruitful for heavy scene in general and for doom-scene too.

-We focused on completing the last songs until April then we started the recording sessions. We didn’t take part at any live performance since late 2010 and I don’t think that it will happen again in the future. You know, I hate being stuck inside a car for hours, spoiling a whole week-end and fighting to get back all the money wasted to reach the location just for a one-hour gig… We had some great times on local stages but we should be looking for something bigger now, unfortunately we’re too much involved in our jobs and families to allow enough time to schedule gigs in foreign countries.
About great shows, we have a great summer festival in France: The Hellfest Open Air which last 3 days and features around 100 bands on 4 stages. I went in once in 2010 to see Candlemass, My Dying Bride and Fields of the Nephilim in a row. It was a great evening even if I don’t usually like this kind of huge and crowded events.

I know only about band’s profile in damned MySpace and I didn’t find any teasers of new stuff, so let us know what are cardinal differences between “Misbehaviour” and “Elements of Disorder”? By the way, is Wedding In Hades line-up still same?

-Of course the line-up is still the same and never changed from day one. “Elements of Disorder” was the perfect reflection of what the band was able to perform on stage, the whole enhanced with the addition of a few overdubs. But as we started the writing of this new album, we didn’t think about the live performance anymore and we kept in mind all the possibilities that the studio could bring to our new tracks, like adding acoustic and nylon strings guitars or a genuine violin for example. This album is also more homogeneous than the previous one and the songs are on average a little bit longer.

But why do you still use MySpace as band’s only place? I believe that Solitude Productions will do the best that they can to promote new CD but official site or bandcamp-page could really help! In addition – do you care about band’s popularity or your ego is satisfied with results that you already have achieved?

-We already have a Bandcamp-page and I don’t think that it really helped us to increase our popularity. We ain’t good on commercial that’s a fact… True to say that I’m bored with these bands who post a couple of news every week on social networks… Don’t these guys have anything better to do with their lives? You know, one of the most popular bands on Solitude Production is the great Funeral Doom band EA which gained its popularity without any website or band profile. Let’s say that we’ll still rely on the label for any promo issue.

Do new songs have elements of black metal as it was before? True to say I totally don’t understand such things in doom music, but if you can explain it’s meaning… Well, it would be good!

-All the BM guitar riffs were brought by Damien who is a huge BM fan. We mixed a whole lot of influences on that debut album but we didn’t really do it on purpose. When the band was founded we never planned to sound Black Metal, Doom Metal or whatever. As I said, our music became more homogeneous now. We didn’t include any blast beat or BM riffs on “Misbehaviour” and we also got rid of our Gothic side too. Definitely Wedding in Hades’ sound turned to a pure Melodic/Death-Doom stuff.

What kind of lyrics have you write for “Misbehaviour”? What does lyrical aspect of Wedding In Hades means for you – is it some boring obligation or you really put heart and soul in it?

-Writing all the “Elements of Disorder” lyrics acted like a therapy to me. Most of them were inspired by my own inner frustrations and fears or the miserable things that happened in my life, like the demise of a relative. I guess that I’m cured now for all the lyrics on “Misbehaviour” are actually fictional except for The One to Blame which is one of the first songs that we wrote and chose not to record on our debut. The lyrical concept on this one is based upon several forms of human behaviour and the way that people act under the influence of specific feelings and emotions: devotion, guilt, regret, anger, shame or megalomania. I often stare at people and I wonder what drives them to act so weirdly or making so much silly decisions. Human behaviour is something that I just don’t get yet.

Stéphane, what are your main musical influences? And tell me about secret of My Dying Bride, well, I liked their “Trinity” when I was in school but in the end I see how it’s strange and unnatural when adult men keep through years same old conception and sing about same old romantic stuff.

- Too much to be mentioned… In my youth I was very influenced by Goth Rock and Cold Wave (Fields of the Nephilim, The Sisters of Mercy, Joy Division) Currently I’m into acoustic stuffs like Death in June, Current 93 but also Leonard Cohen and Bob Dylan too, both from their debut to mid 70’s.
My Dying Bride is one the major influences in Wedding in Hades’ music but despite my admiration for Andrew Craighan’s guitar work I’ve never found any interest in their lyrics, so that is why I will skip the last part of your question.

What kind of energy do you put in songs of Wedding In Hades? And how did you think out such poetic name for the band?

-I once read something about an old Thracian myth regarding widows who committed suicide on their freshly deceased husband’s graves in order to keep the marriage “alive” through death; and this is what Wedding in Hades stands for. I just liked this idea.

Will you record another video-clip to promote the album as it was with song “Widow” from your debut? Did this video help you to spread the Word about Wedding In Hades?

-“Widow” video was made because this song really deserved it and I don’t think that we have a track commercial enough on that new record to do it again. This video was also made in order to provide us with a decent visual stuff to show. It worked very well in the Goth community and brought us new fans, on the other hand this was the most non-Doom track of the album and it perhaps has shown a false vision of what we really do to Doom Metal fans. I suggest them to give a good listening to “Misbehaviour” when it will be released and hope they’ll find some interest in our music.

Wedding In Hades “Widow”

I remember that you played in the church in this video, are you religious or is it only tribute to the genre?

-No I’ve never found any interest in religion so far and certainly never will. Despite my lack of interest for religion I really love churches. I can’t describe the enjoyable and strange felling that I experience while I step into them. For the video we had to find a spot that could fit in the general idea of Widow’s lyrics and of course we couldn’t find any better place than a chapel.

So what kind of listeners may your new stuff attract?

- Anyone into Death/Doom, Melodic or Dark Metal should check us out in my opinion. If you’re more into Stoner or Sludge you might quickly get bored (ha, ha ,ha) But ask this question to ED who despite his tastes in music and his hatred for Goth Metal wrote a terrific review of “Elements of Disorder” (Thanks again man!)

It’s not a secret that EU still suffers from financial crisis, do you feel it’s effects in your own life? Or does your job give you some guarantees so you do not care about such things?

-To be honest I’ve been through more miserable times in my life but everything goes fine for me today.

As I understand Saint-Brieuc is your home town, please tell us about it to give a motivation to visit it as occasion offers!

-Well there ain’t much to tell about this little town except that its surroundings become more crowded in summer due to all the wonderful shores of Brittany (Bretagne, in French). It’s a very touristic place but the Channel Sea is the only thing that it has to offer.

Thank you Stéphane for your time and patience, I wish you and Wedding In Hades all the best in forthcoming year.

-Well many thanks to you and all the Dommantia crew. I’ll follow your advice Aleks and start now to promote this new record. So here comes the unexpected commercial break:
“Hi readers, don’t you know that you really should check us out and purchase our upcoming stuff. Believe me!” (ha, ha, ha)

Interview By Aleks Evdokimov

Myspace
Bandcamp

By Request: Such Hawks Such Hounds (Full Documentary) ...

2012-01-15T10:09:00.000-08:00

Great News From Alunah, Read On ...

2012-01-15T10:03:00.000-08:00

Great news in from the Alunah camp ....

We're very pleased to announce that this week we have signed with Bristol based Big Bad Mother's House Music Talent Booking Agency.

The agency is home to Riot God (Monster Magnet members Bob Pantella (Drums) and Jim Baglino (bass)), the Argentinian sludge rockers Banda De La Muerte, Venezualan heavy-lords Cultura Tres and many more.

Alunah will be playing the International Powerhouse of Doom Festival on April 5th at Scruffy Murphys, Birmingham with both Banda De La Muerte and Cultura Tres. Other bands on the bill include Stone Axe, Stubb and Trippy Wicked and the Cosmic Children of the Knight.

Both Alunah and Cultura Tres will also be hitting DesertFest in April.

To contact Big Bad Mother's House regarding an Alunah booking please email: info@bigbadmothershouse.com , call (UK) +44 1179390432 or +44 07505775703 or visit: http://www.bigbadmothershouse.com

When contacting the agency for further information or to book dates for Alunah, please either use the ‘contact this artist’ button, located on the Alunah section of the website,or please ensure the email to the agency includes "Alunah" in the subject line.

Alunah Official Site

TotalRust Sign Up Doom band shEver ...

2012-01-14T18:08:00.000-08:00

I have always been a huge fan of these four gals so this news in from Total Rust is great news.....

Totalrust is honored to welcome the Doom band, shEver! These four witches from Switzerland play Sludge Doom Death that is nothing but crushing. They released an awesome first album (and one EP), had many live experiences over the years (including phenomenal performances at fine Doom festivals of Roudburn and Doom Shall Rise) and now they signed with TotalRust for the release of their upcoming album – Rituals. If you are fans of bands like Mythic, Thorrs Hammer etc – wait for this one. More details soon.

Total Rust

Grave Siesta - S/T ...

2012-01-14T14:51:00.000-08:00

The début full-length album of Grave Siesta is finally here with this 42 minute powerhouse collection of stoner meets trad-doom and it is all good news, in-fact this album hasn't left my CD player since it arrived in the mail. This Finnish band was impressive with their two demos and this album doesn't disappoint either.

They are a best of the doom genres kind of band as they don't stick to one formula and that makes this album an even more entertaining trip. With a sound and style that somehow manages to take the best elements of doom from Saint Vitus and Reverend Bizarre, the stoner metal of Down, the old-school primitive metal riffing of Celtic Frost, the psychedelic, almost prog-like elements of Cathedral, and the hateful sludge of a Eyehategod and put it into an exciting, infectious package of sonic excess.

Make no mistake, Grave Siesta are doom but with aggressive, crushing metallic grooves thrown in a-la High on Fire. Even the vocals have a crossover appeal, vocalist Taito Halonen has a Slayerish meets sinister Scott Reagers kind of vibe in his voice.

The album wastes no time in kicking ass. The opener 'Work Enslaves' attacks with infectious grooves, filthy riffage, and pounding, bashing drumming that is far more aggressive than the average doom/stoner-metal act. The riffs are indeed doom but played a notch faster than the norm in the stoner-doom scene which only increases the infectious side of their songs. Vocals are the pissed-off kind but they also hold a sinister edge to them and this 5 minute opening onslaught is close to a perfect way to kick off proceedings. The following 'Barbaric' is a bit longer and equally up to the challenge of destroying any stoner-metal posers out there. There is a bit more to this tune with sabbathain riffage mixed with psychedelic touches and even some old-school black/death metal a-la Celtic Frost. The psychedelic touches come in the form of a desert-rock, smoke-filled haze, the kind of stuff that the original desert-rock bands were so good at capturing. There is some great traditional lead guitar work as well as some more off-the-wall kind of passages and all in all, this is a very colorful track.

'Trial of the Pyramid Builder' is more of the same but with even more pot-laced atmosphere. The tune has a bluesy feel at times but gets very angry in parts with fast tempo changes that are very much in the old-school death-metal side of metal. Things get even more thrashy with 'Cancer Appreciation Song' which is just plain nasty. The blend of sabbathian riffing with more modern doom touches is irresistible and they even manage to bring in emotional, melodic leads showing yet another side to their approach. The epic of the album is up next with the 9:30 minutes of 'Meles Infernus' and they really excel at pulling out all the stops for this one. Any band that can make an almost 10 minute doom number seem short, catchy, and straight-forward despite tempo and riff changes have got something special happening. It is hard to draw a straight line through a song when it is this epic but Grave Siesta come through with flying colors, in-short - this is a minor masterpiece.

Moving onto 'Hanging Expectations' and the album closing 'Guilt' it is more killer riffage and crossover doom meets old-school metal appeal with the ugliness of some sludge-metal. No real surprises this late in the album but these are another two exceptional tracks. Now Grave Siesta are not a lot of things - they are not the most skilled players, they are not the most well-produced, they are not doing anything unique really but song for song, this album is catchy, crushing stoner-doom that is hard to keep out of the CD player once you hear it. The way they don't stick to any one sub-genre during their tracks means this is impossible to get bored with and should appeal to doom, sludge fans and all kinds of metal fans. So, this is a no-brainer. Grave Siesta have released a winner and once you hear this, you will wonder why the hell isn't this band more popular..9/10

Grave Siesta by Grave Siesta

Grave Siesta @ Facebook
Inverse Records
Bandcamp

Desertfest Berlin: Line-Up Is Growing

2012-01-14T09:51:00.000-08:00

We plan bands from all over the world: we still have quite a few to announce! It will happen on Thursday 19th April in Festsaal Kreuzberg / Berlin and in Astra Kulturhaus / Berlin on 20th and 21st April, 2012.

Orange Goblin will headline the 19th.
Motorpsycho on 20th and Colour Haze on 21st.

We also have a Theatre Bizarre planned with two movies: Fuzzomentary ( doc about Truckfighters band) + Black Mass Rising (visions of a bunch of bands from various genres about the thematic: darkness, mysticism and apocalypse).

Also a couple of artist playing acoustic as well as DJ in this small theatre. The place will be fully redecorated by artists to bring a special atmosphere to the Theatre Bizarre. Artwork exhibit is also scheduled, as well as a “hippie corner”: market with labels, artwork designers, food, craftsmen, etc.

* This is not to be confused with the Desertfest that is happening in London *

Verdun- The Cosmic Escape of Admiral Masuka ...

2012-01-13T14:18:00.001-08:00

How does a band truly show off their sound and style in a three song EP? Easy, make the EP thirty minutes long. That is what the French doom band, Verdun has done. Verdun has managed to pack a whole lot of doom into three, very long songs and it works wonders! The recording quality is crisp, professionally and despite the extended song lengths, they never seem long or get monotonous.
The Cosmic Escape of Admiral Masuka (an interesting title for the EP) starts off with Sons of the Atom. This song has the first impression of strait up doom. After a closer listen, however, the little post rock flourishes come through. This is a great song, the structure is dynamically handled, the riffs are huge and the vocals fit in snuggly. At over twelve minutes in length, Sons of the Atom could have been a disaster, but I was rewarded with a slab of doom, both melodic and textured.

Last Man Standing speeds things up a bit, but only a little bit. This is the shortest song on the EP and probably my favorite. The verse riff is creepy and atmospheric, while the chorus riff is infectious with its pace and catchiness. The song takes a plunge into a quieter mood, and then explodes again with yet another series of wonderfully arranged riffs.
The final track is entitles JAXA. JAXA pummels, plain and simple. Songs like these are the reason I enjoy doom metal to begin with, the feeling of being overwhelmed by pure riffage. Once again, Verdun handle the nearly twelve minute song length well; there are plenty of riffs, nice time changes and melodies to keep things fresh.
This is a great EP, and I highly recommend it. Verdun’s The Cosmic Escape of Admiral Masuka is a virtually flawless doom epic and I only have one question more: When do we get a full length? 9.5/10

Words: Brenden Butler

<a href="http://verdun.bandcamp.com/album/the-cosmic-escape-of-admiral-masuka-ep">The Cosmic Escape of Admiral Masuka - EP by VERDUN</a>

Verdun @ Bandcamp

HEADS UP: Kalmen - Demo 2011

2012-01-13T09:24:00.000-08:00

The glory days of what is called "stoner doom" ended many years ago now. There was a period when every second band was a dope-smoking Electric Wizard or Bongzilla or Sleep clone and while some of the bands are indeed great, some are just too predictable and the weed-worshiping lyrics just get real boring, really fast. This German band have only been around for a couple of years and this is their first demo release. Apart from that, I know little about them but their music on this 44 minute demo is pretty impressive. It is typical, predictable, and hardly original but yes, heavy, impressive material. They follow the doomy blueprints of early Electric Wizard but this band is a bit more droning, more like a Unearthly Trance and while that is a predictable comment to make in itself, in the case of Kalmen there is no more accurate description to be given.

The sound here is full, thick and the atmosphere is full of bleak occultism (is that a word?). A lot of what has gone into these songs are what you would expect. Trippy samples, doom-laden bass, feedback, drones and layers of sound. Some passages skip the typical stoner-doom riff concept and go for a more extended droning kind of style but it is largely all about setting up a hypnotic vibe and they do it well. The formula isn't broken too often so you kind of know what you are in for within a few minutes of this demo starting and I can't find a real "standout" track but thankfully, there are no weak tracks either and there are one or two riffs on here to die for. One of them which is on a tune titled 'Those About To Die' sends a shiver up the spine when you first hear it, pure crushing brilliance. This is a band worth checking out.........7.5/10.

Kalmen @ Facebook

Interview With Plöw's James Becker ...

2012-01-12T15:29:00.000-08:00

Comrades, instead of foreword I would like to lead you straight to review of Plöw’s new Ep which Sarp Esin has already done: READ IT HERE. Of course I could try to say something more than this but indeed it’ll be only a waste of time, all you must now is that Plöw are a band of talented and die-hard stoner-followers from Denmark with their own methods and techniques which are really effective. You ask me why? Okay, just check their bandcamp as you read the interview.
James Becker, a man with loud guitar, is here to reveal works of Plöw for you!

Hi mate! How are you? How did you survive New Year Night?

-Hi Aleks. I am very good thanks for asking. Well 2012 came as easily as 2011 went. I am a firm believer of that new year’s eve sucks donkey balls, so I try to go to bed no later than 00:12.

Who are you dudes of Plöw? And what are your roots? I don't think that questions about bands’ history are deadly popular, but well as it’s your first interview… Why not?

-Well we are all a bunch of rednecks that met in a music High School in South Denmark in early 2008. The other Plöwers come from different regions of Denmark while I come from Iceland. Then during some party we found out very quickly that we all had a crazy passion for Fu Manchu, Iron Monkey, Baroness and cheap Danish pilsner in common. At that time our music creativity didn’t go any further than discussing whether or not Isak (Baroness track) was the best song ever made whilst drinking gallons of pilsner. And when the pilsner ran out we almost always ended out in the common music room drunk of our faces trying to play Iron Monkey covers. At that time me and Mads (the bassist) also had our own respective bands also to attend to. Me playing gloomy glacier stoner in Reykjavik (Iceland) and him playing surf stoner in Aarhus (Denmark). Then in early 2009 I moved for good to Denmark. After leaving my band back home I became pretty eager to start playing music again. So I gave Rune (front man) a call and we settled down for drink of the cheapest whiskey available. When the bottle was empty and I had convinced him that St. Anger was probably the best album ever made we started Plöw. A few months later Mads joined us after a 3 month exile in Australia. Then we reunited with our old buddy Sören who agreed to play drums for us.

I see that you’re pretty busy with alcohol; don’t you think to go in for sport? Long tours need good endurance and as I see you’d like to play here and there.

-Haha to be quite honest drinking allot of alcohol doesn’t get easier with age either. Actually our bassist is to become a proud father in a few months, so he won’t be drinking anything stronger than apple juice the next few years. So I guess when it comes to touring we will take a strict diet of nicotine and caffeine.

And well, how do you feel yourself in Denmark after Iceland? I did an interview with one band from Iceland (Völva), guys have said that it’s pretty boring to live there.

