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doomedandstoned · 4 years

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Chrome Ghost Give Emphatic Close to the Decade with ‘The Diving Bell’

~Doomed & Stoned Debuts~

There's always been something endearing to me about the sound of Roseville, California's CHROME GHOST. Their last two EPs are decades-long favorites of mine, chiefly due to the bittersweet comingling of earnest vocal harmonies with punishing low-end. Each of their releases has brought unique and unforgettable moments and I've long contended that they would stand up well as openers for the likes of Alice in Chains or Tool, Yob or Bell Witch, in terms of how they compliment and contrast elements of both bands.

'The Diving Bell' (2019) opens in classic Chrome Ghost fashion, with a steadily unwinding ballad with a Lovecraftian twist. "Waltz in the Shadow of the Hillside" will hook you for the long haul. It definitely passed the "hum test" for me, in any event, as I've been thrumming the main vocal theme for days now. "Halo" follows this by unleashing a torrent of pent-up tremors, followed by a calming mantra accompanied shortly by an ascendant guitar lead.

"The Diving Bell" presents a solitude and stillness that is rare, even in genres like depressive and funeral doom. Sadly serene, the song is like the calm leading into a storm, for minutes in a march-like rhythm and growling vocals announce the approach of something awful. Then like intermittent patches of downfall, the storm clears and gives way to a warm, confident stride with dreamlike lyricism. I dare say you don’t need to know the words (at least not on first hearing) to get the full effect of this 14-minute wonder, for on a sonic plane it taps into that mysteriously intuitive musical language we all seem to relate to emotionally. On a compositional level, I’m quite impressed (and satisfied) by how the band has developed to this point in their career. Like I said, deserving of much more mainstream attention.

From ascendant to transcendent, the record closes with the cavernous "Visions." There's something about it that reminds me of Gregorian Chant. Certainly the layer-upon-layer effect of the complementing vocal harmonies aids in its sacred vibe. Unexpectedly, the tempo quickens towards the end of the song, as though a great window to the heavens had opened and Jacob's dream of angels ascending and descending like an escalator is before us.

Regardless of how you interpret it, revelations abound in The Diving Bell, which releases this Saturday, November 30th (pre-order here). And now, Doomed & Stoned is pleased to present the worldwide exclusive debut of Chrome Ghost's most accomplished effort to date. A triumph.

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The Diving Bell by chrome ghost

A Listener's Guide to 'The Diving Bell'

We're grateful for the opportunity to visit with Jake Kilgore (guitar, vox), Jake Hurst (drums), and Joe Cooper (bass) of Chrome Ghost, who recently gave us the low-down on their most accomplished effort to date, taking us on a tour from the inside-out.

Art

The cover art was painted by Sacramento artist Molly Devlin (@devlinmolly on Instagram) She has an incredibly sensitivity to her work, and the way she works with elements of nature and organic stuff blew my mind. We are extremely lucky that she was into the idea, and honestly the album cover influenced the way I felt about the whole process. I like to have art done before the recordings are done for that exact reason.

Recording Process

The Diving Bell was recorded in May 2019 by Patrick Hills at Earthtone in Sacramento, California. Patrick has recorded all Chrome Ghost releases to date, as well as CHRCH, King Woman, Tera Melos, and more. We have developed an extremely strong working relationship with Pat, and we tend to understand each other with minimal discussion. Half the time we’re not recording, we are getting through the day by watching stupid youtube videos while files are rendering.

The album tracking was spread out over three days, drums, bass, and guitar, with vocals tracked at home. No click tracks were used throughout the process in an attempt to give the record a more organic feel, and to give us the ability to push and pull the tempo as needed. It goes without saying that this method is way harder, and we definitely punished ourselves with long work days trying to get things right.

We were originally slated to track the album in February 2019, but I (Jake Kilgore) ended up breaking my wrist right before we were meant to go into the studio. The injury not only delayed our plans, but sent me into a spiral. Unable to work, I spent most days on the couch, feebly trying to find positions to hold my guitar so I could keep practicing. In some ways, this benefitted the band by really narrowing our focus. We would rehearse with no guitar, only bass, drums, and vocals. I’d stand there and sing the guitar parts when necessary and it became something of a thought exercise for all of us to stay in sync while only imagining what we were supposed to hear.

General Themes

This record was meant to be personal and introspective, but I also wanted to incorporate more classic gothic themes. Instead of being as blatantly autobiographical as Chrome Ghost has been in the past, I got a little more abstract and started to incorporate images and moods that resonated with me in some way.

Jacob and I share a fear of deep water, and I couldn’t shake the image of a primitive Diving Bell from my mind for months. The idea of being totally submerged, surrounded by a small pocket of air, was so claustrophobic yet serene, and it helped direct the mood of the album quite a bit. Always contrasting the heavier and suffocating music we make with the lighter, more reflective stuff.

Photo by Kevin Carpio

"Waltz in the Shadow of the Hillside"

The opener was inspired by a Lovecraft story called Whisperer In The Darkness, which starts off with reports of massive floods sweeping away strange alien bodies. I was struck by the thought of bodies washing through floodwaters, and it sparked from there. That idea met with this mantra I'd had cycling in my head; Wild Rose, Dog’s Blood. Something beautiful and something terrible, side by side. That sense of duality might be cliché at this point, but it seemed to fit very well in the sense that the water in this song is an element of destruction, but obviously water is an element of life.

We built this song around that clean fingerpicking guitar part after the heavy intro, which I originally wrote while I was still in high school. Everything else was added to accent those voicings and melodies present in that sequence. Exploring that very primitive and repetitive 3/4 rhythm, and twisting it around in different contexts, was a lot of fun to figure out. The droning, experimental part in the middle is probably my favorite because we got to use a bunch of studio tricks on the drums, and I got to use some rad guitar pedals to get those washy reverse guitar parts.

LYRICS

night falls shadows bloom rise slow dance in the hillside

shifting earth hums below outstretched arms drag through the water

soft glow of eyes that shine dark cold shrouds all who wander

obscured shapes draw near long black hair drags through the water

hark! now comes the flood slow rain crushes the hillside

pray they will rest well see them all dragged by the water

wild rose dog’s blood pray all rest well

all that once was is gone from here whispered laments fall on deaf ears

washed clean of all but memory swollen in death and revery

wild rose dog’s blood pray all rest well

"Halo"

Halo was a strange one to write, because the lyrics kinda just came to me in a flurry and I wasn’t aware of what they meant until after the record was made. I sometimes suffer from debilitating panic attacks, and Halo ultimately became an ode to my wife, who in these moments has shown compassion and cared for me to the best of her ability. The song is about that paralyzing feeling of sickness that can render you temporarily dead to the world, but more importantly it’s about the debt that we owe to those who are there for us.

This is our attempt at a pop song. It’s the only song on the record with a chorus that repeats, and it loosely follows a verse-chorus-bridge-chorus formula. Other than that, we got to stretch our limits a little bit by making this the fastest song we’ve written.

LYRICS

healer weakened by the dark

wild rose cloven from the torn gently as the wind had blown resting high upon your crown

frail in your arms aching from the warmth bound to remain here suffer evermore

suspended in this moment of loss every nerve severed and raw the door’s nailed shut chained to the bed i’m so tired my eyes shut again

halo

"The Diving Bell"

The mantra Breathe Deep anchors this song, returning multiple times to reinforce that claustrophobia. This song explores the peak of a true panic episode, catatonia, helplessness, etc. The feeling of being out-of-body, and calling out into the void for help.

Obviously this track is a sort of centerpiece for the album, musically. There are repeating phrases and motifs that let you feel like you’re hearing something new, but in actuality you’re just hearing a different version of something from earlier in the song. This track was meant to showcase the most extreme distance between the heavy and light elements of the band.

Pat Hills also did the dual guitar lead part with us, and that is one of my favorite things we’ve ever recorded.

LYRICS

breathe deep the only way out espaces me

sinking lower in a slow dive

lay here motionless alone

breathe deep in waters of purity lungfuls of what is to be

sinking in waters of purity lungfuls of what is to be

lay here in waters of purity lungfuls of what is to be

quiet weightless catatonic eyes unblinking mute and empty bury me in silt

the pain comes in distant waves echoes of what once were hidden wounds voices cast out through still air listen for me calling home

breathe deep

"Visions"

The lyrics to Visions were meant to give it finality, as the end of the album. It’s about accepting death, and the darkness that follows some of us throughout life. It’s also about holding on, even in our final moments. Asking to be “buried slowly”, to let us all have time to think and work through some shit before we have to call it a day.

This track is a sort of mashup between a spindly clean riff that King Gizzard and the Lizard Wizard might use, and a powerful seasick drone that a band like Yob might use. Visions has a very chant-like, almost Gregorian element to the vocals, and when that’s laid over almost tribal drums, we knew we had something interesting on our hands. That sorta didgeridoo-like sound during the choruses is an electric bass with two strings being played with a bow. That was 100% Jacob’s idea and he executed it perfectly.