-Well Völva are from the back end of Iceland haha. No but actually I think Völva are one of the more promising bands up north when it comes to sludgy grooves. But the scene in Denmark is totally different compered to Iceland. In Denmark and most other countries you have many cities with different music environments. But in Iceland you basically only have Reykjavik and the scene there, but with some exceptions of course. You will find some gigs in Völvas home town for example. And then I have to mention the Flying Testicals (Eistnaflug) festival that is held every summer in a backwards fjord 900km away from civilization. Every year the national metal heads and music gurus gather up for 3 days of nonstop head banging. There you will find all the best Icelandic heavy bands, plus some foreign ones. I played there with my old band and it was absolutely awesome. Man i have to say I miss the scene up there when I start talking about it again. I swear to you that some of Europe’s best heavy bands can be found on that Island.

As I understand you just send your new Ep “Bicentennial Picnic” anywhere you can to promote it. What kind of results does such promotional politic give you? What can you say now – is it a effective way of promotion?

-Well now a days we have the internet. So why not use it as a tool. I have sent our promotion pack around the globe and gotten surprisingly many responses, and most of them very promising. I mean nobody is going to go looking for something that they don’t know exists. And yes I would say it is an effective method of promotion if you are DIY. We want nothing more than to hit the road and play gigs in every crappy venue across Europe. And that is not going to happen by itself without writing a couple of spam mails here and there. We are extremely thankful to anybody who actually gave themselves time to open our mail, read it, listen to the goods and then actually bother to write kind words about the music. I believe you can get pretty far with a lap top, black coffee, decent music, and the neighbors internet connection.

Yes, I must confess that your method works! And that’s why we’re speaking now. I hardly believe that no labels answered you if you ever wrote to any of them – why did you simply release Ep by yourself?

-Well I am not sure that a label would have been of much help to us to be quite honest. We felt that it would be easier to get a label interested in us after we made the product and got some good feedback. And together with our first EP it sure makes our promotion back shine a tiny bit better. But on the other hand you also have to ask yourself, does one need a label in this time and age? Until a record label proves me wrong, I kind of have the feeling that having a label is just something fancy to try and impress girls with.

James, you’re saying that new Ep has better promotion but does it also has stuff which is stronger than previous tracks? What are strong sides of “Bicentennial Picnic” Ep?

-Well since we released our self-titled EP two years ago we have matured allot, both mentally and musically. The self-titled EP was written, recorded, mastered and mixed in 4 months. And as we gave Bicentennial Picnic allot more time it became allot more personal. And it seems to have gotten allot more catchy in the process as well. But i also feel that our sound has become heavier while we maybe make it accessible at the same time. We are also total suckers for progressive hardcore metal like the Ocean and Isis. And if you listen hard you might find some traces left behind.

The songs from “Bicentennial Picnic” sound as mature, well thought-out stuff – how long did you prepare these compositions?

-Well it took us 14 months to finish Furrow of Doom for some reason. Changing bit by bit with every gig we played. The other tracks came pretty naturally though. For example we wrote Bad day for a picnic in a weekend. The biggest bother though was to get the music out of the hard disk. The recordings have been ready for over a year but due to re mixes and constant changes of studios the result came quite late.

Of course I can’t just pass your song “High Tide” and video-clip of this song. I just fucking (believe me – I really use this word fucking rare) wonder how did you compose such absolute killer-track?! What is it history?

-Haha if i knew we would write a whole album just containing High Tide like songs. The story is that when we came up with the riffs we were quite influenced by the Swords, Warp Riders. So we were feeling allot of guitar parts and dare I say “shredding” in our heads. And then we made the video shortly after as a part of a school project I was doing at time.

Moreover, what are your lyrics about? I mean… is there any detailed conception behind this all thunderous riffs and melodies? Are there any themes which you will not touch in Plow?

-All Plöw songs are part of one concept. If you check the cover of our first EP you can see a skeleton ploughing a brain with a skeleton horse and a rusty plough. That skeleton is the all mighty plough man. Apparently he is immortal and can’t be slayed by any man/god/creature. So he goes around pissing of random people/gods/creatures trying to see if someone beholds the power of killing him. Basically our songs are about his journey of death and self-destruction. He meets some crazy creatures along the way and gets into some wars. If you have all this in mind you should try and look at the High Tide video again and try read between the lines. It is more than just 4 dudes killing each other in exiting ways. It actually beholds a message.

Oh, I must ask this… how much beer does your vocalist drink per day? I bet it requires much alcohol to make his throat sounds so harsh! I even remember Finnish band The Black League and their early days though you’re free to tell us about your influences by yourself…

-Haha I have to confess that now a days he drinks gallons of organic green tea. He must spike it up with some remedy of evilness. He also has it going for him that he looks pretty crazy for somebody that drinks green tee. We call him the friendly but lethal bulldog.

I just can guess that his tea is green with blood of aliens or toxic wastes, because Rune sings like possessed! :-) James, look, you released a great Ep and recorded excellent video by yourself but you say that to release a full-length CD for you right now is a difficult task. Do you have enough new songs for next release? Or money is only problem, is it?

-I mentioned before that all our EP was recorded almost a year ago. So we have had quite some time to write new material, as long as we were not gigging. We have some punchy new material already made, and allot of ideas ready in our heads. We could for sure release another EP right away if we had the money. But give us 2-3 months and even more money and we have an LP ready for sure. So I would say that the issue is definitely money. I mean we even have the producer and studio chosen out. We could of course attempt to record something by ourselves in our practice room. But we don’t want to release something just for the sake of releasing something. It has to be in decent quality, something we can be proud of many years from now.

And here I have no other option but to ask you how does this new material sound? What’s about it?

-That is a hard question to answer. Every time we write a new song we are inspired by some different bands or genres. And that’s where we get our inspiration from. Nobody in the band has daddy issues, is depressed or has a drug problem. So we don’t have dark gloomy experiences to write about. We know we are not reinventing the wheel in our music so we more think it in a way that we celebrate the genre and our heroes that play it. So you might hear glimpse of Scandinavian GO! Stoner in our new stuff while the next person might hear clear references to Savannah, Texas.

How often do you play live and how do your gigs usually went? Do you have any constant audience in Denmark? Do you play abroad?

-We try to play at least 1-2 gigs a month if possible. It is very, very different how the attendance is here. We have played for a crowd of 3 one night and for a crowd of 120 the next. The underground scene here is very “underground”. The Danes are very main stream in my opinion, it’s like the majority of them ignore that there is an in between thing from Arcade Fire to Slayer. Either you are indie or extremely metal. But I have to say there are some great hidden gems here as well. And thankfully we have had the pleasure of playing with most of them. So yes, we have only played gigs in Denmark, but we aim on getting abroad as soon as possible. We dream of smelly tour busses, trucker porno mags, burger King and the open high way.

What does your experience tell you – do CDs sell better during gigs or it’s okay to spread it via distros and shops?

-My personal opinion is that CD’s don’t sell to people under the age of 30 at the moment. It seems that the vinyl is very big at the moment. I think people rather download it now a days or just stream it. Now when every second person has a smart phone, one can just as well stream everything. But mind you that is just the way it is here in Denmark. I could imagine it is different after what countries you are in. None the less we always have a bunch of CD’s on us as well spreading them to some independent music shops as well.

What perspectives do you see for Plow and what prevent you from total incarnation of your plans?

-One great thing about our band is that we love both being in studio as well as playing live gigs. So we want to record our new material and go on a European tour if possible. But of course money is always the factor for everything. At the moment we are planning gigs following the release of Bicentennial Picnic. It will be released physically in the end of February. So we are planning a big release gig in our home town Aarhus around that time. Then we have a handful of gigs coming up in Denmark in the spring time. We also have some pretty exciting plans for the summer and autumn, but it is too early tell about that at the moment.

Okay, James, I just can wish you good luck in such brave beginnings and I bet that you achieve your goals soon with such good taste of music. Good luck man! But please add few words for our readers before you leave!

-I would like to thank anybody who has bothered to listen to our music, and if you haven’t you know what you are going to do after you read this. We would like to encourage you to download the EP if you find a decent link somewhere. We don’t care about the money. We would rather you came to our concerts and sat down for a pint of green tea and a chat. I also want to thank our great friend/producer Danny Jensen for all the help, inspiration, work and manly love.
In the words of Brain Police, Stay Rock!

Interview By Aleks Evdokimov

Bandcamp
Plow @ GoGoYoko

New Additions, Restocks In The Store ...

2012-01-12T12:00:00.000-08:00

Within The Torn Apart - Time Wilts Away ( funeral doom / drone ) $7
Modern Funeral Art - Doom With A View (melodic doom) $5
Wizardrone - The Third Coming ( doom / drone / psychedelic ) $3
Ride The Sun - EP ( stoner metal ) CD - $10 US/Canada & $12 Everywhere Else
Doomsower - Vintage Era ( doom metal ) $5
Lazarus Complex - The Cleansing ( doom /stoner metal / psychedelic ) CD - $10 US/Canada & $13 Everywhere Else
Alunah - Call Of Avernus ( stoner metal / psyche / doom ) US & Canada $14 & $17 Everywhere Else
Alunah - Fall To Earth US & Canada $10 & $13 Everywhere Else
Nevertanezra - EP ( doom metal ) $10
Aethyr - Messio ( blackened doom / drone ) $16
Psi Corps - All Roads Lead To Amber ( psychedelic / space rock ) $16
Endname - Dreams Of Cyclops ( instrumental stoner / art-metal ) $16
Mountain Of Judgement - S/T ( doom / stoner ) $16
Ahkmed - Chicxulub ( doom / sludge ) $18
Dozelimit - Constructions Of The Highest Architecture ( sludge / doom ) $16
El Hijo De La Aurora - Wicca ( doom metal ) $16
Enoch - The Hierophant ( doom metal ) $16
Seven That Spells - It Came From The Planet Of Love ( psychedelic ) $16
US Christmas - Salt The Wound ( stoner / post -rock ) $18
Sendelica - Spaceman Bubblegum And Other Weird Tales From The Mind ( psychedelic / space rock ) $16
Sendelica - The Girl From The Future Who Lit Up The Sky With Golden Worlds $16
Sendelica - Streamdelica, She Sighed As She Hit Rewind On The Dream Mangler Remote $16
Psi Corps - Tekeli-Li ( space rock / psychedelic ) $16
The Grand Astoria - II ( stoner metal ) $16
Sehnsucht - Wachstum ( kraut rock / psychedelic ) $16
Without God - Lambs To The Slaughter ( doom metal ) $16
Seven That Spells - My Mommy Wants To Kiss Your Mamma ( psychedelic ) $16
Domes Of Silence - Hunter EP ( stoner metal ) $8 US/Canada & $10 Everywhere Else
The Re-Stoned - Analog ( instrumental stoner metal ) $16
Sex Type Thing - Checked Up By Time ( Stoner rock ) $16
The Grand Astoria - Omnipresence ( stoner metal ) $12 US/Canada & $15 Everywhere Else
Groan - The Sleeping Wizard - ( Spaced out medieval heavy power fuzz rock) $19
Various Artists - Planet Doom Volume One - ( doom, sludge, stoner ) $17
- Planet Doom Volume Two - ( doom, sludge, stoner ) $17
Mhonos - Miserere Nostri - ( drone, ambient, black metal ) $17
Misty Morning - Martian Pope E.P. ( traditional doom ) $17
Camel of Doom - The Night After Time ( Psychedelic Stoner- Doom )
Fen - Trails Out Of Gloom ( Progressive Post-Rock ) $15 US/Canada $17 UK & $18 Everywhere Else
Grifter - S/T ( Stoner/Psyche Rock )$ 15 - $18
Iron Claw ( Classic Hard Rock ) - A Different Game $15 - $18
Jpt Scare Band ( Psychedelic Blues/Hard Rock ) - Acid Blues Is The White Mans Burden $15 to $36 For Vinyl including delivery
Kevin Beadles - You Cant Argue Forever - $13 - $16
Modern Day Moonshine - Refuge ( Blues/Jam-Rock ) $15 - $18
Poobah - Let Me In ( Classic Heavy Rock ) $15 - $18
Stone Axe - S/T ( Hard Rock ) $15 - $18
Grand Atlantic / Sky Parade Split 7" ( Psychedelic ) $9 - $14
Heavy Ripples Volume 1 Compilation - $13 - $17
Mighty High/Stone Axe Split 7" - $9 - $14
Nevertanezra - NTNR ( Funeral Doom/Death Doom ) $14 - $22
KRIEF DE SOLI - Procul Este, Profani ( Funeral Doom ) $16 - $18
Lethargy Of Death - Necrology ( Funeral Doom ) $16 - $18
Ego Depths / Dispersive Light - “Follow the Skua” ( Funeral Doom, Doom Metal, Drone ) $16 - $18
AstorVoltaires - “Katan Nagantü' ( Melodic Doom Metal ) $16 - $18
Within The Torn Apart - Now In This Time Of Death ( Doom, Drone, Ambient ) Download $7
Within The Torn Apart - Drone In, Blood Out Part Two ( Doom, Drone, Ambient ) Download $7
Within The Torn Apart - No Longer Torn Apart ( Doom, Drone, Ambient ) Download $7
Synthèse Collectif - The Dark Whormholes ( Funeral Doom ) $16 - $18
Aura Hiemis “While the Rest of the World Sleep... ( Funeral Doom ) $17 - $20

The Drowning - Fall Jerusalem Fall ...

2012-01-11T19:42:00.000-08:00

Alright I will throw a few names at you: My Dying Bride, Paradise Lost, Anathema, Katatonia, Draconian - do you like these bands, especially the early stuff from My Dying Bride and Paradise Lost? If the answer is yes, then you should like this band called The Drowning who are a Welsh doom band of all things. I first really got to know them on the split they did with the very good My Silent Wake and that release, I thought they had real potential. It must be said and it is well-documented on this site that the death-doom/goth doom scene is not exactly my cup of tea but The Drowning stood out as one of the better bands in the sub-genre I had heard in a long time. In that review (READ IT HERE) I wrote that the band were not just recycling a well used formula to make their death-doom and that is true of this, their third full-length release titled 'Fall Jerusalem Fall.' The problem however, is while this album is respectable, it just lacks anything memorable enough to push it to any level of greatness.

The band has strong melodies, nice riffs here and there, stylish keys, and some tasty tempo changes and they avoid the obvious gothic clichés which is a real plus in my book. Apart from the opening intro track, 'Three Temples Ablaze,' the songs here are all long or even longer, seven to ten minutes to be exact but they never get too boring and they keep it that way with the variations in tempos and moods. The only major gripe I have is with the vocals, they are the bands weak-link musically as everything else is beautifully delivered. The production on this album is excellent and huge, they really have captured a wonderfully haunted atmosphere in some of the tracks and the guitar, bass, keyboard, drum sounds are massive but I must get back to the songs and that is where it is lacking as the songs are just not memorable to me. I can always tell this when I have to listen to an album yet again, just to remember it enough to put the words down for a review. Tracks like the 9:47 of 'A Plague For Every Season' and the 10:13 of 'Beneath A Crown So Weary' are epic and sound nice enough while they are playing but it is very hard to remember anything once they are done with.

The feeling I get is the album has a sense of playing it safe or maybe going through the death-doom motions without delivering that little extra spark to make it something special. Connoisseurs of the death-doom genre might be able to dig out something remarkable but to me it is all just a bit run-of-the-mill, standard, and unexceptional. I appreciate the fact that the band have a freshness about them despite sounding like early My Dying Bride and Paradise Lost and I admire the musicianship, and production but I find little else to get excited about. However, this is one of those albums where it is impossible to trash completely because it is so well-played and produced. I think it all comes back to how much you like the Peaceville Three. If you still find those bands and early albums enjoyable, then you should dig this as well. For me, my conclusion is this is way better than most in the current death-doom scene but I can see it gathering dust for most doom metal fans............6/10

Official The Drowning
Casket Music Website

Heavy Days In Doom Town Fest 2012 ...

2012-01-11T16:09:00.000-08:00

Well, after London and Berlin, the many people who could not get hold of any of the always too few tickets for the 2012 edition of the Roadburn Festival will have another great opportunity to enjoy the many great bands swarming around in Europe during Spring 2012.
Also I guess it is a further opportunity for the bands, big names and emerging acts, to be exposed to more and more devoted fans and to get more and more support!
So, Doom Ladies and Gentlemen, here is the HEAVY DAYS IN DOOM TOWN FEST 2012, on May 3rd-6th 2012 at Copenhagen, Denmark.
This should be the first ever edition of this diy doom/sludge/stoner festival which is intended as a “celebration of all things slow and heavy”.
However the folks behind it are no sucklings, as they are part of the crew behind a by now classic metal festival in Copenhagen, the cool Kill-Town Death Metal Festival due next September 2012.

Here is the preliminary but super-juicy bill for this substantial Danish "event":

PAGAN ALTAR (uk)
JEX THOTH (us)
WOUNDED KINGS (uk)
GRIFTEGÅRD (swe)
ALDEBARAN (us) – first European show ever!
WORSHIP (de)
DEVIL (no)
PILGRIM (us)
PURSON (uk)
CAUCHEMAR (can)
JESS AND THE ANCIENT ONES (fin)
AGUIRRE (fr)
BLACK OATH (it)
HERDER (nl)
BURNING SAVIOURS (swe)
OCEAN CHIEF (swe)
BRUTUS (no/swe)
KONGH (swe)
PROFETUS (fin)
SKOGEN BRINNER (swe)
PYRAMIDO (swe)
SUMA (swe)
MOONLESS (dk)
SINISTER CREATION (dk)
BOTTOM FEEDER (dk)
TORCHLIGHT (dk)
...

More to come!
Check the links below to get updates:
And, for the doomsters who also appreciate the old-school flavour of death metal, check out the Kill-Town Death Fest on Facebook as well ...

Info from Marilena Moroni (Thanks to Adrian, cool Norwegian friend on Facebook, for the precious heads-up)

Heavy Days In Doom Official
Heavy Days In Doom @ Facebook
Kill Town Death Fest @ Facebook

Stone Magnum - S/T ...

2012-01-11T11:52:00.000-08:00

Fist pumping riffs, scorching leads and a precise rhythm section are all a part of what makes great heavy metal. Does that mean Stone Magnum is great? You had better believe it. This four piece from Michigan City, Indiana are true followers of the heavy metal way and their self-titled debut sets this in stone. These guys play strait up heavy metal, tinged with doom and laden with catchy melodies. There is nothing flashy about them, nor is there anything strikingly original about them either, but I believe originality does not always mean greatness and it certainly does not always mean the music is poor.