LYRICS

sickness floating in the eye of all men

fallen tears in the well poison the crumbling earth rose in bloom thorned red and gold baby’s breath like cancer, grows

fading light casts a glow over my face alone when I go bury me slowly when I go bury me slowly

visions

Shallows by chrome ghost

Reflection Pool by chrome ghost

Choir of the Low Spirits by chrome ghost

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doomedandstoned · 4 years

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Dutch Doomers ONHOU Pack Mean Wallop in Sinister Music Video “Dire”

~Doomed & Stoned Debuts~

Holy hell, this is sick! If ONHOU is an unfamiliar name to you, sure it will be no longer after you've taken in the demonic new music video from the doomed Dutch sludge-wielders. "Dire" is a well-honed nine-and-a-half-minute sucker punch that will leave you winded, yet wishing for more. It's pure, venomous rage that will give you nightmares before ultimately freeing you from all fear through its cathartic cleansing. “Dire tells the story of demise hidden behind false gods and meaningless worship," the band explains. "In the end, only death awaits." That's about as deliriously nihilistic as you could hope for.

Onhou, now venturing on its fourth year as a band, draws its talent from the likes of Killteam, Lords of Gravity, Wolvon, Grinding Halt, and Ortega. Tucked away in Groningen, Netherlands, Onhou "embodies their northern heritage by mixing desolate sludgy Doom riffs with miserable Post-metal atmospheres, embracing the sinister history of the soil that made them."

The four-member crew of Alex (guitar, vox), Florian (keyboard, vox), Henk (bass), and Arnold (drums) are in top form on 'Endling' (2019). Quite frankly, the record scared the ever loving stuffing out of me as I let its tsunami of terror wash over me. The three-track record clocks in at nearly 40 minutes, just to give you an idea of how hefty this spin is. One of my favorites of the season, if not the year, with plenty of meat in these longform compositions to reward your repeated listens. Releasing November 30th on a limited run of 100 white vinyl via Lay Bare Recordings (pre-order here). For fans of Herder, Crowbar, Space Witch, and Indy's Conjurer.

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From the murky peatlands of North East Netherlands we present ONHOU. Out of the smoke of this burning decayed vegetation arises an uneasy beast of haunting bleakness. Meandering through dark territories with pulsating down-tuned guitars, electronics and dual vocals, they created Endling. We can assure you, this record may sound like the last of its kind but it’s alive and kicking. Another gem laid bare to hunt you down in the coming months and to fulfill all your nightmares.

Onhou is a Dutch sludge/doom metal band formed in Groningen, 2016. After a well received EP released by Tartarus records in early 2018 Onhou returned to the studio to record their first full-length. Transitioned into a four piece the band managed to create a bigger sound, exploring darker territories. With two vocalists, electronic elements and heavy, down tuned guitars Onhou enshrines a form of riff worship.

With 'Endling' (2019). Onhou is expanding on the hopelessness of their sound, fighting against the inevitable.One can try to find reason or a safe haven, try going to war with all of your might while it burns the heart out of you. But one will only find loss, not a single trace of one’s existence. There is no legacy. There will be no judgment. 'Endling' will find you dragged into discomfort with Onhou’s negative riffs, dark electronics and pulsating rhythms.

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doomedandstoned · 5 years

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Hazemaze Explore the Dark Side of Humanity in their Finest Album Yet

~Doomed & Stoned Debuts~

Artwork by Nick Potts

Sweden's HAZEMAZE are as smooth as a black cat dancing on jade in the pale moonlight. In other words groovy, man, groovy. Hailing from Stockholm, Ludvig Andersson (guitar, vox), Estefan Carrillo (bass), and Nils Ein (drums) have been doing their thing since the spring of '16, jamming away at sweet doom-touched retro riffs. Their Wicked Ways EP was followed two years later by an eponymous full-length debut on the Kozmik Artifactz label -- a long-awaited revelation for fans of fuzzed-out '70s vibes.

Now Hazemaze turns the page on a new chapter in their story, with "a record that is far heavier, darker, and doomier than its predecessor," the band reveals. "Shadow In The Night" kicks off 'Hymns of the Damned' (2019) with an undeniable headbanging beat, joined in short order by dreamy, haze-laced singing. You'd have to be brain dead not to be infected by this rhythm-driven Behemoth. It'll get under your skin quickly!