The album’s opener, Fallen Priest, displays their obvious love of Ozzy Osbourne and of course Black Sabbath. The guitar and bass sound particularly Iommi and Geezer inspired, while the vocalist, spouting out lyrics like, “…reaching out, for heaven and hell…” has a voice uncanny to Ozzy. I found myself grinning at the obvious love Stone Magnum hold for the greatest rock band of all time. Nevertheless, lets not also forget, Fallen Priest just rocks. The song writing is tight, the lyrics interesting and the chorus athemic. A great opener. Things get more menacing and doom laden with the second track, Locksmith of Misery. Locksmith of Misery is built from a strong bass, drum and vocal dynamic with sparse guitar. It reeks of Saint Vitus, but who says that a bad thing? My main complaint with Stone Magnum immerged at the introduction of the vocals, the Ozzy inspired vocals disappear and a gruff, Scott Reagers style of vocal is implemented. I would have preferred a constant vocal style through the record to establish a stronger vocal identity; then again, this is a small issue. Eventually the song unpacks into an epic sounding anthem, another winner.

Savior in Black begins with another bass and drum dynamic, and yet another vocal shift, this time to something in the Dio realm of things. Then the song takes off becoming a punishing slab of metal. Between yet another excellent chorus, an awesome bass and drum intro and just good energy, Savior in Black is one of my favorites of the album. Pictures of your Life kicks things off with a nice, swift, chunky riff in the fashion of early Trouble, and yes, you guessed it, another vocal change. Pictures of your Life is a strait up, no frills, heavy metal song and its placement amongst the tracks is a nice way to put a break between slower paced songs. Grave of Cryptic Sorrows begins like a ballad, but soon breaks down once again into a collection of great riffs, leads and song writing. However, it is here that the albums weakness really shows through. The vocals, during many of the parts, just failed to inspire a positive reaction from me. The singer has an even, Lemmy-like growl to his voice. When he sings like this, it works. However, as he tries to reach different ranges, the vocals fall flat. While the vocals are a low point, Grave of Cryptic Sorrows is still another hit.

Rolling Storm is another strait up Ozzy inspired rock song, complete with harmonizing leads, a catchy chorus and hooks aplenty. At five and a half minutes, the song seems a little long for what it is, but that could be a matter of opinion. Stone magnum wraps up with Am I Really Insane? I thought it an interesting choice to end the album with a ballad, but it seems to work. Like the material previous, Am I Really Insane? Is highlighted with some great harmonies and some extraordinary bass work. I must say, a nice way to end Stone Magnums Debut. Over all, Stone Magnum is nothing new, if anything, this album is a nod to the old school, and I loved every minute of it. Albums like these reassure me that the world is not being over run by over-produced “heavy metal” garbage that sells at Hot Topic. We need more strait up, honest, heavy metal albums like this. Bring the treasure Stone Magnum, and I will keep banging my head to it. 8.5/10

Words: Brenden Butler

<a href="http://stonemagnum.bandcamp.com/album/stone-magnum">Stone Magnum by Stone Magnum</a>

Official
Facebook

You Handsome Devil – The Hell, You Say ...

2012-01-11T08:30:00.000-08:00

We have a little saying amongst ourselves, we the rockers and metalheads. Whenever offered the premise that we are going to hell because we listen to all this evil, evil music, we say, “Good, ‘cause the Devil’s got the best tunes.” Now, thanks to the Soda Shop and their Bandcamp Recommendations tradition, I have found hard proof that the Devil does have the best tunes. Not that other albums haven’t already conclusively proven this, mind, but there is one more that you need to hear.

You Handsome Devil is an experiment of sorts: it is what would happen if a bunch of hard-line metalheads (black, thrash, etc.) got together to record an album, but decided that stoner-tinted heavy/riff rock was the way to go at the last second, and only had money to record this thing once. The band’s sound is basically that – heavy/riff rock played with a metal mentality. The guitars are overweight (not fat) with fuzz, churning out killer, razor-sharp riffs at breakneck speed and having the flow of the smoothest rivers in all their songs. This is backed by seriously fun and pounding drums, bass with a bluesy/stoner attitude, and…. Versatile vocals. You hear everything a little bit, from black metal shrieks to goofy, high-pitched mock-singing to actual rock vocalizations. And this blend is more volatile, more edgy and more fun than you can fathom from this description.

The album opens with one of the many interludes, titled “The Hell, You Say” which is GG Allin talking about rock’n’roll. Then, the band launches (LAUNCHES) into the song, “The City of Toronto Does Not Accept Add-Requests from Bands.” See, the song opens with a black metal opening: fast guitars, blast beats, even the high-pitched shriek stretching out is there. From that, they, without abruptness at all, launch into a brilliant, groovy riff. The verses have slightly down-tuned chords strumming, and the entire song is one fast-paced rockin’ ride. Next up is “Penny Dreadful.” It’s the bluesy, classical-rock influenced number with an amazing number of riffs complimenting one another – from the chugging verse to the churning, razor-sharp ‘hook’ to the transitional riffs, every one is executed with skill and finesse. The vocals are addictive, the cymbal work is delicious…. It’s a winner.

Another interlude (titled “A Call” and concerning cops going to tend to a disturbance at a recording studio) we meet “A Shotgun Divorce” which opens on sludge mode: pounding drums, double bass, thick bass, droning, churning guitars, all present. It ends in a magnificent bass line and some cool drumwork that leads into a churning, infernal track that is upper-mid tempo. The thing about this one is that it often slips, quite unnoticeably, from rock into sludge mode and comes back. Wow.

“Woody Guthrie was Dead” is an interlude from the movie “I’m Not There” and just as well, because it leads into “This Scene Ain’t Big Enough for the Both of Us.” This song is a fast-paced, interesting beast that takes many twists and turns on its path. It’s sort of ‘progressive’ – the song actually orbits around the churning, sharp-edged main riff, but manage to build so much on top of that and a little variation of it and pack so much energy into two and a half minutes, it’s mind-blowing. “Devil Dance” has a thrash metal opener, no two ways about it, the requisite angular riff, double bass and detached demeanor are all present, but it, as always, makes way for jumpy, riff rock passages. It’s a party number, with it’s sinister bass, cool drum attacks and smooth, fast-paced riffing, but. The bridge section is where the band shines. They display how a singular, chugging passage can be altered simply by changing things around it: first, it’s by adding more double bass drum attacks, and later on, they show how riffs can be morphed into and from one another, and it’s awesome. Plus, the tap dance finish, whoah.

“Your Boyfriend’s Band Sucks” chronicles a band member, who is famous and playing in Osaka, has his girlfriend talked up to and then fucked in the bathroom stall by the Devil back in his hometown (where the Devil, apparently, is in a band) and while they are in the stall, tells her, “Your boyfriend’s band sucks, let me show you something good.” It’s a fuzz-laced, much more stoner-oriented fun number, that keeps up the previous inclinations of the band – the angular riffs that roll off the fretboard, the drum attacks… however, this one merits mention because the bridge, goes from stoner rock to heavy metal to progressive metal in a manner of half a minute, and the transition feels so natural, so smooth that it’s jarring. In a good way.

The album ends with the weirdly titled “Muppetporn” which, although it has the line “I will not call you Piggy anymore” doesn’t specify that it’s the Muppets that are going at it on camera. It’s a quirky, jumpy, absent-minded little number that divides its time between weird rhythms, moods and vocalizations to indulge in harsher, pounding passages and heavy metal riffs. The bridge is laden with cool soloing, and the song itself gradually, through revisiting of hooks and a second bridge, leads to the rockin’ big finish. You take the headphones off and realize that there is a world outside and it is very, very quiet.

YOU MAY READ ALL THAT, OR, READ THIS ABRIDGED VERSION: THIS IS THE DEAL. You Handsome Devil have everything going for them, and they are doing absolutely nothing wrong. Okay, so maybe so many interludes wasn’t the way to go, but they all make sense within the context of the band and the album, so there’s that. If blazing riffs, cool grooves, the occasional metal moment and a sound all unto itself is your deal, this is the place to be and this is the band to listen to. A mind-blowing, well-earned, do-that-again-so-I-can-see-it-properly 10/10.

Words: Sarp Esin

<a href="http://youhandsomedevil.bandcamp.com/album/the-hell-you-say">The Hell, You Say by YOU HANDSOME DEVIL</a>

Bandcamp

Get Well Tony Iommi - Black Sabbath Video Special ...

2012-01-10T12:25:00.000-08:00

BLACK SABBATH - 1970 + 1976 Full Concerts

Seven Sisters of Sleep/Children of God - Split 12" ...

2012-01-10T11:59:00.001-08:00

This is a killer 12" from A389 Recordings with three songs apiece from Seven Sisters of Sleep and Children of God. Two different bands in many ways but two bands that seem to compliment each other on this fine release. Seven Sisters of Sleep start things off with a monolithic blend of sludge, hardcore, doom, and stoner noise caked in crust and slime. I mean, these tracks are seriously filthy. The band best suits the sludge tag but only very loosely, there are elements of punk-like grind and these tracks never plod along at all. Their three tracks are a all-out sonic assault of fuzzy sludge metal and intense punk rock breaks that are brutally devastating. Perhaps the closet comparison would be Eyehategod and Buzzoven but SSOS are a different animal yet again. Even though the songs are fairly lengthy, they attack with such ferocity that they are over before you know what just melted your eardrums. There is also an underlying doom and gloom aspect to their sound, even in the more punky passages. Without a doubt Seven Sisters of Sleep seem to get better and better every-time I hear them.

Children of God are a bit different, more traditional in many ways and more straight-forward but equally as exciting and sonically lethal. They also have hardcore punk elements but are more metal than the crusty sludge that SSOS projects. The longest track out of their three, 'Bled Dry' is my pick for best track on the split even though I like SSOS just that little bit more as a band. 'Bled Dry' is sabbathian riffage soaked in crusty goodness and given a large dose of intensity which verges on what you could call grindcore. This split is over and done with in just 24 minutes and it is such a face-melting, bone-cracking experience that it is like being hit by a track at 100 MPH. I think Seven Sisters of Sleep are the more interesting band but Children of God are just that tad more accessible. Both these bands seem to be getting better each time I hear them and progressing in ways that are pleasing to me. Sludge fans should be all over this one, great release.........9/10.

Seven Sisters of Sleep Official Website
SSOS @ Facebook

PS: The links I have for Children of God don't seem to be working, I will get them posted once I sort out what is going on.

Stangala - Boued Tousek Hag Traou Mat All ...

2012-01-10T08:22:00.000-08:00

The revival of Breton culture through popular music began in the late 60s and 70s, with Alan Stivell’s successful reinvention of the Celtic harp as a rock instrument. But Breton pagan doom-rock? The proposition of marrying Celtic bagpipes and folk-sounding melodies to Sabbathian proto-doom could easily be dismissed as a mere gimmick, but a few listens to Stangala’s superb début should convince otherwise. The band cite Iron Butterfly and Sabbath as influences; I could suggest several more: Hawkwind, the French progressive rock group Ange, and some of the aforementioned Stivell’s more rocked out, psychedelic moments (see for instance side two of his ‘Olympia’ concert LP).

Yet at its core this album owes as much to the last two Electric Wizard albums and to Uncle Acid as it does to any of the above. I actually prefer this to more recent Electric Wizard efforts. The playing is more dynamic, the riffs heavier, fuzzier, fatter, weirder, while the overall sound is often nicely rounded out with subtle and well-played Hammond and space-rock synths. Moreover, the traditional music element is so well-integrated into the rest of the music that for this listener the gimmick aspect was quickly forgotten. As the ten songs flow into one another perfectly, with no weak tracks, it is worth considering each in turn.

‘Doom Rock Glazik’, a rousing boogie opener, immediately grabs hold of the listener with its catchy, insistently hypnotic main riff. While the riff recalls ‘Hole in the Sky’, this song has Uncle Acid written all over it, at least until the Celtic bagpipes kick in around the one minute mark. The first thing I thought of here was AC/DC’s ‘It’s a Long Way to the Top’ (that’s probably as revealing of my origins as anything else). Stangala are doing something different with the pipes in any case, which throughout the album often follow but also sometimes act as a counterpoint to the lead guitar. Short and sharp, this song, as well providing a statement of intent, punches its way through any potential listener indifference. ‘Al Lidou Esoterik An Dolmen Hud’, a convincing mid-paced doom stomper, conjures a more Electric Wizard feel, and after a sinister breakdown builds to an epic close with some simple yet effective soloing. The beautiful instrumental ‘Kalon An Noz’, a simple bagpipe tune, provides a well-placed break and does not outstay its welcome. ‘Sorcerezed’ returns to the heavy mid-pace Electric Wizard groove, but a folksy middle section, complete with ‘fa-la-la’ vocals, gives way to a fast and heavy conclusion, sounding not unlike the final minutes of ‘Electric Funeral’ complemented by spacey synth work. ‘Deus Bars An Tan’ is a darkly atmospheric instrumental/spoken word track, recalling Floyd and perhaps Tangerine Dream before coming on all Burning Witch, evil drawn out guitar chords and tortured vocals aplenty - awesome.

The heaviness continues with ‘Langoliers’, which combines some prime 70s rock stylings with a blasting drumbeat. It’s the album’s shortest and perhaps most straightforward song. The band change tack with ‘Bigoudened An Diaou’, a carnivalesque almost-pop song incorporating a brief surf-rock passage, more bagpipe and guitar interplay, and a terrific guitar solo. The album’s title song allows the accomplished bassist free reign before the introduction of a sinuous, folksy lead guitar line, accompanied by some excellently funky drum work. The crazed shredding really cooks, somehow recalling Steve Hillage at his best, while along the way evoking a paganised 70s jam rock vibe. ‘Izel’ marks a return to lumbering doom rather than 70s rock. The chanted vocals add to its sombre effect. With its long, subdued solo, I’m tempted to describe this as the album’s most laid back track. Eighteen minute closer ‘ Mij Du’ recapitulates the entire album. Acoustic guitar makes its début, firstly (and somewhat ironically) mid-way through the song, and then in a beautiful folk piece at the song’s conclusion. Its main melody resembles that of ‘We Hate You’, but as with other tracks, obvious influences are more or less transcended. This is an inventive, joyous, assured début, deserving of a much wider audience than the band’s two existing demos have so far gathered.

Available as a download from Bandcamp - or on CD from Solitude Productions – solitude-prod.com.

Words: Matthew Jamieson

Boued Tousek Hag Traou Mat All by Stangala

Bandcamp

Behold! The Monolith – Defender, Redeemist ...

2012-01-09T08:44:00.000-08:00

Set to be released in a couple of weeks from now is the new album from Behold! The Monolith titled 'Defender, Redeemist.' It will be the band’s third release and its best thus far and certainly their most aggressive. Combining elements of stoner, sludge, doom and straight-out intense metal, this band is not your usual stoner-metal act, they are much more than that. While the band has a pure doom-laden sound, it is mostly a wall of apocalyptic sound, tempos, and energy that goes against the grain of what you usually hear in doom, stoner and sludge metal. The diversity within the album makes this a whirlwind ride for all lovers of heavy music, not just doom fans, even fans of death and black metal should find much to get excited about with 'Defender, Redeemist.' What strikes me is if you peel back the layers, some of the songs have old-school heavy rock/metal riffs that are not far removed from the likes of early 80's NWOBHM bands but it is delivered with such intensity and heaviness that you may miss it if you are not paying close attention.

The opening intro piece, 'Guardian's Procession' sets the apocalyptic mood before it crashes into the first real track, 'Halv King.' This track bolts out of the gates with aggression and an intensity which may surprise those expecting a typical plodding doom vibe. After bashing the listener around the head for a short while, it finally drops a gear into a very doomy, sludge, atmospheric tune that features hooky riffs and wonderfully blistering solos. Things don't let it for the next track, 'Desolizator' which is one part Down-ish stoner-metal, one part sheer brutality. Full of interesting little changes, this track keeps your mind glued to what is spewing from the speakers for almost 7 killer minutes. 'Redeemist' is the first of the albums epic tracks. This 11 minute monster cut is full of diverse switches in tempo and mood so it never gets dull but it is more of the same but the "same" here is all killer so I am not complaining.

'We Are the Worm' is another high-energy burner with nearly 5 minutes of sabbathian riffage played at various tempos. This is of course what makes the album so good is it never settles down in any one direction, tempo, or style so it is forever delivering surprises and never predictable. 'Witch Hunt Supreme' is a song that originally appeared on the band’s debut EP but makes another appearance here and I have to say it is most welcome. I don't know why they decided to include it here but it fits in well with the rest of the album so again, no complaints. 'Cast on the Black/Lamentor/Guided by the Southern Cross' is next and it is the second of the two epic's, and I mean real EPIC! This is close to 14 minutes of a three-part trilogy of sabbathian sludgy riffing, mind-melting solos and the three parts are all distinctly different but all blend together remarkably well.

First part of this epic piece is slow, menacing doom. The second part is surprising relaxed considering all the head-bashing madness that has preceded this section of the album. The track soon returns to a more tradition stoner-metal/sludge vibe for the last section of the piece. Again it reminds me of a heavier, more intense version of Down but only much more interesting in my opinion. The album then ends on 'Bull Colossi' which almost seems like a let-down after the epic that it follows but 'Cast on the Black/Lamentor/Guided by the Southern Cross' is so huge in scope and depth that any track following it will seem small by comparison. Then after an hour or so, it is over. 'Behold! The Monolith' have really outdone themselves with this one. I always knew this band was good but I didn't expect this. 'Defender, Redeemist' is my first favorite album of 2012. It is a flawless album that should push the band to the next level of popularity. Killer stuff...........10/10.

Facebook
Official Website

Lost For Words: TONY IOMMI Diagnosed With Lymphoma ...

2012-01-09T07:44:00.000-08:00

Legendary BLACK SABBATH guitarist Tony Iommi has been diagnosed with the early stages of lymphoma, a cancer of the lymphocytes, a type of cell that forms part of the immune system.

Iommi, 63, is currently working with his doctors to establish the best treatment plan and remains upbeat and determined to make a full and successful recovery.

This comes as BLACK SABBATH — Ozzy Osbourne (vocals), Tony Iommi (guitar), Geezer Butler (bass) and Bill Ward (drums) — are writing and recording their first album in 33 years in Los Angeles (still set for release this fall) with producer Rick Rubin. They will now go to the U.K. to continue to work with Tony.

Iommi's BLACK SABBATH and HEAVEN & HELL bandmate, legendary heavy metal singer Ronnie James Dio, died of stomach cancer on May 16, 2010 at the age of 67.

In a June 2010 interview, Iommi stated about his former bandmate, "I was talking to Ronnie [a few days before he died], and he said, 'I've gotta have this new chemo, but I think it's working.' And that was the real big shock of it, because within a week of that, he had passed away. So it was a big shock for all of us, because we built ourselves up to [have him beat the disease] and, of course, we didn't expect to lose."

According to the Leukemia & Lymphoma Society, lymphoma is the name for many different types of cancer that arise in the lymphocytes (immune cells). Treatment might involve chemotherapy and in some cases radiotherapy and/or bone marrow transplantation, and can be curable depending on the histology, type, and stage of the disease.