"Morbid Lust" continues the onslaught with a Goatsnake-like vibe that's as wicked as you could ask for. Just two songs in and I have to say, I'm damned impressed with the passion, focus, and determination that Hazemaze have put into these songs. Tight, I believe, is the word I'm looking for. Hazemaze has never sounded better.

The driving beat of "Thrill Seeker" and that awesome Anthrax-esque guitar hook guarantees this song will make any crowd rowdy that Hazemaze plays for. Fans of bass-heavy leads will be first in line to volunteer for "Lobotomy" next, as the song tools around with your prefrontal lobe to make you a slave to the riff.

Much like Church of Misery, Hazemaze has drawn inspiration from the darkside of the human experience for Hymns of the Damned. It doesn't take much imagination to recognize the imagery that songs like "Solicitor of Evil," "Green River," and "Reverend Death" draw from. This makes the album doubly fascinating, egging the listener on in search for references to the misdeeds of human history.

The album closes on an up-tempo note with "Forever Trapped in Hell," which would pair well with any of your Uncle Acid & the deadbeat records. Fantastic solo work from Ludvig, btw. Produced, mixed & mastered by Joonas Hassinen at Studio Underjord, the album is beautifully recorded, full-bodied with plenty of presence

If you thought it was time to close the books on 2019, think again. Hazemaze has saved the best for last. Hymns of the Damned will see the light of day on November 22nd 2019 via Cursed Tongue Records (vinyl), Ripple Music (CD), and Stoner Witch Records (cassette). In the meanwhile, you can hear it all right here, right now, as Doomed & Stoned presents Hazemaze's new masterpiece in its entirety.

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doomedandstoned · 5 years

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Alchemical Wake Take Us Deep Into The Cosmos With ‘Cassiopea’

~Doomed & Stoned Debuts~

You know, every once in a while I'll get a record that inspires me to crank up the volume. I mean really crank it up, to wall-shaking proportions. So what if the neighbors pop their heads out the window and flash a dirty look from across the street? This is doom, my friends, and it deserves to be heard. Italian doom, to be precise. The country has had a long love affair with the dark, nihilistic strains of the slow 'n' low and today we have the chance to audit a brand new entry into the field, by way of a duo called ALCHEMICAL WAKE. It's hard to believe this much volume can come from just two people jamming, but such is the power of the riff, as we like to say.

The four-song album 'Cassiopea' (2019) is, in fact, a riff-worshipper's dream. The title refers to the constellation, which you may observe in the northern sky on a clear night. Each song embodies a neighboring constellation or, in the case of the last track, an entire galaxy. Perhaps there is some double entendre behind each track, too, with the lyrics carrying veiled references to the ancient mythology behind the stars.

The closest point of comparison to Alchemical Wake's style would be Godflesh or Aseethe, in terms of the patience and concentration with which Nicola Marcias (guitar, vox) and Francesco Manca (drums) shape the droning compositional lines, all while maintaining a convincing rhythmic structure.

"Libra" is an earworm if there ever was one, burrowing in deep and refusing to let its hooks go on your psyche. "Noctua" grinds and grinds like some melodic drill searching for Nirvana, eventually finding its way into a sublime meditative state. During the single debut, the band had this to say about this number:

It’s the most dynamic track and it goes straight to the point. It has a good introduction for the rest of the album. The track takes shape from an improvisation with the drum, then the guitar fills the main drum riff. The name of the song is inspired by the owl constellation, Noctua. The whole album is a concept dedicated to the constellations.

"Orion" is up next, opening with a flurry of crackling amplification, then sputtering off for the outer regions of the universe like some jalopy of a spacecraft exploring the unknown. The album closes in dizzying fashion as we spiral through a 13-minute astronomical behemoth that is "Andromeda," conjuring fear and awe as our musical journey fades off into the distant stars.

Look for Cassiopea on Friday, August 30th, releasing via Argonauta Records (pre-order the CD here and the digital copy here). Because a record of this scope takes time to soak in, Doomed & Stoned is giving you an advance listen to it all, from edge to center.

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Hailing from sunny Sardinia, Italy, blackened sludge and doom metal unit Alchemical Wake are set to release their debut album this summer with Argonauta Records, while having joined the label's eclectic artist roster among bands such as Destroyer of Light, High Fighter, Mammoth Storm, Ancient Vvisdom, Komatsu and many more high class acts.

Alchemical Wake formed in 2014 and released a first EP two years later. In early 2019 the band hit the studio to record their debut album, titled Cassiopea, due out on August 30th.