There are three types of lymphocytes: B lymphocytes (B cells), T lymphocytes (T cells) and natural killer (NK) cells. B lymphocytes make antibodies to fight infection; T lymphocytes have many functions, including helping B lymphocytes make the antibodies that fight infection; and natural killer cells attack cancer cells and viruses.

Lymphoma may arise in any of these types of lymphocytes. In general, B-cell lymphomas are more common than T-cell lymphomas; however, in the skin, T-cell lymphomas are the most common type.

About 20 percent of the white cells in the blood are lymphocytes. Most lymphocytes are found in the lymphatic system, the major part of the body's immune system. The lymphatic system consists of a network of organs, including the spleen, the lymph nodes (small bean-shaped structures located throughout the body), the lymphatic vessels and areas in the gastrointestinal tract.

Lymphoma is divided into two major categories: Hodgkin lymphoma (HL) and non-Hodgkin lymphoma (NHL). Cutaneous T-cell lymphomas (CTCLs), cancers of the T lymphocytes, constitute a rare group of NHLs that arise primarily in the skin and have various signs and symptoms, outcomes and treatment considerations.

Blah, Blah, Blah ...

2012-01-08T18:53:00.000-08:00

In memory of Stonerrock.Com

Hello, hope everyone is enjoying the new year so far. Just a heads up on some things. There is a new poll up on your favorite or what you think is the best guitar player in doom, stoner, sludge etc. Some people might not have noticed it because there hasn't been many voters compared with previous polls but it is in the sidebar half-way down the homepage. Some people have commented that they find the store page a little confusing when it comes to ordering multiple items. There is an easy way around this - just tally up your total cost, pay through Paypal using the donation button and simply leave a note with your order. One click and you are done. You can also pay this way and send me a personal email with your order details. (earthdog@doommantia.com)

A couple of other minor changes have been made. You can now add smileys to comments if you like that kind of thing. You just need to know the codes. The smileys that work are based on the Facebook smileys, you can find a complete list of codes HERE. Keep in mind the smiley wont show up in preview mode but will work after the comment has been posted. A couple of people have commented that the site loads slow and in some cases freezes their machine. I can't do much about this as the site regularly scores a 89-91 out of 100 rating on sites like Google Page Speed but I am done some tweaking and now the site is up to 93/100 rating. So if you still have trouble, the fault is at your end, sorry folks, this site is tested on all browsers on various computers including the local library and loads fine everywhere so if it don't work for you, you might want to adjust, fix, or think about a new computer.

Also, last thing. The site will be moving in a few months, same address, new location but I will give you plenty of warning first before the move takes place. Along with the main site, the webstore will also be shifting to its own dedicated website. Any label that wants to be a part of this, just contact me and we will figure out something. This will be a community based site where ALL labels will be able to sell their goodies. That is all folks.

PS: Thanks to everyone who is viewing the forum, hope you enjoy your lurking and stalking around the message boards but it would be even better if you could register and join in the discussions. Last month, the forum got 46,333 views, it highest monthly tally so don't just lurk, register and join the community. Thank you.............Ed

Wizards Beard Set To Release Four Tired Undertakers Next Month ...

2012-01-08T18:14:00.001-08:00

Wizard's beard will release their second album, Four tired undertakers, on February 10th 2012 (Distribution through code7 via Plastichead (UK, Eire), Altsphere (France), Twilight (Rest of the world). Here is a look at their brand new video....

Wizard's Beard @ Facebook

ANOTHER MILESTONE FOR DOOMMANTIA ~ POST NUMBER 2000: Zozobra Double-Feature: Harmonic Tremors and Bird of Prey ...

2012-01-08T09:03:00.000-08:00

Those of you living in Santa Fe may know Zozobra as an effigy burned to destroy the past year’s worries. At least, that’s what Wikipedia tells me, I won’t lie. Zozobra, apparently, translates to Old Man Gloom, and how fitting, because here is where things get a bit interesting. See, Zozobra the band was formed by Caleb Scofield, who had help from Santos Montano in 2006, and both men, by then, were already in a band called, you guessed it, Old Man Gloom (they even have an album sub-titled “Zozobra” as the second installment of a double-release.) Despite the fixation with the effigy, I think that phonetically, Zozobra sounds very much like an alternative sludge outfit.

Now, I love Mari and agree with her on most things, but one point of disagreement I will put forth is that I do occasionally like my sludge contaminated with and contaminating other, compatible genres. I also adore what I term “alternative sludge” which basically denotes non-codified sludge-blends that incorporate other things into the mix. Zozobra is, by that definition, an alternative sludge band. Another way to describe it, I guess, would be a “sludge blend band” which denotes the use of sludge metal as a foundation atop which other influences can be tacked on to build a singular, musical structure.

Enough with the boring stuff. Let’s get to the albums and show by example.

The 2007 debut “Harmonic Tremors” is the first effort put forth by the band and to my mind, the more diverse of the two albums so far. It also has a kickass cover done by Aaron Turner (artist and member of Isis and Old Man Gloom) which depicts in that stoner-like eye-screwing palette the Zozobra effigy when the full image is extended (which can be found HERE)

Out of the two albums, “Harmonic Tremors” is the more broad in terms of its influences. The music is mainly hardcore and sludge blend, with thick, fuzzy, hardcore-like guitar tones churning out infernal riffs that are simple, yet big and heavy. These are backed with hardcore-ish screams, cool drums and sharp, thick bass. The songs are usually fairly standard in terms of length, and no, that’s not a sludge standard we’re talking about. The longest song on “Harmonic Tremors” is five minutes plus.

One more thing before we start: the album also features something I have never heard in sludge/hardcore before (barring that deathcore offshoot bullshit I hear every so often): industrial. Some sections in this album are bordering on being full-blown industrial songs. This mostly is because of the drums that can, depending on the song, sound sampled and hence suck all organic feeling out of it. To me, since I do like industrial as a genre, this was a plus. But your mileage may vary.

So the album kicks off with “The Blessing” which, for a change, starts things off with a nice, heavy riff, harmonized vocals and overall a bright mood. Embellished with drum attacks and intercut with churning, almost droning latter-part riffs, the song has many transitional points, all of which flow smoothly. A blazing solo connects the song to keyboard-laden passages, from which, the outro section is where the industrial influence rears its head. Overall, it’s a brilliant song to start things. Then comes “Kill and Crush” which has the band showing their technical and sludge sides a bit more. Droning tones on medium-thick slabs that are held up by nice cymbal work and cool bass lines, and the sections are usually divided between the easier ones and those that hit harder and heavier. The whole thing orbits around a singular baseline riff, and does so nicely.

Next up is “Levitate,” which brings the heaviness down a few notches to explore some post-metal-like pastures. The song is this interesting, interlude-like passage, with thinner tones, hesitant bass and sampled drums leading the way into a harder, but not necessarily heavier outro. It’s a welcome break from norm and keeps things interesting, but otherwise, it usually flies over my head. Afterwards, we hit “Soon to Follow” which kicks off with heavy, droning riffs and throaty screams leading into some marvelous pastures. The song is really memorable during its latter half, though, because the band constantly crank up the juice on the one riff they employ there, and display great skill with manipulating the same section. Marvelous!

Then comes “Silver Ghost” which has the band…. well, okay I’m not sure how to frame this. Think of one of those interludes that have the guitars sound like they were recorded, put on tape, the tape played on a cassette player, and the version we hear was recorded from the cassette player’s speakers with a microphone. That’s what this is like. It’s an interlude stretched to three minutes plus. That they follow with “Invisible Wolves,” one of the harder hitting tracks right after that lullaby is somewhat jarring. The song itself is one of the more hardcore-influenced numbers, leading by a sweet riff and intercutting it with soaring choruses, building up to a clean-singing partition that simply adds to the flavor. This is what the band does best, so it’s baffling to me that they didn’t just stick to it.

“Peripheral Lows” is an abrasive, industrial-influenced, drum-sampled, hush-hush track that oppresses listeners with its basic riff and lack of heaviness. The atmosphere is so hazy and so thick that if you were to sink your teeth into it, you’d break a tooth. The guitars are nice, technical at times, the drums are delicious and the general feel is incredible. It’s a “low” in every sense of the word. Then comes “The Vast Expanse” feels so much like a continuation of the previous track, I have to wonder why they couldn’tve been one song. It uses a more refined version of the same riff, similar drums (except for the end part where the drums are delicious) and vocals, and takes the sinister mood of the previous track and morphs it. Well played.

“Caldera (Instrumental)” is an instrumental interlude song making full use of the guitar ton(n)es and moves into post-metal-like and psychedelic-like passages with its brighter guitar work and repetitive, almost hypnotic riffing set against a backdrop of atmospherics. It leads into the final track, “A Distant Star Fades.” It’s a post-rock track, plain and simple, completely stripped of any harder influences. It brings the album sort of full-circle with its gentleness, as “The Blessing” was sort of like this, but otherwise, it’s a four minute post-rock track, and that’s it.

So, generally, “Harmonic Tremors” is obviously the weaker of the two. It has more dynamism to it, more things are happening, but the downside of that is, the album comes off as lacking focus. The songs intercutting the good ones are noticeably different or just don’t belong, which further exacerbates that situation. There are flow issues, song arrangement issues, but for all of that, there are never inner-song flow issues. The songs flow freely, smoothly, and the transition from one part to the next feels cohesive and natural, which baffles me, frankly. So, I’ll give this one a 6/10.

The second and as of this moment, last album of Zozobra is the 2008 opus, “Bird of Prey.”

The album kicks off with “Emanate” and it starts off at breakneck speed with groovy, angular churning of guitars, pounding drums and throaty, healthy vocals. The menacing bass, sharp, thick and monstrous is very much present and the whole thing comes like a sludgy, groovy train moving forward with the breaks completely screwed. The more technical refrain and the halfway soloing leading into it are also different flavors thrown in. Next up is “Heavy with Shadows” which also features some of the more soaring soundscapes present in the previous album. With some nice, thrash-like guitar work and moody, overarching, out-there guitars characterize the song, as well as a very cool hook. Seriously, this song is what alternative sludge is all about. The rise-fall of riffs are incredible, the bass is seriously good and the drumming is delicious.

Then comes “Big Needles” which is a sign of what comes after (it’ll make sense when you get to the next song.) It’s got this groovy, foot-stomping, neck-tilting main riff: it’s this jumpy beat that’s carried in the arms of the guitars and backed by good drumming. The latter-day partitions are more straightforward in terms of delivery of sludgy goods, lumbering forth with ferocity and drive. Also, this song has a seriously good solo to spice things up. Now, the next step is that one song in every hardcore-tinted album. See, “Heartless Enemy” is that atmospheric, slow-burning, groovy and playful track that every similar album I have heard features, without fail. With thin guitars making way for very nice, calming (and, almost Baroness blue) pastures, the whole song is the curveball that just jumps out and demands a place in your memory. It’s like that one piece of embellishment on an otherwise focused dinner plate you can’t get out of your mind.

“Big Needles” is basically a synthesizer interlude. Yes, synthesizer. Yes, interlude. Nothing else to say about it, really. Then is “Sharks that Circle” which brings back the familiar Zozobra vibe. The churning guitars backed by thunderous bass and good drumming, strung together by harsh vocals and the lead-like guitarwork accompanying the baseline of the music. It also features clean vocals during the bridge, but overall, I find this track to be the less notable one in the album.

“In Jet Streams” is an explosive, rockin’ track with lots of energy and drive, from its opening salvoes to its end. It’s marked with sweeping guitars adding the ten-ton-rapid-strike-sledgehammer chords making for one churning beauty, backed by nice bass and drumming, and the refrain sections lets the music ride out rather than keep it in restrained, clenched-teeth churn-mode. The bridge also teases us with rather clean vocals along with the usual growls,

“Laser Eyes” is an interesting subversion of the detour-song structure. Detour-songs comprise of two partitions, identical or very alike, at the beginning and the end, and the middle part is a detour leading from the first partition to the last one. Here, the detour leads from atmospherics to atmospherics with a song split into one two-minute and one one-minute partitions in between. There is a very heavy-metal inspired, nicely-structured and playful little song, which lasts for all but two minutes, stuck in between the other five plus minutes of atmospherics and a guitar plugged into too many echo effects pedals frankensteined into a gigantic echo-processor.

So, overall, “Bird of Prey” is a good album, a step in a different direction than “Harmonic Tremors,” certainly, but it has its flaws. These are mainly that the album is too short, for nine tracks and though it makes for one comfortable ride, it lacks any complexity. This can be a flaw for some, for me, it was rather a selling point. But, “Big Needles” and most of “Laser Eyes” are cutting-room-floor material to me, and it would be better if they weren’t there, or were there as part of a grander scheme (what was so wrong with making the content of “Big Needles” a prelude section WITHIN “Sharks that Circle” I wonder, that it had to get its own song?) But it’s a good album, nonetheless, just not earth-shattering or revolutionary. 7.5/10

OVERALL, THOUGH? Zozobra exist in a nice, isolated niche all onto itself. Putting aside the debate of whether or not we’ll ever see another album, as it stands, their body of work is enjoyable, but not very exceptional. It’s nice to pass the time and it helps to keep around, because the work is more accessible than some other purveyors of the genres that they blend, their blend is original enough to keep one interested, and the albums are good on their own right. It’s just that that’s it, they are good. They aren’t bad, but they aren’t great either. Their cumulative score, to me, is 7/10.

Words: Sarp Esin

Zozobra @ Myspace

Purson – Demo ...

2012-01-08T08:40:00.000-08:00

Oops, I don’t know how I forgot to review this very nice demo by English occult rockers Purson (London). I kind of assumed other reviewers would pick up on the buzz, but luckily Purson is still somewhat below the radar so I get to review this light psychedelic gem. Remember, Spiderwood Farm is to be one of your favorite tracks. Don’t forget who told you!

I’m always a sucker for occult, psychedelic female fronted doom, and the buzz surrounding the band is of course at their demo stage nothing but a buzz, but if their debut is anything close the demo than I’m very happy to say the least. Listening to Purson, acts like Blood Ceremony and Black Toth come to mind. Picked up by Fenriz’ Band Of The Week, Purson also got a deal with Rise Above Records. Rosie Cunningham, of Ipso Facto fame (defunct since 2009), is only 21 years old and I know this makes a lot of readers feel really, really old.

I found the four songs on the pasted below soundcloud page, so I’m not sure if this actually is a demo, or that I named the four tracks demo in my iTunes. Anyway, four songs have thus far been recorded and released by Purson, namely Twos And Ones; Spiderwood Farm; Wool and Let Bloom. Twos And Ones is a nice, easy flowing lightly psychedelic and progressive tune. Spiderwood Farm has the best intro you heard the last years, plus it has the best riff you heard in the last couple of years. I’m a sucker for vocals that follow the riff, so this is a no-brainer for me personally. Apparently Cunningham is a big fan of the Beatles, so maybe that explains a little bit of Purson’s broad musical approach to their music. Wool steps in the same direction as Spiderwood Farm: strong, solid riffing with mysterious and strong vocals and midway the track the guitars go in a more progressive fashion. The mellotron brings nice variation to the rock tracks by the way. Let Bloom is nice too, but makes a somewhat less strong impact because of the really strong first three tracks....9/10

Words: Sandrijn van den Oever

Purson @ Facebook
Purson @ Soundcloud

A Fracture of Sorrow to Come (Interview with Uzala) ...

2012-01-07T15:30:00.000-08:00

If you were searching for a talented young band that plays doom, search no more! Uzala with their S/T debut are already a hot topic among the doom fans. Knowing how this band likes to experiment and to evolve trust me when I am saying that this album is just a small "Fracture" of great things that are about to come! I believe Chad (guitars, raw vocals) will agree...

Dr.Doom: Since Uzala is fairly new shall we start this interview by introducing the band and its members?

Chad: The lineup on the album is Chad Remains (myself) vocals and guitar, Darcy Nutt vocals and guitar, Nick Phit on bass, and Stephen Gere on drums. Stephen has left the band since this record and we welcome Chuck Watkins to Uzala on drums. We look forward to working together in this new year towards some killer recordings and touring. There are three more songs that we recorded with Stephen in other sessions that will be coming out later in the guise of 7" vinyl splits with some killer bands including PALLBEARER, who we are stoked to work with. One of these songs was penned by Nick, and it's quite different to any of the other UZALA material, although we feel it is wholly us in sound and vision.

Dr.Doom: I see that you (Chad Remains -guitars and “hellish vocals”-) and Darcy (Nutt -guitars and vocals-) are a married couple! Does this involve epic fights about solos and vocal melodies? And do women always get their way on a band as they do in life?

Chad: Ha ha! Our communication is very direct since we have been together for a long time, so we don't bother to beat around the bush. We just say what we want to say. The song tells us what to do anyway, so there is very little ego involved in the decision making process. Quite simply put, Darcy plays rhythm guitar and I do the leads. When the song calls for a female voice and beautiful singing it's her responsibility, and when the song requires more aggressive vocals it's up to me to make it work. We both share lyrical duties as well as writing the riffs and structures. One exception is PLAGUE which was written by Stephen on piano and then Darcy and I arranged it for guitars with him. It is funny to think that people expect us to fight though - I didn't get to be this advanced age by not learning how to choose my battles! ha ha ha! I know when she is right and she knows when I am right. We don't compromise for the sake of it since that would compromise the songs.

Dr.Doom: I see you completely neglected a CD version and an MP3 one! Your debut will be released in vinyl and tape format only right? Was this some sort of an anti-MP3 statement from the band?

Chad: We only haven't done a CD release because no label has stepped forward to release it YET. Of course I prefer vinyl for it's many intrinsic qualities and I don't view CDs as a must, but I don't have a vendetta versus the format or anything. Cassettes are just cool and I can play them in my car more easily than any format. I grew up on tapes and vinyl, so it feels natural to me. I don't remember having CDs until almost my senior year in high school and then I was fairly disappointed by people asking to hear "song 4" or whatever. There is no "song 4"!!! These artists gave the song a title! Use it for fuck's sake!
I would be glad to talk to labels about releasing this on CD, though. I know for a lot of people it is their preferred method of listening - so it doesn't bother me. MP3 release though? Like buy some MP3's? Sure! I'll get right on it! I have been told that it is terribly "old fashioned" to only have physical manifestations of the recording for sale - so we will correct this anachronism by having paid mp3s available on our website which is being finalized at this time. It should be fired up by January or February once the details are complete. We will have mp3s available as well as shirts, patches, posters, etc. for those who wish to support our endeavours.

Dr.Doom: Darcy is responsible for the album cover art if I am not mistaken. Has Darcy done anything for other bands?

Chad: Darcy is a full time tattoo artist so most of her focus is on making huge and elaborate pieces for people's skin collections. She has done a little bit of art for bands in that she has tattooed some band members that you may know. She has created some images for gig flyers in the past as well. The last one was for a WITCHCRAFT gig.

Dr.Doom: In the copy I have, the production is a bit inconsistent. For example “Death Masque” sounds a bit louder and clearer than the rest. Was the album recorded in two different times?

Chad: That was MY mistake! Sorry about that, amigo! "Death Masque" will NOT appear on this record at all in any plans we have at the moment. We have recorded a different session of it which is a different arrangement entirely for an upcoming split 7" we are doing with a Chicago band. We may release that song on it's own. But right now we don't have plans for it. Blake Green (WOLVSERPENT) still did the production on that. But it was a slightly different kind of sound we wanted for that take.

Dr.Doom: Most of the album has a dirty, lo-fi kind of sound. I’ve always considered that kind of production a trademark for black metal bands. Do you agree? And do you see it fits well in a (mostly) doom band like Uzala?

Chad: Well we certainly didn't go into the studio with a preconceived notion to make the album sound lo-fi. I think it is more of a matter of working with the equipment available to us to make it sound as good as we could. We also did not intend to have a crystal clear and polished kind of shiny sound either. If it sounds black metal to your ears, that's fine. I don't hear this much low end frequencies usually associated with black metal. It sounds more like early Sabbath studio stuff to me - or maybe I suffer from wishful thinking with that one!

Dr.Doom: There are two songs “Fracture” and “Wardrums” that have a quite different aesthetic from the rest of the album. Weren’t you afraid that you might lose something from album consistency and do you feel like Uzala’s sound is a work in progress?

Chad: Those songs reflect a different viewpoint of despondency and grief in that they are outwardly focussed rather than introspective sorrow. The riffs and the vocals are different because of that.
Of course our sound is a work in progress and we hope it will always be so since stagnation is the enemy of creation. So far as consistency goes I'm not sure that it is necessary other than this very recent idea that has come to be in these genres that any deviation of tone or structure is unorthodox or even heretical. If you dig through your old records you will find huge variations in sound, stucture and instrumentation especially Masters like Led Zeppelin and Black Sabbath. We'll leave having all the songs sounding the same to those who wish to toil under such orthodoxies themselves and we wish them well with it!

Dr.Doom: Do you believe that vintage equipment and vintage production has become a necessity for the doom genre?

Chad: I believe that many will tell you so, but I don't think that obsessiveness of these details is a necessity, no. If a guitarist can make great doom riffs with a cheap catalog guitar and a digital modelling amplifier combo it is the riffs that matter. I do, however doubt the efficacy of this course of action since I haven't heard it done convincingly yet. If one desires the tone of a Les Paul through a Marshall Plexi stack, the easiest way to get there is not by pretending, but by acquiring the tools. A huge percentage of a bands' tone comes from their fingers and sweat anyway - I revealed to a friend recently that a "famous" band had all Marshall stacks for "the look" and that the actual amps used were cheap Peavey gear found used! So the road goes both ways. Experimentation is key - but don't expect for me to suddenly sound like Van Halen because I bought gear to match his. My personal obsession for the old amplifiers has a lot to do with the quality and craftsmanship with which they were built and designed. We have lost this in our modern and disposable consumerist society. So I collect the obsolescent dinosaur gear whenever I can afford it. The amplifier I use live and for this recording, however is a LANEY gh100s TI which was manufactured in the 90's - so hardly a vintage amp in truth, but capable of the tones I seek and has been trustworthy on the road.
I'm not sure exactly what you mean by vintage production although I assume you mean eschewing modern conveniences such as Pro Tools and digital boards. Recording to 2" tape has always been a very expensive proposition and now that it is such a rare commodity and digital processing is ubiquitous many bands feel it is in their best interest to record in a modern equipped studio or even in their own rehearsal space on a laptop computer. I had very little to do with the methodology of our recording, but I can tell you that from what I have heard from the output of some recordists with today's technology I believe that most listeners would be hard pressed to tell you whether an album was recorded with a digital process or with an analog one. A bad engineer with a bad ear is going to make a bad sounding record no matter what he uses. We believe Blake Green (WOLVSERPENT) did a KILLER job with this one and I think you'll be hearing more bands recording with him soon.

Dr.Doom: Jex Toth, Devil’s Blood, Blood Ceremony, Windhand, Ritual of the Oaks, The Wounded Kings, Wooden Stake all are doom (or related) bands that appeared in the last few years and all have female vocals! Do you think it’s a coincidence or maybe a bit of trend? What was the reason that you decided to adopt female vocals in the first place?

Chad: I imagine that is is because of a shift in our culture, really. It is no longer generally acceptable in the West to tell someone "you can't do this because you are a woman" or it's not "feminine" to do such and such, and so on. There are definitely genres where females may never be accepted, but I like to think that folks who listen to classic styles of doom and such to be a bit more enlightened in this area than the general populace. I may be very biased here because of meeting some really great people in these circles - so count me out if I'm wrong! I have had death metal fans tell me that "women have no place in music" and they are welcome to their (fucked up) opinion. But I'll bet they have a Jefferson Airplane record hidden in their collection at home or at least the mighty THORR'S HAMMER or BOLT THROWER!!
It was quite simple for us to decide to have Darcy sing. She has a KILLER voice and she plays mean rhythm guitar, why not have her do both? She and I formed the band anyway and we run all of the decisions by each other because we are very respectful of each other's opinions and abilities. It would be a shame if my ego was so fragile that I was afraid to have Darcy sing for whatever imagined reasons on unreasons. Each song takes its own identity and calls for the correct voice. THE REAPING would not be what it is if I were to do vocals on that one, for instance.

Dr.Doom: I am sure that most fans will be wondering already for future releases of the band! Any plans for EP’s, splits etc?

Chad: We have three songs already recorded for upcoming split 7" releases with such killers as MALA SUERTE, PALLBEARER, and BONGRIPPER. The labels have not received these yet but I hope that most of the three will see a Spring release in 2012. UZALA is also planning a 10" EP with two songs that are being written now which will be the debut of our new drummer, Chuck Watkins. We plan to record that one this Spring in Seattle and I have been in talks with Tad Doyle (Boise/Seattle legends TAD) about engineering that piece for us. Nothing is final on that yet. It will see press by KING OF THE MONSTERS when it is finished, though. Darcy and I are writing new songs constantly, so we should have enough for another studio album by Fall.

Dr.Doom: So are there any plans for touring in U.S. and possibly Europe?

Chad: For now we are planning a Western States US tour in May/June - get in touch if you can help out with gigs and such. We are looking at Seattle, Portland, Eugene, Oakland, San Francisco, Los Angeles, Phoenix, Tuscon, Las Cruces, San Antonio, Austin, Norman, Denver and Salt Lake City. I may have missed something in the list. My apologies. Currently we have no plans to tour Europe, although it is not out of the question for us and we do desire to play the UK as well as Scandinavia and mainland Europe especially given the fucking fantastic festivals there like ROADBURN.

Dr.Doom: O.K. this it from me! The epilogue is yours!

Chad: Expect more fuzz, more despair and more thunder from us. Nick Phit (bass) has become an integral part of UZALA since he joined us last year and we look forward to collaborating with him to a greater degree in future recordings. Our creative fires are lit and we have plenty of fuel to burn. New ideas are fomenting and fermenting and more realizations and revelations are forthcoming. Thank you to all who have supported us. Thank you for reading.

Interview By Dr Doom Metal ( Dr.Dooms Lair )

Uzala @ Facebook

El Schlong - Time/Place ...

2012-01-07T13:33:00.001-08:00

Have you ever heard a metal band from New Zealand? Well, I certainly had not, and that was a point of interest for me in reviewing this record. El Schlong is a three piece, originally from Dunedin, New Zealand, though they have moved several times since their conception and they play…well… I am not quite sure. It is certainly metal, but it crams many different styles and plays with many different musical mechanics; avant-garde, perhaps?
Well, aside from trying to place El Schlong in a genre box, something too commonly practiced these days, let us focus on the songs in this strange release. One thing to note is that these Kiwi wizards do not take themselves too seriously. After all, with a band name like El Schlong, who would? With this in mind, the first track off their sophomore effort, Time/Place, is entitled: With Trousers On.
With Trousers On begins with a brisk, chunky intro that is eventually accompanied with some particularly constipated sounding vocals. Over all, the beginning is standard sludgy metal. That is until the middle of the song, where heavy riffs give way to some bizarre clean guitar work and some beautiful female vocals. With Trousers On is a good indicator of what El Schlong are about, concise song structures, melody and song writing.

The Alchemist, the album’s second song, is much stronger then With Trousers On. The opening riff is a bizarrely timed monster and is followed up nicely by some layered vocals that sound like a medieval choir. The middle of The Alchemist is an extended doom laden soundscape with a menacing oath being proclaimed over it. It is very effective.
Next is Clocks; this is Time/Place’s strongest song. It is rich with atmosphere and strong in song writing. With the vocals being mostly clean and ethereal in quality, Clocks sounds like something out of a dream. Low in the mix is the occasional clock sound effect, which is a real nice touch and increases the mood. The song eventually builds up and explodes into more of the melodic metal of the previous two songs.
The Persistence of Time, 2 ½ Dalis, Number 42 and Moving On, all follow suit. It is much of the same, heavy riffing, strange signatures and moments of dreamy calm. There are even some stand out moments, like the Mexican trumpeting on Number 42. However, these few moments do little to save Time/Place from eventually stagnating. At the halfway mark, the oddness in El Schlong's bag of tricks lost its magic and the songs become tiring. This could be due to the poor and uneven recording quality, which often left the guitars and vocals with a distant room sound, or the mix, with vocals too loud and the drums much too low.

Overall, El Schlong is a group of very talented individuals, and their sophomore album Time/Place is a good effort. The song writing, compositions and creativity are simply stellar. With a better recording, mix, and perhaps without the harsh vocals (they became very irritating), I believe this would have rated much higher, but as is, Time/Place’s charm wore off about half way through, leaving me trudging through the last half, wondering when it would end. 7.5/10

Words:Brenden Butler

Myspace

Evil Cosmonaut - We Have Landed ...

2012-01-06T09:04:00.000-08:00

Formed in Moscow by Alex ‘Kaza’ Kazachev (guitar, vocals), Denis ‘Memphis Dead’ Petrov (bass), and Konstantin Sosnin (drums), Evil Cosmonaut are a stoner-metal/rock band on the excellent RAIG Records label. While the band will get the "stoner rock" tag, this is really just pure bluesy hard rock and boogie in the 70's rock tradition but with a added dose of humor and fun thrown into the mix.

The child-like album artwork tells the story with this band, this is simple, straight-ahead kick-ass rock that is not meant to be taken too seriously and once listened to with that in mind, it is mostly a all-round winner. We Have Landed doesn't break any new ground, nor does it excite with astounding riffage but it is infectious and instantly enjoyable just the same so don't expect too much, just pop open a beer and crank this one up and you should dig what they have to offer.

Now something has to be said about the humor aspect. Maybe it is because of the Russian idea of what is funny and what is not but I don't find anything too amusing here. Lyrics like "Approaching asteroid, Time to call Bruce Willis" as in one of the tracks, 'Armageddon' just sounds too goofy for words so sorry but I don't understand where or if I am meant to laugh. I would have liked the album a lot more if they would have adopted a serious lyrical approach than trying to funny which they are not, really.

With that out of the way, musically, Evil Cosmonaut are highly enjoyable and bursting with energy. There is a lot of fuzz-drenched guitars, bluesy breaks, and pure boogie and catchy grooves. There is also a Black Sabbath inspired edge to most of the tunes so the band is heavy and tight enough to keep it together. Simple drumming and bass lines provide a perfect back-drop to the riff work.

I must point out, Evil Cosmonaut are a simple band and may prove to be too basic for a lot of listeners but there is a certain charm to this simplicity. There are no real stand-out tracks but no real weak ones either as the album is consistently good but 'Boris Yeltsin vs. Giant Ants' tends to stick in my head for its lyrical concept which is preposterous to say the least but memorable. I feel this band has potential to be much better than this. It is almost like they have the skills but the lyrics and concepts seem forced without being amusing. It may be amusing to them but I doubt if anyone else will get the joke. Musically they do rock hard however and for that alone are worth checking out....7/10.

<a href="http://evilcosmonaut.bandcamp.com/album/we-have-landed">We Have Landed by Evil Cosmonaut</a>

Evil Cosmonaut @ Bandcamp
RAIG Records

Dwellers - Good Morning Harakiri ...

2012-01-05T16:24:00.000-08:00

How does one make sonic magic? Well, start with a good production and catchy song writing and then proceed with an excellent rhythm section, finally, top all this off with a collection of dazzling riffs, solos and a fine vocal performance. All this considered I believe that Dwellers have concocted quite the musical brew.
At first glance of the band name, I was convinced I was about to go on a dark journey, but the strange, yet effective, cover had me confused as to the musical style. Cutting to the chase, Dwellers play hard rock, in their mix is a few nods to the doom and the stoner realms of things, but over all, hard rock is their genre and they spice things up nicely with some southern twang and grunge fuzziness.

Good Morning Hara-kiri opens up with Secret Revival, the opening riff had me raising an eyebrow due to its rather Nirvana inspired strumming, but soon after, the song opens up into a bass and drum fueled verse section that had me shamelessly rocking out. Soon the vocals kick in, and they fit in perfectly with the rest of the music. They are gruff when they need to be, and cleaner when most suitable, all in the all, the vocals are handled nicely through out the album. Secret Revival ends with a nice doom laden section that takes us into the next track.

Black Bird is consistently good as Secret Revival. Thrown into the mix are a little slide guitar and some terrific guitar work. It is always a good sign when I cannot seem to focus on what performance to listen to. Dwellers had me concentrating on each part separately; one minute I would be listening to the wonderfully tight drum fills, next the guitars, then the bass and so on. Black Bird not only cements the southern rock feel, but also the member’s musical competence.

Vultures had me slightly nervous. How does a band like this pull of an eleven-minute song? Dwellers do it just fine. Vultures never felt long for the sake of being long. It begins with another hard rock anthem that leads into an extended jam, laced with a little psychedelia for good measure. Behind this jam the bass and drums go at it like frantic lovers…Vultures is certainly recommended listening.

Ode to the Inversion Layer changes the pace up with a moody intro and then breaks back into what is expected: more great performances from the band. The vocals here are particularly strong, as is the guitar, which delivers hook after hook.
Lightning Ritual has a particular spring in its step and some nice Sabbathian riffing. This number has the standard rock song length and structure, which by no mean makes it a poor song; just rather, ordinary compared to the rest, especial the closing track.

Old Honey is a brilliant closer. It begins on an eerie tone with minimal drumming and clean, reverb heavy guitar that builds up into a great heavy mass of a riff that had me picturing voodoo rituals. Old Honey is an epic for sure; at nearly ten minutes, you had better bet that Dwellers has finely structured it with great riffs, excellent texturing and moments of a reflective quality.

Overall, Dweller’s Good Morning Hara-kiri is necessary listen. The only fault I can hear in this release would be from matter of taste. Nevertheless, regardless of the obvious fact that people do not see eye to eye in everything, one thing I think every one (honest people at least) will note, is that this three piece can play their instruments and craft some nicely structured songs. I am glad to say that my first review of the new year is a winner. 10/10

Words: Brenden Butler

<a href="http://dwellers.bandcamp.com/album/good-morning-harakiri">Good Morning Harakiri by Dwellers</a>

Dwellers @ Bandcamp
Small Stone.Com

Electric Moon - The Doomsday Machine ...

2012-01-05T08:24:00.001-08:00

Sula Bassana’s Electric Moon is back with a yet another release, I say another because I have lost count with the amount of albums available from this band but I believe this is number four, not counting all the CDR live recordings that are also available. If you are already aware of the magic of this Sula and Electric Moon then this might just send you over the edge completely. This is without a doubt the most consistent and over the top piece of work released so far from this band of intergalactic stoner-doom warriors and it is also the heaviest and darkest release so far. 'The Doomsday Machine' is 5 songs stretching out to 80 minutes of mind-bending jams. Three of the five tracks all hover around the 20 minute mark but never once does it get dull as this is hypnotic from start to finish. A perfect album for the vinyl format, this album is available (or was, it may be out of print by now) on a very expensive 2LP set. I know All That Is Heavy was selling it for $60 and I am not quite sure why it is so costly but if you are prepared to fork out that much cash for vinyl then this is a worthy purchase and you will get your money's worth. The limited edition double vinyl LP comes with a poster from the work of German artist Ulli Mahn.

The music on these five track is huge, epic and incredibly trippy and also ideal for cranking loud through a set of high-quality headphones. The songs take your mind on a journey and the thought that has gone into these pieces is remarkable. They are long spacey jams that sound tight, well-composed but still have the feeling of improvisation. The CD or side one in the case of the vinyl starts out with the 20 minute title track, 'Doomsday Machine' that blends space rock, doom, pure-psychedelia, and drone into the one epic piece. Freaky psych guitar blends in with a strange drone-like vocal from Komet Lulu and the 20 minutes keeps on turning, twisting, and evolving so much that it seems like a very quick 20 minutes indeed. This sounds mostly like a "live in the studio" recording with maybe a few overdubs and sounds a bit more off-the-cuff than a couple of the other tracks but the main feature of this track is one of the riffs which is one of the heaviest riffs, Electric Moon have ever come up with. This is a monolithic doomy trip of a tune and a great way to kick off the CD or vinyl.

Track two on the CD and side two on the vinyl starts with 'Kleiner Knaller' which is the albums only short track at five minutes. It is a good track in its own right but it is overshadowed by the following 'Spaceman' which is a monster spaced-out jam. This one is a slow building, atmospheric track that sets up a hell of an infectious groove and features some spectacular fuzzy guitar. Track four and side three on the vinyl is another 20 minute piece titled 'Stardust Service' that begins with one of the heavier passages on the album before settling down into interstellar overdrive doom mode. This is the most immediate track on the album and probably the most assessable for the average listener. The album ends on the 22 minutes of 'Feigenmonolog' which is built around a wall of fuzz, wah, and lots of psychedelic effects. I feel this is the only track on the album that doesn't really grab me all the way through, especially once it reaches the halfway mark but it is still highly listenable piece of psych-doom jam rock.

A couple of elements with this album are worth noting. There is hardly, if any solos on this which is strange considering the band's space-rock tendencies. Electric Moon prefer to weave their magic via riffing and a myriad of guitar effects and sounds but it all works. Also, the atmosphere on this album is mesmerizing, it really captures a stunning but dark vibe while keeping things psychedelic at all times. The playing is of course, incredible but I wouldn't expect anything less from this band. Electric Moon keep on delivering the goods and Nasoni Records should also be applauded for the excellent packaging. Highly recommend you try to hunt down the 2 LP set if you can but even the CD is essential...9.5/10.

Electric Moon Official Website
Electric Moon @ Nasoni Records

Orchid To Bloom DesertFest ...

2012-01-04T18:22:00.001-08:00

This news just in from the Desertfest site

If you dig Black Sabbath, then your going to dig Orchid with their fresh take on 70?s Doom Rock. The San Fransico 4 piece came into existence back in 2007 and in 09 released ‘Through the Devils Doorway EP’. This year see the guys debut album ‘Capricorn’ hit the shops and has recieved rave reviews. They toured Europe for the first time this year and now they are working on a new album which is to be released next year. Occult Rock is coming to London next year.

Soggy Bog 57 Interview w/ Karl Simon of The Gates of Slumber ...

2012-01-04T16:52:00.000-08:00

Listen here or on the podcast page ...

Legions Of Crows - Stab Me ...

2012-01-04T08:02:00.001-08:00

Think of an eclectic Electric Wizard or Ramesses and you will get halfway close to understanding what Legions of Crows are all about. This is another band that I don't know much about except they are from the UK and are obsessed with the anti-christianity message and that in itself presents a problem for them but more about that later. This is one of those frustrating albums that has interesting ideas but everything is mashed together in such a way that nothing flows too well. Their dissonant style is an old, well-used formula and its a good one but it has to be interesting otherwise it just becomes a tad monotonous and that is mostly the story with this album.

There are some good riffs along the way and they have a pretty good mix of traditional doom, funeral doom, black metal, and symphonic kind of doom so I at least admire that side of this album. The vocals which are buried in the mix are nothing to get excited about, they are cold black metal type of growls that don't enhance the songs in any way. They also use them with a lot of effects in a few of the songs and that just makes them even more irritating but the real interest in the vocals comes from a guest performance from none other than Paul Di'Anno of Iron Maiden fame. Don't get too excited however, his vocal take is not exactly his best work and you have to wait till the last track, 'Coventry Carol' to hear him. It does stand-out though as the best vocals on the album.

The opener 'Provident Hymn-Malediction’ kicks the album off with church bells and ominous doom riffage and it is hypnotic to a point. Sadly this is the highpoint of the album and it kind of goes off the rails slightly from here on. Nothing is a disaster but nothing is too memorable either. 'Fellating the Lamb' and 'Defecate' have their moments but are both too long and a bit tedious. I also don't know if they are out to shock with their song titles and anti-christian message but that too comes off as being a bit lame and about as scary as a cup of ovaltine. If you are going to take this lyrical road, at least make it interesting, these lyrics seem to be out to offend and not much else.

A lot of electronics are used during tracks such as 'Legions of Crows' while 'Bullshit Acres' ends up sounding like a failed experiment of the blackened metal kind. The heavy use of keys are also a misstep, they are pushed way too loud and tend to overshadow everything else within the band. The production too is pretty ordinary and does the songs no favors but it is not all bad. The band does unleash some crushing doom passages and they are at least unpredictable so even if you don't like it, it keeps you intrigued for a while. This is a tough one and certainly a "hear before you buy" kind of album. I can't write them off completely but I can really recommend them either.....4.5/10.

Legions of Crows @ Facebook

Second Opinion: The House of Capricorn - In the Devil’s Days ...

2012-01-03T16:14:00.000-08:00

Now, real talk: The House of Capicorn was amongst my starter bands, and to this day, I still find something new to enjoy about “Sign of the Cloven Hoof.” As such, I do hold a bit of a bias towards this band, that’s a given, but, when it comes to actually reviewing albums, I sometimes need to take a step back and away from my prejudices for the work to have any actual value. That said, I can safely use a single term to describe the new offering of The House of Capricorn, “In the Devil’s Days” and that would be “tour de force.”

Let’s get the obvious stuff out of the way first. The House of Capricorn have shifted their sound. What used to be swampy stoner metal now boasts a very audible and present doom influence, and it works. I had said in my earlier review that the band worked better with darker moods and darker songs, and I don’t know if they read that or what, but “In the Devil’s Days” is a pretty bleak and dark album. The guitars retain their swampy, fat tones, but their utilization now has more doom, more sludge and at some points, some black metal in it. The bass is still as awesome as it has ever been, pronounced, sharp and present. The drumming has been taken up a notch, there is hardly an instance where the beat doesn’t get to you. The vocals, the same throaty shouts as before, now work in perfect conjunction with the rest of the music, instead of being somewhat abrasive like before. All-in-all, this is the winning combination.

The only hiccup I can identify, before getting to the songs themselves, is that there are two types of songs on here: there are the regular songs, which span a normal five-to-seven minutes and traverse enough distance and maintain enough familiarity in their internal structure to entertain you. The second type lasts for ten minutes or longer, and is so slow and at times minimal in its composition that it asks for a healthy amount of patience – there is a payoff, mind, but you need to be in the right mood for those. That creates a bit of a flow problem in the overall album, about which I’ll elaborate more below.

Now, without further ado…

Things are off to an energetic start with the upbeat “All Hail to the Netherworld” which introduces main tenets of the House of Capricorn sound in this album. Sweeping guitars in contrast with heavier passages, rumbling and very ‘present’ bass, throaty vocals that are now in better harmony with their environment and infectious, possessive drumming, soaring bridges and big finishes. However, the flow issues of the album also become apparent right after this one, as “Les Innocents” is one of the three type-2 songs mentioned above, a slow, nine minutes plus beast that cuts down the speed much too much. Most of it’s latter parts are carried entirely by the bass (kudos, in that regard, to Ami) and vocals. These two make for a sinister and mysterious mood. Other parts, be they chord-slams or stretched out, snail-pace riffs, build on this atmosphere but the whole thing comes off like a Tarkovsky movie: it demands such a degree of patience that it’s likely to throw most listeners off.

Then comes the true heavy-hitters. “Coffins and Cloven Hooves” is firing on all cylinders: with frenetic guitarwork, delicious bass that I find myself humming every time I give it a listen, great drumming and most importantly, vocals that shift the mood of the song minutely, it is magnificent. The heavier bridge section and the solo following it are a joy to listen to, and overall, the track sports a hefty heavy metal influence. This is carred on to “Arcane Delve” which just kicks off with abrasive, almost black-metal influenced riffing and a frantic rush onwards. It’s hard, heavy and filthy, and you’re almost choking before the band lets up and suddenly shifts gears in an even more jarring motion towards full-blown doom territory. What was an aggressive, heavy-hitting track becomes a mournful dirge with doom grooves abound and the atmosphere heavy. Perfect.

“Canto IV” is an acoustic interlude, which serves as the intro segment of the frankly amazing “Veils” which shows that The House of Capricorn can keep their long compositions straight, if given the opportunity. It’s a long, doomy dirge with post-metal sensibilities, most apparently in terms of its general feel and the guitar tones. But the song has very, very nice flow and it isn’t hard on the ears at all – the transitions between passages feel natural and the mood gets heavier and bleaker the further it goes on. Now that’s more like it!

Then, it’s firing on all cylinders once more, with “To Carry the Lantern.” It’s a miserable, sad, mid-tempo dirge that drives the mood downwards and grounds it into the dirt by way of guitars, the riff is seriously depressing, and the fact that the vocals seem to take on a fuller, resigned tone doesn’t help. With murkier verses and an epic bridge section that leads into a brighter finish makes this song enjoyable as all hell. The problem is, “To Carry the Lantern” ends on an almost soft note, but the next track, “Illumination in Omega” sees more of the aggressive, clenched-teeth riffing make a return, but the transition is very jarring. This one marks another venture into the heavy-metal inspired, classical-doom-like riffing and has a very cool main riff. The choruses are more uplifting, but, the song shines in the bridge section: the guitars repeat the same riff, but the drumming constantly shifts every 8 bars and ends up giving short attacks to create tension. Very good.

Next up is “Horns” which is an odd reverse-detour track. See, normal detour-tracks start and end with coherent passages and tend to meander in the middle and disperse, i.e. take a detour before coming full circle. “Horns” does the opposite, it meanders for a bit, gains cohesiveness in a full-blown, awesome doom section and goes back to meandering again. Most of the meandering sections are composed of vocals to single chord slams, be they acoustic (as those are there too) or distorted, but about four minutes in, they launch into this mournful dirge, and it’s beautiful as it’s depressing, and it returns to the meandering chord-slams structure after a beautiful transition, and ends the whole song on another dirge-like passage. Interesting little beast, this.

The album comes to a close with the title track, “In the Devil’s Days” but it feels so much like an extension of the previous song that, again, I wonder why they had to be split up – however, the funny thing is, the track also is a complete, self-contained whole, so that’s nice and weird. It’s basically your album-summary closer, in that it features a culmination of everything came before it, only in a different way. Sweeping, swampy guitars, cool as all hell bass, nice drumming and throaty vocals put to good use churning out doomy groove and heavy passages. One thing of note is that the band has, for about three seconds, a sludge metal moment, with a low growl and everything… It’s nice, and sums up the album quite adequately.

OVERALL, THOUGH, I LIKE WHERE THIS IS GOING. The House of Capricorn has clearly made major strides, almost every one of them in the right direction. I say almost, because there are still small issues keeping “In the Devil’s Days” from being the perfect album it almost was. With a little flow adjustment and tighter song structures in their longer ‘epics’ it is easy to see this band getting over that final hurdle into putting out what we know they deserve to do. As it stands, however, I am glad I checked this one out before the year ended because this album is one of last year’s surprises. 9/10.

Words:Sarp Esin

The House of Capricorn @ Myspace

Lord Stereo - S/T ...

2012-01-03T11:52:00.001-08:00

There is something about discovering a band precisely when you weren’t looking for anything new that I adore. It speaks volumes about a band’s potential when they have the ability to capture and hold your attention, and then make you love them. That’s basically how I met Lord Stereo and man, what a meeting it was!
Lord Stereo claim to be playing “vintage heavy rock” and while that is one of the most freakishly accurate self-description I have ever heard, it is lacking a bit. First off, the band supports two noticeable influences: psychedelia and stoner rock. For the former, it is with proggy (that Korg synthesizer) tone and way of keyboards. For the latter, it’s the guitar tones: while the presumably Stratocasters aren’t fat with stoner fuzz, they are overweight by a few tones. And all this is backed by energetic drumming, delectable bass work and classcal rock-influenced, sweet and powerful vocalizations.
The problem with the band’s definition, as well as my own, is that neither can capture the pure, unrestrained sheer fucking JOY of Lord Stereo. So instead, I’ll try to do that by outlining the songs in their self-titled EP.

So we kick off with “City of Fuzz,” which has the band firing on all cylinders. Fuzz-laden, groove-embellished, rock anthem hooks, stomping verses, downright edible bass, cool as ice keyboards and blazing leads characterize this bad boy. The sheer energy emanating from it is mind-blowing, and the way it just pours that into the listener is incredible. Next up is “Homeless but Hopeful,” which, with it’s fast-paced verses and more keyboard-driven hooks, hits even harder. With psyched-up tones and a brilliant, feverish groove it moves in waves, further, it has this delicious, psychedelic bridge that just adds to the flavor.

Then comes “Organ Grinder.” This one has the band displaying a little bit of technical prowess to go with their joyful grooves and riffs. The song itself is laden with drum attacks, angular grooving and head-nodding, foot-tapping stomps and it often reaches giddy heights of excitement. True to form, however, the band decides that the bar isn’t high enough yet, because next up is “Her Highness Overdrive.” This one is fast, hard and heavy stoner/heavy rock stomper with all the right trimmings. Soaring vocals, keyboard tricks and brilliant bass pour out, but, here’s the point of interest: see, during the verses, the drumming is tom-heavy and there is little cymbal sound. It comes off as being restrained, contained to a small section, so when the hooks come, the attention shifts to cymbals and the drums “release” the music. This contrast just serves to make the track bigger and better.

For a breather then, we get that desert vibe with “Psionic Traveller.” It’s got this cool, bell-curve groove that ascnds with three chords but descends with more (five, I think.) It just makes you wish that the riff was a dessert so you could eat it properly. That is backed by sweet keyboards and vocals. But the real big guns come during the bridge section of this one: porggy keys set the tone and while the initial soloing is done by guitars locked onto vibrato, the song ends in a nice keyboard solo.

Not one to go out with a whimper, Lord Stereo end their EP with “Masters of Alchemy.” It is a pure-bred heavy psych rock anthemchurning out simple, basic hard rock riffs against vibrato-laden keyboards, sweet drums and supportive bass. The trick here is, and sorry for the spoiler, the song ends with a saxaphone solo, and the instrument just comes out of nowhere. It’s a nice surprise, to say the least.
SO, WHY SHOULD YOU LISTEN TO THIS? Because Lord Stereo is as awesome as they come. The music they offer is uplifting, energetic, engaging, comfortable and full of joy. The music is entertaining to the degree that I think it can legitimately be classified as an anti-depressant. It’s six tracks of perfection adding up to an instant classic. Don’t miss this. 10/10.

Words:Sarp Esin

<a href="http://lordstereo.bandcamp.com/album/lord-stereo">Lord Stereo by Lord Stereo</a>

Facebook
Bandcamp

The Hounds Of Hasselvander - Ninth Hour ...

2012-01-03T11:45:00.000-08:00

There's something that us doom brothers have and that a lot of other worshippers of music don't: our legends love us. A lot. And when they deliver us their gifts, they really give us things that fulfill our hearts. Maybe not all albums from a Wino or a Bobby Blitz are perfect (although I honestly love them all). But they have a magic to them that makes us happy.

And the latest album from the almighty Joe Hasselvander is no exception. I mean, to know that this album is gonna be great, you just have to look at that cover. And if that isn't enough, just push play. Because that guitar tone, heavy and crisp, fuzzy and doomy, hits right home. And the vocal melodies. And the mood. The first album from the Hounds was good, but this one is just amazing.

Soon as the opening plodding riff from the opener and title track hit me, I felt my heart soar. That is exactly what I wanna hear in my doom albums: a powerful sound, well produced too, marching on with that old school majesty that classic doom has. A mixture of classic Black Sabbath, Pentagram, Saint Vitus with a deep, emotional edge to it that is just beautiful.

From the on, the album just grows. Every track is raw, shiny and epic, with an explosion of hard rock goodness in the cover of “Dont Look Now”. And then there's the final two hit of “Salem” and “Coming Of The King”. Now that's a climax. Riffs the size of giants, great melodies and a Hammond touch that, personally, makes the sound even warmer and more vibrating. Wow. This can be considered my first “big” listen in 2012 (although the release is from 2011), and I couldn't be happier. Thanks Joe, for delivering such a gem. Dont miss this one. I can already say “classic” ...9/10

Words: Andrea Contanzo

Facebook

Sacrimony - …And Abyss He Created ...

2012-01-03T09:22:00.001-08:00

Sacrimony is a one-man funeral doom project from Poland and this album is an almost total instrumental affair on the symphonic side of the funeral doom spectrum. Now funeral doom has always been a hit or miss sub-sub genre of metal, when it works, it can be captivating stuff but when it fails, it can be a monotonous, boring style of music. This album sadly is the later so I am not going to waste my time and yours by tearing the album apart but I will go over a few points and finish off with the positives this album has to offer which is not much but still worth mentioning. The guy behind this project, Marcin uses synths to make his symphonic funeral doom sound work but there seems to be two different approaches here. One is real synth, the other is a thin and cheap sounding MIDI kind of synth element which is more irritating than anything else. At times it is so bad, it renders the music almost unlistenable....that is point one.

Point two - the music here seems to be modeled on Shape Of Despair but where as that band make interesting soundtracks that move and shift direction, the music of Sacrimony sticks to the same idea, same melody, turning it over and over and over again till the point where it kills any enjoyment that the melody first gives the listener. A lot of the songs here sound like intros to songs that never end and has zero emotional depth which is one of the key factors for any funeral doom album. Point three - everything here sounds programmed, thin, and computerized right down to the drums which are very unbalanced at times. Cymbals are abnormally loud, the guitars have a disturbing buzz about them and not in a good way but even worse than that is the songs just sound disjointed and simply not ready to be recorded. The production has this irritating hissing sound that carries on through the entire album so yes, this album has some serious issues.

But then, there are a couple of positives. The concepts behind these pieces are grand and epic and the guy has got an ear for melody, it is just a pity he felt the need to repeat each melody to death in most of the tracks. There are a couple of good orchestral moments that catch the ear and you have to admire what he is trying to do with this project. I get the feeling that he bit off more than he can chew and was simply not ready to record and maybe should have waited, rearranged, and worked on these songs and the recording a little more. The potential is there but sadly, this is weak and dull and even extreme funeral doom fans will find this tedious....4/10.

Myspace

Weed Priest - 2011 Demo ...

2012-01-03T08:18:00.000-08:00

Do I really have to review this band? The name should say it all. Really you might have guessed this is stoner-doom but you might not realize how slow this band is. Basically this band has two speeds, slow and so slow, they are in danger of stopping completely and of course I am a sucker for this kind of slothful doom metal. Weed Priest are a band from Ireland and this five track demo is a rough and raw affair with little polish, no bells and whistles, and not much finesse but you wouldn't want it any other way with a band like this.

This is like early Electric Wizard only even slower and it is of course very druggy and psychedelic. A bit confusing is the fact that some say this is a 3 track demo but I got sent 5 tracks but if you go to their pages, there is a total of 11 tracks all available for download so what is the official demo tracks - who knows.

I can only go by the tracks I received and they are monolithic, crawling beasts that if you have heard early Electric Wizard don't need any describing. They are like EW only even more druggy and slow so if you find bands like Electric Wizard too upbeat, then you need to give Weed Priest a try. This is cranky, cross, crotchety, grouchy, irritable, irascible, peevish, perverse stoner doom that sounds like it was recorded in a cave somewhere surrounded by candles and the stench of bat piss.

The atmosphere on this recording actually got me sucked in far more than anything musical, something about this is mesmerizing. The band does have some grooves, if you can have grooves at such a slow pace and everything is well-played despite the rawness of the material.

The songs are good but not something to analyze or to break down piece by piece as it is all stripped-down and basic kind of stuff but they do it well. The weed inspired doom scene burned itself out (no pun intended) some years ago and I know many people are tired of bands singing the praises of the green stuff but Weed Priest don't follow that formula exactly which is a plus so they shouldn't be avoided. The main negative here is the production which makes it kind of hard to get through. The songs are nearly all very long, most 8 minutes plus and there is not much variation anywhere but if it is hypnotic occult doom with a psychedelic druggy vibe played at a snail's pace then you should dig the extra-slow doom of Weed Priest. ...7.5/10.

Weed Priest @ Reverbnation
Facebook

Druglord - EP ...

2012-01-02T16:48:00.000-08:00

Virginian band Druglord have released their second demo or EP if you like and from what I can remember, it sounds like a decent step-up from their début recording. The limited edition EP is pretty basic stuff from the basic packaging to the stripped-down raw but clear production so it does have that "strictly demo" vibe about it but the songs themselves show huge potential for the future and I know that term is thrown around a lot but it in 100% true in the case of Druglord. Style-wise it is familiar stuff - they play in the style of Electric Wizard, Saint Vitus and other stoner-doom legends so originality is not really whats on display here but doom riffage and grooves are here in abundance.

'Motherfucker Rising' kicks things off in heavy fashion with a sense of rawness and small doses of melody. It is a powerful track with some fine loud to quiet passages but I found it to be the weakest track on the EP. Maybe it is the familiarity of the material or style but it basically comes across as a good but "heavily recycled piece from other bands" kind of a tune. The sound of the band on the EP is impressive considering its demo quality with the guitar and bass nicely placed in the mix. The track, 'Motherfucker Rising,' I have been told is the title track but there is no title printed on the sleeve but I will hope my sources are correct and run with it.

Second track, 'Cleansed' sounds a bit more original and more adventurous, at least to my ears anyway. The tune has a great mix of grooving riffage and melody and even the vocals have a sense of strong melodic intent even though they are very raw. This track is more on the side of gritty sludge-metal rather than traditional stoner-doom and it stands out as the second best track on the EP. The best however is next, a great track titled 'Lick the Wound.' What makes this stand out is the band seem to find their own sound and style on this one and leave their influences behind just a little. This song is a well-crafted doom track filled with memorable grooves but oddly it is not on the download version of the EP that can be found on their Bandcamp page. On that it has been replaced by 'Whores of the Reich' which is a far weaker tune in my opinion.

The last track on the EP is 'Eternal Grave' which is another very good track. Lumbering and plodding, this track is a monolithic, menacing doom track. It might not be breaking down any new ground but it is about as solid and well-written as most doom tracks get so no complaints on this one. Again they mix melody with doom-laden riffing and it is very infectious. This EP is very short and is a grower, it is not the kind of release that instantly grabs you by the balls but after several spins, it begins to seep into your memory. There is no question that Druglord is building up to something special. They just need to keep progressing in the songwriting department, the seeds of doom have been sown so now we just have to wait and see what grows out of it. I have a feeling, Druglord could be a doom favorite within the next year or two....7.5/10.

<a href="http://druglord.bandcamp.com/album/motherfucker-rising">Motherfucker Rising by Druglord

Druglord @ Facebook
Druglord @ Bandcamp

5 Q & A's Interview Extravaganza Part Three ...

2012-01-02T08:58:00.000-08:00

The Concept:
I do not like too long speeches, but idea of doing such big combined interview with artists playing slow and heavy music (psychedelic, stoner, sludge – all that we call “doom” sometimes) was simply in the air! And now here we go… I just sent 5 questions to few bands but a day after that and a day after that day I started to ask other bands without which this interview wouldn’t be completed! It was so hard to stop so you can see how much stuff we have here, and even now I’m thinking that it would be right to gather few more bands for this publication! It’s a kind of doom-obsession! But okay – few words about crux of the message…

1. Question one is pretty simple – it’s about most significant doom-release or doom-event of 2011.

2. Next question is a mental pabulum for you, dear doom-followers. Most of us are dealing with illegal downloads of music which our favorite doom-heralds are composing and recording. I do not agree with the sentence that “artist must be hungry”, though it’s obvious that living off playing heavy music is quiet a impossible thing. I didn’t suppose that such a simple (as I thought) question would make such a wide resonance amidst bands, so I recommend you to read all of this. As for me… There was one ugly case in Talbot’s gig in Moscow. I was speaking with Jarmo (drummer and voice-man) because we did the interview a week before this concert and he has asked me if I have Talbot’s CD. I answered something like “Man, don’t you remember – I sent you the link onto my review of your album?” But Jarmo said:
“Yes, I remember, but DO YOU HAVE CD?” You know – it was very uneasy feeling when I answered “No”. After that he presented me “Eos”, and I felt ashamed. Yes, mostly I get CDs straight from bands for reviews but, please, don’t forget how OUR support is important for them.

3. Drugs’n’doom. I expected not shocking revelations from our honoured respondents about terrible shit due to drugs abusing – no. I rather want you to pay attention to this problem because it’s not only the fun of revealing new dimensions, the matter has it’s negative and positive aspects. I don’t want to preach, I want you to think – that’s all.

4. I had to ask about bands’ plans for the next 2012 year. Of course if someone didn’t split up and already bought good and strong oaken coffin expecting Mayan Armageddon or some other fantastic shit. Fourth question is about it.

5. And last one is about how to spend New Year coming. Do not know how it goes in other countries, but it seems to be the main celebration in Russia, so I have the chance to drink vodka for your health till I drop. But, well, I’ll endure – never surrender!!!

After all I wish all the best for our dear respondents – thanks for your music, thanks for your inspiration! Thanks to our devoted and patient readers, thanks to doommantia’s writers! And of course thanks to a chief chaplain of Doom Cult – thank you Ed for a chance to spread Word world-wide! I wish all the best for all of you and success in your beginnings in forthcoming year of 2012.....Aleks

Part Two featuring: Hamon and Shammash from Mythological Cold Towers, Pim Blankenshtein from Officium Triste, Alexander Kachar from Reido, Marcos Coifman and Tania Duarte from Reino Ermitano, Pete Bingham from Sendelica, Jean Saiz from Shroud Eater, Igor Sidorenko from Stoned Jesus, Jarmo Nuutre from Talbot, Janko from Temple of the Smoke, Kamille Sharapodinov from The Grand Astoria, Steve Mills from The Wounded Kings, Gianmarco Iantaffi from Void Generator, and Anton Brovkin from Without God.

On with the Q & A's ......

MYTHOLOGICAL COLD TOWERS (Brazil)
Hamon (Drums) and Shammash (Guitars)

1. Yes, you’re right! Currently it’s a common question, however we think it’s important analyze how far the scene progressed this year. There could be fairer than starting this list with the pioneers of My Dying Bride. They released the excellent “Evinta”, moreover released The Barghest O’Whitby. Isole also released Born from Shadows. 40 Watt Sun – The Inside Room, Black Oath -the 3rd Aeon and why not, our album Immemorial. Talking about gigs, My Dying Bride -Albion In Ruin and Cathedral with its final tour showed why both of them are huge names in the metal!

2. The problem is that not all people who download music, buy CDs or go to concerts of their favorite artists. Downloads and streaming would helped the bands if people bought their CD’s, you know the band and if you like it you can buy the cd. But unfortunately it’s not the reality. Everybody knows that a CD has a huge production cost, so if the people don’t buy it the cost becomes financial loss, labels break, bands don’t record, etc. On the other hand, I think if a band has good music your true fans will buy its stuff and support it. I also think that attractive stuff such as digipacks, vynils, stickers, patches can motivate fans to buy an album..

3. I don’t see the positive side of drugs, but also do not want to make judgments on who uses them. Everyone knows the effects they provide. If the guy wants to use drugs, he knows the consequences, then use it with responsibility, not harming people around you. But I think the problem is not those who use drugs, but where they come from. Drugs are the second illicit activity that generate more money in the world. Many businessmen, bankers, politicians, heads of state are involved in this trade. They would have finished with the drugs for a long time if it hadn’t been their interest. A big and dirty money machine. For these reasons that I personally do not use drugs.

4. Man, the Mayan Apocalypse will be only one more for my collection! I survived the 2000 apocalypse, 2001, 2011 and why not 2012! Well, we’re playing for the first time in Europe and it’s an old dream that we’re achieving. So far, we’ve confirmed a gig at the Dordrecht Doom Day(Netherland) and we’re looking for another gigs.

5. Well, I’m planning meet a few friends at home and get drunk. We’re always looking for an excuse for it and it isn’t going to be different at the new years eve.

Myspace
Facebook

OFFICIUM TRISTE (Netherlands)
Pim Blankenshtein (Vocals)

1. Well, keeping in mind that doom metal is a relatively small subgenre we can say that 2011 once again was a very good year. Even though an important festival like Doom Shall Rise didn’t happen in 2011 there were still many other doom metal related festivals all over the place. So in my opinion it’s a good thing that there is still a lot of interest in doom metal shows even if it sometimes is very hard to get it all together. We also see a lot of new initiatives taking place which will make sure that 2012 will be an interesting year as well.
Talking about releases 2011 was very good again. Lots of excellent albums were released and from the top of my head I’d like to mention Isole, 40 Watt Sun, Fatum Elisum, Mournful Congregation, Esoteric, Orchid and the list goes on and on. So happy times for the doom metal addicts.

2. It’s a difficult discussion. On the one hand it’s good for bands when their music is widespread and that people take notice of the music. On the other hand bands and labels invest a lot of time and money into these releases so it would be nice if people actually pay for them. In that case bands and labels can continue to record and release cool albums.
In the end I think that people who download should be aware that it’s a form of stealing, so when you download and album and you like it you should buy it.

3. I’m all about free choice so if someone thinks he benefits from the use of drugs while making music so be it. So, to me it’s not a problem at all.

4. Well, Officium Triste’s album ‘Mors Viri’ is currently being mixed and should be out sometime next year when we find a proper label to release the album. We’re recording 2 other new songs early 2012 for a split MCD with Germany’s Ophis. This one should be out in June 2012 through Spain’s Memenro Mori.
As you might know I also recorded vocals for the new The 11th Hour album entitled ‘Lacrima Mortis’ and that one is out on January 27th through Napalm Records.
Next to that I recorded vocals for Extreme Cold Winter, a band formed by AJ (formerly of Beyond Belief and currently of Temple) and Seth (Severe Torture, Centurian). This 4 song MCD should see the light of day in 2012 as well.
I also recorded guest vocals for the new album of Falling Leaves from Jordan. This one should be out next year as well.

5. All the best for everyone in 2012. Hope it will be a fruitful and musical year for all of you.

Official Website
Myspace
Facebook

REIDO (Belarus)
Alexander Kachar (Guitars, Vocals)

1. Maybe I don't follow the news attentively, but I don't think this year was rich with significant events and releases (except for ours of course, haha). So perhaps Black Sabbath reunion? Though personally I do not have any expectations from it.

2. I understand those bands and labels who lose much money due to illegal downloads, but I think it's impossible to struggle against those downloads. More and more people download more and more music from the Internet and that's just reality, just a technical progress. But there are people who like to have their favorite albums on CD's, and they still buy them. There is the same situation with books, paper books are still bought in spite of different possibilities to read electronic books or on PC. So music industry changes but it won't die. It's a normal process. We let people choose themselves - either to download our music or to buy it on CD's. It doesn't matter to us because we don't make a living from music.

3. If I was in power, I would legalize light drugs for sure, and maybe even those which are harder. And prostitution of course. Yes, drugs destroy health, drugs kill. And it's not a secret, everybody hears and reads about it. But let people choose their own way. I don't campaign for drug-using, but if they want to use them - no problems. I don't want to save humanity, it's not worth saving. And I don't think that after such legalization we all shall die of drugs. I saw some real examples of drug-using among my familiars and when they needed drugs - they found them despite the law. And nobody made them, it's their own experience, their own wish.

4. To compose and record some new stuff. And maybe to decide something about playing live. Coffins are not useful during Armageddon, I think. So it's just a waste of money.

5. I meet New Year at home for several years already. Maybe later in the night I will go somewhere out, but I absolutely have no plans for holiday. Of course I congratulate readers and wish them to think before using drugs) And check out our new album "-11", if you still haven't listened to it. Who knows, maybe you'll like it.

Myspace

REINO ERMITANO (Peru)
Marcos Coifman (Bass) and Tania Duarte (Vocals)

1. Tania: Lord Vicar- Signs of Osiris: as usual the artwork is beautiful and lyrics plus music craft amazing, Blood Ceremony- Living with the Ancient: a very 70 s vibe with heavy and progressive elements I appreciate, Orchid-Capricorn : a very classic and Sabbathic feel which has all that energy I dig.
Marcos: For me this was one of those years where I get myself mostly shut away from what’s currently going on out there, I’ve just been listening to older music and writing some new one... It happens like that sometimes, I’ll just have to catch up, Orchid and Lord Vicar are high on my list for sure, I believe there’s a Griftegard split I need, as well.

2. Next one is about illegal downloads. We know that some bands can allow themselves to share some of their releases for free, but at the same time there are a lot of bands and labels who lose too much money due to illegal downloads. Is there a final solution to solve this problem? What do you think about perspectives of such development of musical industry?
Tania: I believe it´s a way for those who never buy records or will never buy yours to get to know your music, others can be encouraged and end up buying the record anyways for the artwork and sound quality plus. I suppose there should be a way to ban or get profit from full length downloads but while Internet piracy legislation is still vague, it´s the bands themselves doing the job. All in all, I think real collectors and the crowd that digs this type of music and is into specific bands are the people that have really supported, support and will continue supporting bands and labels.
Marcos: I used to have a position much against downloading contemporary underground music, (don’t care if you download Sabbath or the Beatles or any stuff in the possession of major labels) but I’ve come to realize it’s more complicated than that, particularily here in South America, because the price of CDs and records is just un-affordable for so many people here. So I understand that people would download something when it’s a choice between that or not listening to the music you love. I believe the true folk who are into the music and can spare money to buy records WILL contribute to the underground bands and labels, as the underground folk have always done. So I’m not too happy about it, but I recognize it as a reality that’s not bound to change, and I don’t think it’s gonna’ kill the underground either, far from it. Besides, there’s still plenty of us who would not have a record collection in anything but solid vinyl... mp3s has it’s uses ‘cause it’s portable and may let you preview a band before deciding if you like it or not, but for serious listening I want something real in my hands, with good sound, big art and some longevity and spirit, not a file on a hard drive bound to be obsolete before new years eve.

3. Tania: This has several perspectives. Depends on the drug, the use and the person. Some genius compositions in music were made under drug influence. However, I believe if you let certain drugs take over your life as to become the center of it, art creation of any type will be affected negatively or left appart.There is a recreational-relaxational use of drugs (including alcohol) that helps people lower stress, put up with the pressures of work and duties, that well managed is fine. And there are drugs like peyote, san pedro or peyote cactus, ayahuasca, toé, etc. that I wouldn´t call recreational, which are usually taken within a certain ritual context with a shaman and allow introspection, , healing, inner work and also creativity due to the psychedelic images and thoughts induced as well as a better knowledge of yourself, life and so. I suppose we can call this a positive use of a plant with psychoactive and medicinal properties that lead you beyond who you are and beyond the world as you thought it was.
Marcos: Besides entheogens and power plants, I think the choice of taking drugs or other less than holy substances is intesely personal, and prefer not to get into any judgemental position concerning an artist and his use of substances or lack thereof... I think that the music that is created or played is not about how it got there, just as it’s not about the authors, but about the work itself, music and art in general are their own end, and while the means and the authors add to their understanding and contextualization, they themselves are not the point they’re trying to make. Of course the artists pour their ideas and personalities and hopefully their hearts and souls into their music, and sometimes drugs and drink and religious experiences and good or painful relationships with other may have a big influence into it all, but I think that’s all, just part of the spicing... no drug will ever create good music through a person without emotion, will or something to say, you know?
That said, I have no position against the use of drugs in music, , there’s a whole lot of music I massively enjoy that has been probably written and performed under the inspiration or inffluence of booze and many different drugs. I understand many people destroy their lives through abuse, and yet I am in favor of folks responsibly doing whatever the hell they choose without laws and governments getting in the way, and in my opinion that counts for suicide and self-destruction as well. I do have seen - and still do - some very horryfic stories of self abuse through drugs, but I hardly think lawing that up prevents anything. When people are set on killing themselves slowly, banning a substance is hardly gonna’ stop that. I don’t know, man, I don’t have a recipe for society concerning this... I can just speak for myself, and I’d rather regulate myself than be put limits. About the subject at hand, I have my own limits and preferences concerning drugs. I’m mostly a drinker, though not exclusively. I have also participated in some sacred plant rituals with the band and without, and hope to continue to do so.

4. Tania: Let Armaggedon find us making music, new compositions for a next record, touring, playing gigs and fulfilling other personal goals.
Marcos: 2012 will see us release our fourth record, Veneración del Fuego (Worship of Fire) and make good with our second European tour, which is long overdue!

5. Tania: Hoping to spend the New Year near an enchanted mountain or forest. I wish you the same or else sharing with great people in your lives. Keep up the wild and savage spirit, doom on and let 2012 be another great year for doom releases, festivals and gigs to keep that creative energy flowing. All the best to you doom lovers!

Facebook
Myspace

SENDELICA (United Kingdom)
Pete Bingham (Guitars, Electronics)

1. F**K Genres, F**K Labeling music...... it has been a great year for independent music....... If you like it enjoy it... no matter what 'box' other people put it into....... Off course the BIG news of the year was the original line up of Black Sabbath...... who can not smile at the thought of these four originals ripping into Iron Man one more time :)

2. No matter how much you moan about it they ain't going away... hopefuly their is a happy medium..... we often give away free music and I think it does lead to sales.......

3. Drugs have been around as long as mankind.... perhaps it is in our DNA.... Who am I to judge what is right or wrong......

4. The Sendelica Ark has already been built ready for the Armagedon Floods of 2012, we have seen the movie so we know what to expect.
We will be touring Eastern Europe early in 2012..........
Feb 2 Lepakkomies Baari Helsinki, FINLAND
Feb 7 Namaklub Riga, LATVIA
Feb 8 Balerija Jelgava, LATVIA
Feb 10 Roxy Klaipeda, LITHUANIA
Feb 13 PAKAC Preili, LATVIA
Feb 14 Tir Pskov, RUSSIAN FEDERATION
Feb 16 ESG-21 St.Petersburg, RUSSIAN FEDERATION
Feb 17 Vermel Club Moscow, RUSSIAN FEDERATION
Feb 21 The Squat Cafe Moscow, RUSSIAN FEDERATION
We also have a limited edition live album 'Strangers In A Strange Land' out this month available exclusively at http://sendelica.soundawesome.com/.

5. And here we have 2 options for the last questions. Please say brief "New-Year" speech for our readers to congratulate them with forthcoming New Year… Well, and how and where do you plan to meet New Year coming?
BE COOL, HAVE FUN........ ENJOY MUSIC :)

Myspace
Facebook
Sendelica @ SoundAwesome

SHROUD EATER (USA)
Jean Saiz (Vocals, Guitars)

1. Well there's been a lot of good releases this year and I certainly haven't heard them all - but a few of my favorites are HULL's "Beyond the Lightless Sky", TOMBS "Path of Totality", and Saviours' "Death's Procession".

2. I don't know that there's a solution to this. I know that I pulled money out of my pocket to press and distribute our cd's. I'm also aware that once a physical CD has been handed to someone, it's only a matter of time before records are going up on torrent sites for free downloads. Ultimately, if people download our album for free, but are enjoying our music, then that works for me.

3. Everything in moderation. I don't have a problem with people using drugs if they know how to control themselves. Besides, the real problem is not illegal drugs, but addiction to all of these pills and medications being prescribed to people by their doctor. That's the gateway. I know plenty of people that frown upon, for example, smoking weed, yet they take 5-6 different pills a day just to get through their day. That's fucked.

4. We plan to write, play and have a good time until this planet kicks us off of it. And then we'll be playing dive bars in hell.

5. Thanks to anyone and everyone that's given a fuck about us, bought our cd, enjoyed our music, came out to a show, fed us, gave us a floor to crash on, beers to drink and weed to smoke - cheers to all those hessians out there for 2012!

Myspace
Official Website
Bandcamp

STONED JESUS (Ukraine)
Igor Sidorenko (Vocals, Guitars)

1. As for event - hands down this is Robust Fest by robustfellow.blogspot.com, amazing crew, well-crafted fest, stunning line-up and tons of good mood afterwards! As for doom/stoner/sludge-related album - there were some stunning releases from Orchid, Subrosa, Dirge, Red Fang, Mars Red Sky, Been Obscene, ?????, Without God, Dead To A Dying World, Arenna, etc, but I'd go with Elder - Dead Roots Stirring, amazing upgrade from Sleep-worship to the originally sounding band.

2. I think CDs turn to some kind of fetish as vinyls did, people buy them just to own, everybody enjoys music via internet in mp3 and so on. Bands should upload their releases via bandcamp for most potential buyers to check, that's the easiest way out. If there's enough feedback - go ahead, print CDs or vinyls, but don't feed you illusions, it's not a show-business thing, you can't earn your living selling 100 albums per year to your fellow stonerheads. So just relax and let the music be art not the primal source of income. Any cult label got almost the same view - Neurot, Rise Above or Constellation guys are doing well even without bestsellers, because it's about art, it's not about money.

3. That's way too personal. I know dozens of fellow potheads who think they're new hendrixes or barrets just because they smoke weed or something. I'm definitely against heavy and addictive drug thing like herion, but I know many people who find inspiration via weed or LSD. Another thing is if they could find it WITHOUT the stuff, you know? The stuff is the doors, but it shouldn't be the destination.

4. I'm definitely not! We're releasing our second LP "Seven Thunders Roar" early in 2012 I hope, planning a European tour (bookers wanted!), I'm releasing some solo material in my singer-songwriter and experimental-rock projects...It's all about music, man, I don't understand all these bands on hiatus and shit, I'm sucked by music 24/7, 101% of my time. Music is my life!

5. We're playing in "Bingo" (Kiev's best club) that night, on a New Year Party. We're hitting the stage around 01 AM, so this is going to be our first 2012' show! They say the way you meet New Year is the way you going to spend it, and it's deadly true: I'd love to play with StJesus all the year long every day everywhere! Happy 2012 everybody, cheers!

Bandcamp
Myspace

TALBOT (Estonia)
Jarmo Nuutre (Drums, Programming, Vocals)

1. There was quite a lot of those and they all were good.

2. For an upcoming band it's really helpful to have their music out for free. Internet downloads for free, physical release with a price. Bandcamp site is really good, cause it also offers an option for the fans, so that they can decide about the price for downloading.
Anyway - there will always be the people who buy the physical releases and also there will always be the people who don't. But I think that they both should somehow get to listen to the music, there's no point of keeping your creation in the secrecy.
Artists and bands have to be very creative these days, of how to get the money from somewhere else than selling the music.

3. It's up to people themselves, to decide what's good or bad for them.

4. We're going to dig deeper into the rehearsal room and studio and continuing the work with our new material, that we started in the summer, before the touring. So, hopefully, if everything goes as we'd like to, then we can have the new release out soon. And meanwhile we're also going to play some shows here'n'there.

5. Well, have a good new year and we wish you all a lot of health and good new experiences with good music. We're probably going to spend the New Year's eve with our friends and families.
Cheers and have a nice New Year's eve!

Official Website
Myspace
Facebook

TEMPLE OF THE SMOKE (Serbia)
Janko (Guitars)

1. I love bands that put something of their own into their music. We are all influenced by so many bands and that’s good, of course, but for me it’s really important how you express that in your music. I’ve heard few bands like that this year for the first time, so for me, that’s probably the most significant. Doom release of the year, in my and my band mates opinion is Uncle Acid and The Deadbeats’s album “Blood Lust”, I’ve heard it for the first time recently and they really have something special. Also, I really love La Otracina, but I’m not sure they’re doom really. We’re playing with them in May next year, that’s really cool.

2. Illegal download is something that can’t be stopped. The harder you try, the resistance will be stronger. I think that we all need to get over it and find other ways. Personally, I don’t think that if someone downloads your album is a bad thing. Every LP, EP or CD that I’ve bought in last couple of years I have downloaded before that, loved it and then had to buy it to have it in physical format. With this big vinyl revival downloads can be a boost for sales if album is really good and not a bad thing.

3. It’s something that is personal and depends on so many things. Some drugs are evil and pointless, some drugs can take you to other planes but it’s not good to take them all the time and some drugs are hardly drugs anymore… I don’t think that making music is that much connected with taking drugs, especially if we talk about weed. We all know for great bands that were taking drugs and great bands that were clean. So, it’s really just a matter of someone’s lifestyle.

4. We are already prepared for Armageddon and we even made an event called APOKALIPSA 2012 with our friends Seven That Spells, we are playing in Belgrade and Zagreb for two days in March. It’s a ritual gathering celebration here on Balkans and we play whole night waiting for stars to fall.
Also we will have new album in 2012 and a tour across Europe that we need to start booking soon.

5. I’m probably going to be home for the New Years Eve, it’s kind of a tradition for me, I like to be with my family on those days, but the other guys, especially Dušan will probably be somewhere partying full scale hehehe.
Thank you guys for the great and hard work on Doommantia, wish you and your readers the best in 2012. Don't make any new years resolutions, just enjoy some free of work time with your friends and family!

Myspace

THE GRAND ASTORIA (Russia)
Kamille Sharapodinov (Vocals, Guitars)

1. My favorite doom album of this year is Wo Fat's "Noche Del Chupacabra".I don't know if there is enough doom in this release in a classic meaning of this word but it has elements of it for sure. I've listened to this album hundred times and still can find something interesting. Recommended!

2. I download music from the internet. I think that it's all up to musicians and listeners. Our music can be found for free in the internet and I really want to be heard by the bigger audience by all means. And it's good solution for me, cos we are not on the major label that can provide promotion and big sales all over the world.

3. I am ok with drugs but from time to time and not in big quantities. It's all personal thing

4. We will be touring the whole next year around the world. Hope finally to play USA, UK and Asia. Our fourth album is scheduled for release for autumn 2012 so it's the main thing I am busy with right now

5. I don't have any special plans at the moment. I will be with my girlfriend probably. I wish you all to be strong and happy in the forthcoming year!
Stay rock!

Myspace
Organicis Orgasmic Myspace
The Legendary Flower Punk Myspace

THE WOUNDED KINGS (United Kingdom)
Steve Mills (Bass, Drums, Guitars)

1. Doom release of the Year for me would have been Windhand but that’s now in 2012 I believe?!, So for me it’s Serpent Venom – Carnal Altar, it’s thick, heavy and fuckin’ addictive!

2. It’s there and there is no way of avoiding it I guess! but I think it sucks ass personally, It makes music too disposable, if you’ve invested your hard earned cash, then you are more likely to invest your time in getting to know/understand the album you’ve just purchased. I wonder how many people would have chucked there burnt copy of Radiohead Ok Computer away because it didn’t grab them immediately? Those albums that are growers (usually the ones that will end up staying with you till you die) are having a bloody hard time these days!!
If illegal downloads didn’t exist TWK would probably have had a fighting chance of doing music full time instead of having to hold down day jobs and trying to find time to write, rehearse and record, sometimes even scraping enough money together to pay for a fucking rehearsal! Our label would have more money for studio budgets etc.. CD’s would have been able to come down massively in price and everyone still get paid enough to get by. A win win situation for everyone. I’d absolutely love it if it went back to vinyl and cassette only, back to simpler times!

4. Shows, Shows and more Shows! We have Euro Part 1 in Feb/March, then Heavy days in Doomtown in Copenhagen in May, then Muskelrock in Sweden in June, recording our split with Pombagira in October so plenty happening!

5. Have a killer New Year everyone, stay safe! And keep on supporting the Doom in 2012!

Myspace
Facebook

VOID GENERATOR (Italy)
Gianmarco Iantaffi (Guitars, Vocals)

1. Well, I liked a lot At Devil Dirt from Chile, their album is very interesting in terms of composition. I mean, may be not properly doom but It’s easy to understand and difficult to play it usign such sound. It’s easy and extreme at the same time.

2. Ah thanks for the question. I don’t think that labels are loosing money for illegal download. If you download an album this does not mean that you want to buy it. You can go on the web, get what you could be interested in and choose to buy it if you like. Personally, I’ve noticed that I bought much more stuff now that I can scan the web that before where I couldn’t know how much good music you can find out there. Could you buy ALL the stuff you may be interested in? I don’t. Could you try to spend so much money without any insurance ? I don’t. But I spend a lot of money for records for sure. Two things, illegal donloading and buying are separate things, It’s a typical application for the Game Theory from Von Neumann and Morgenstern. Two things are stochastically independent.

3. Well the only thing I know is that if you are done you can’t play, if you are done you can’t be a good listener, but if you are on dope and you are listening to someone on dope it will seem good music to you.We don’t use drugs but I do not have any sort of prejudice. Anyway, this isn’t a music problem at all.

4. Void Generator is goin‘ to record some new stuff, a different sound, you’ll see. We have many songs in our supply and we only have to pick up properly. To be honest, there could be some surprises, stay tuned.

5. Hehe…heavy Christmas and fuzzy new year ! lol…thanks a lot, ciao! Argghh…aawwww…!!!

Myspace
Phonosphera

WITHOUT GOD (Russia)
Anton Brovkin (Vocals, Guitars)

1. Actually I don’t look after all new releases. “Last Rites” by Pentagram is very nice album. And “Sonic Mass” by Amebix, although this is not doom ?

2. Nowadays you can easily download anything you want from Internet, and nobody can stop this. Anybody can grab the music from CD, convert it into some format, MP3 for instance, scan artwork, share it and no one can prevent it.
I think music industry is almost dead because of modern media of communications, and it is ok. Free download can help people to know about your band, some people collect CDs, so they can order one after download, some new people come to see you live. There are a lot of ways to earn money, not only CD sales. Live shows, merchandise...

3. Hahaha, man ? Drugs are illegal in our country, you know, but anyway you can get anything you need if you know some people and have some money of course. Police is not a problem, if you know some people and have some more money. Everything sells. Drugs and alcohol destroys human’s identity replacing it by itself, and this is the real problem. You want to explore the new edge of human being, and drugs can help you, but then you found that you can’t control yourself and your own life, you can only observe, and you hardly like what you see. AIDS, prison, crimes, withdrawal, overdose – bullshit. It is very important to know when to stop and don’t upset the balance.

4. We are working on new songs now, and I hope we will record a killing album by next fall and start the world tour with Metallica support, ha-ha ?

5. I wish you peace and love in the forthcoming New Year! Cheers!

Bandcamp
Myspace

Sculptor - Dark October ...

2012-01-02T07:41:00.000-08:00

Russian bands present some interesting jewels that shine forth; and Sculptor is one such jewel that makes its presence felt. Although a one-man band, Sculptor manages to draw one into its album, Dark October. It was more of a journey in the woods. In December 2006, the lone soul of Sculptor started to collect material for the first demo ‘Voiceless Despair.’ One year later the EP ‘When World Is Dying’ was finished. In December 2008, the first full-length CD ‘Dark October’ was finally released on five hundred copies by Stygian Crypt Productions label, after the promo CD was lost for more than half a year by the non-efficient Russian post. Still it is not so easy to achieve something in Russia, that’s why we have respect for this material of Sculptor, recorded from August - December 2007 at Sculpto’s home studio. The entire album is in Russian and the vocals are a combination of Death and clean vocals.

The opening track “Autumnal March” is an instrumental track with loads of keyboard and guitar. With the track “Clouds of Sorrow” the real journey begins, which starts with a nice Guitar flow before the vocals pick up. It is more of death Vocals and goes very well with the free flowing guitar; with some good variations. The drumming is well complemented and there is an element of surprise in the juxtaposition of some clean vocals. The variations in the song are very good. The clean vocals are not that powerful, but are to the point so it eradicates any flaws. “Black fire” picks up like a fire as the track starts in a pacy manner and then slows down mid way. It is pretty interesting indeed.
“Black and White” is the pick of the album. It has the element of keyboard played pretty well and there is mix of Death and clean vocals passage which is done very well. The last track “Sacrifices for masterpieces” is a good track to finish off. It is slow and doom-y. The production is good and the front cover and the sleeve is very interesting.

The general sound of the album is far from superb, but Sculptor puts down a slow, Siberian cold doom atmosphere in six lengthy compositions and an atmospheric intro. It is the kind of atmosphere that is likely to appeal to fervent fans of the genre. Most of the songs have a rather identical structure: starting with semi-acoustic guitars, passing into growls with wilder and faster parts and finally a return to calmer patterns with plaintive clean vocals that are not so good from time to time. Overall it is a pretty decent release, worth listening to a few times!!!

Words:Mahesh

Sculptor @ Myspace

HAPPY NEW YEAR: 2011 - A YEAR IN DOOM ...

2012-01-01T19:57:00.000-08:00

2011 was a spectacular year for doom metal and its related genres and a killer for the Doommantia site. In 2011, there was 1,057 posts compared with 2010's 625 and around 150 of those posts were interviews. Trying to pick favorite interviews is awkward as I really want to mention all of them but ones that will always stick in my mind was the Black Pyramid interview where Andy explained why he left the band. That interview alone generated over 5,000 hits in the first few days after it was published and is still the most viewed interview page on the site. Back in February there was a great interview with Toner Low, while in April, there was interviews with Crowbar and Graveyard which both were very popular with the Doommantia readers. In June there was an interview with one of my favorite bands, Pombagira and also one with Acid King's Joey Osbourne. In July, there was an interview with Noctum and the second interview we did this year with John Perez from Solitude Aeturnus.

In August we had a few words with Karl from the winners of the recent album of the year poll, The Gates of Slumber and there was also a cool interview with Conan. The rest of 2011 was filled with more memorable interviews, Ice Dragon, Wizard's Beard, Blood Farmers, Serpent Venom, and The Wounded Kings are just a few of the highlights. The grand masters of the interviews for the year were again, Aleks Evdokimov whose unrelenting passion, energy, and work ethic is incredible, thanks Aleks, you are an important and crucial member of the Doommantia family....Respect! The other guru of interviews is of course Dr.Doom Metal who also has supply us with some amazing interviews throughout the year and don't forget to visit Dr.Dooms Lair and visit often and spread the word on his fine doom-metal site. Big cheers also go out to Marilena Moroni and John Wisniewski who also delivered the goods with some great interviews.

Seeing as there was well over 700 reviews in the last year, it is impossible to mention all of them but the memorable ones were all included in the 2011 Readers Poll where The Gates Of Slumber top the list just over The Wounded Kings and they are two albums will go down in history as two of the most vitally important releases in doom-metal I am sure. But there was also albums not included in that poll that will never be forgotten, albums by Rwake, Serpent Venom, Alunah, Faces Of Bayon, 40 Watt Sun, Graveyard, Blood Ceremony, and Dopethrone are just some of the more obvious ones that stick out in my mind. All the writers in the Doommantia family deserves big thanks for all their work throughout the year, I love you guys. Without you, this site would fall apart pretty quickly. We also added a few new writers to the team too this year, and to those people, I say welcome aboard and I hope you can stick around for all of 2012.

Of course, Doommantia is a lot more than just a review and interview site. We broke the news on a lot of doom-metal happenings, sometimes we were the first, sometimes we were a few days late and we don't publish articles on everything that happens in the world of doom-metal as we ain't no Blabbermouth but we try to keep you up to date with the most important news stories that occur. One of the big draw-cards is the Podcast page as we have two of the biggest and best doom metal shows with The Soggy Bog and Crestfallen. Because of the overwhelming high-quality of these shows that Bob and Kev bring to you each week, it draws in roughly around 10,000 page views directly to the Podcast page alone each and every week. Again thanks to you guys for allowing Doommantia to host these fine doom radio shows. We also can't forget about Foundry of Doom which broadcasts the very best of doom, stoner, and sludge, 24 hours a day, 7 days of week. That page too attracts huge views and thanks to Tommy for all his dedicated work on the doom station on Live 365.

Last but not least, there is the webstore. It has had some serious lows since its inception but it has also had some good highs. Hopefully if people lay off the illegal downloading a bit, the store can make a come back in 2012. I work very hard to keep the prices as low as possible and that will continue into 2012 but for how long is hard to say. With increases in shipping rates and so on, it is getting very hard to keep up these lows prices and the webstore is lucky to break even as it is. The big news is the webstore will be moving sometime this year to its own dedicated dot com address but I will bring you more info when more exact details are known. Please, and I am down on my knees and begging here, please buy from the store. I know it is a bit tricky to navigate but if you have any problems, a simple email to me and I will make sure you get the CD you want. The free CD offer still stands and all orders still get free stickers, badges, or patches and sometimes all three if they are in stock at the time of the sale, that will continue.

Now back to views and 2011 saw the rise of Doommantia to levels which were beyond my wildest dreams. There was a hint that something was happening in the last few months of 2010 but in March we cracked the 100,000 page view mark for monthly views and the site has never looked back since. Doommantia peaked in June with 311,260 page views which was enough to almost give me a heart attack and while we haven't come close to getting those kind of numbers since, we are still doing incredibly well. A total of 2,406,333 for one year for a site which is basically promoting underground bands and genres is amazing stuff. It is further proof that the genres we promote and review are far more popular than anyone realizes, especially the mainstream media. Speaking of which, the site got a mention a couple of times in rags such as Decibel and Terrorizer and while that means nothing to me really, it shows that bands and labels are taking note of what we do here.

So I have blown my own trumpet enough already so I will finish up with saying thank-you to all the loyal readers of the site as most views are return visitors and thanks to everyone who has put a link up on their own site and blogs. We will continue to do the same for you when possible or as needed. The doom-metal underground I like to think is like one big family that hopefully can continue to support each other in the future. Doom On brothers and sisters. The following is a break-down of monthly views, country views, and other geeky facts and figures. Thanks again...Doomsters.

Month By Month
January - 80,112
February - 86,493
March - 129,679
April - 192,111
May - 178,789
June - 311,260
July - 298,482
August - 282,629
September - 224,130
October - 217,129
November - 222,990
December - 182,529
Total Page Views For 2011 - 2,406, 333

The Top Ten Country Views
1. USA
2. UK
3. Italy
4. Canada
5. Germany
6. Holland
7. Australia
8. Sweden
9. Greece
10. Russia

The Top 5 US State Views
1. California
2. New York
3. Oregon
4. Massachusetts
5. Texas
** Note: NYC leads the pack by a mile in terms of city views **

Most Viewed Band Pages
1. Saint Vitus
2. Pentagram
3. Anything to do with Wino
4. Black Sabbath
5. Cathedral

Most Viewed Pages
1. Home Page
2. Podcasts
3. Webstore

Computer Browsers
1. Firefox
2. IE
3. Chrome
4. Safari
5. Opera