Mixing the elements of Stoner, Dark Rock, Sludge and Doom Metal on a highly innovative level, the band has evolved their sound on Cassiopea to a tight and blistering variety of heavy low-end, darkened doom tunes. Numerous live shows alongside bands such as Jucifer or Ufomammut to name just a few, may helped Alchemical Wake to grow not only as a band, but also as one of Europe's biggest hopes in heavy music.

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doomedandstoned · 5 years

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Cycles of the Damned Craft Album for the Post-Apocalyptic World

~Doomed & Stoned Debuts~

Art by Adelyn Krone

Without exaggeration, this is one of the most furious openings to a record I've heard in a long time, perhaps ever. CYCLES OF THE DAMNED call down brimstone from heaven and it hails riffs and beats with a vengeance.

While the dust settles, 'A Time To Survive' (2019) takes time to survey the destructive aftermath with moments of bittersweet contemplation. These aren't insubstantial tracks, most clocking in beyond the ten-minute mark. You feel the full weight of each, not just for their run-time but for the massive war-beat of the drums, the roaring vocals, and the melancholic guitar leads. As I listen, I can't help but summon the stark imagery of the latest film by Panos Cosmatos, 'Mandy' (2018), with The Black Skulls riding out into the night through red-tinted fog.

All told, the music etches out an evocative landscape to a new world, with each atmospheric note coloring the environment in burning embers, black dust, and crimson remains. It's as though you've been transported beyond the now to a time and place when the destructive intent of our collective words and actions has finally given way to a wasted earth, as though the planet could finally bear it no more. I began by remarking upon the fury of this spin, but it is perhaps more so an album of mourning as we survey the work of human hands -- at first promising and brilliant, then terribly poisoning.

Tad Doyle's label Incineration Ceremony Records has quite a prize on its hands, releasing A Time To Survive by Cycles of the Damned on October 12th (pre-order here). A limited vinyl run will follow on D.H.U. Records. In the meanwhile, we invite you to soak it all in from edge to center.

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A Time To Survive by Cycles of the Damned

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Seattle, Washington's Cycles of the Damned successfully create a visceral experience sewn into intensely heavy and dark music. Showcasing a life experience in today's world with malicious guitar onslaughts, hypnotic primeval rhythms, and despondently somber interludes, Cycles of the Damned create the necessary chaos to violently break through the human subtopia of mediocrity into a new world with fresh, open eyes.

Founding members Dave Krone (Guitars/Vocals), Mike Lee (Bass/Vocals), and Keith Greer (Percussion) have evolved past their original formation as Black Bone Exorcism, leaping forth from those years of musical craft and now rise to a higher level of heavy.

Cycles of the Damned invite you into their realm with their debut 'A Time To Survive', coming October 12th from Incineration Ceremony Recordings, the brainchild label of the legendary Tad Doyle. COTD bring their message in roaring riffs, demolishing drums and bass, and creatively disturbing ambient landscaping to defy the boundaries of our vision of dystopia.

Photo by Chris Schanz

The Cycles of the DamnedD title track "A Time To Survive" is also featured as the final track on the recent D.H.U. Records label sampler compilation, 'MMCVII Vol. IV'. The Netherlands-based label is releasing the European edition of the Cycles of the Damned debut album on vinyl, in conjunction with the U.S. release from Incineration Ceremony Recordings.

'A Time To Survive' was produced, engineered, mixed, and mastered by Tad Doyle at his Witch Ape Studio in Seattle, Washington. All songs on 'A Time To Survive' were written and arranged by Cycles of the Damned, with appearances in recording from Brandon Wilder (guitars) and Mischa Kianne (violins). Cover artwork by Adelyn Krone, with art production and photography by Chris Schanz.

The album 'A Time To Survive' is available October 12th from Incineration Ceremony Recordings, with a limited vinyl pressing available globally from D.H.U. Records in Europe.

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doomedandstoned · 5 years

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Slomatics Reveal Music Video for “Telemachus, My Son”

~Review by Lacie Chapman~

Riffs, riffs, riffs. When it comes to Belfast’s sludgy doom-and-gloom trio SLOMATICS, that is the descriptor that immediately comes to mind. I will admit that, prior to Billy Goate hitting me up to do a review for this album, I had never even heard the band’s name in passing around my local scene. This was completely baffling. Listen to any loud, heavy band from the last decade or so and you will find bits and pieces of this band floating around in their sound. Truly unprecedented, fuzzy, rifftastic genius. Vintage amplifiers alongside analog synths riddled with fuzz permeate the depths of time and space when you try this band on for size.

Although I was intimidated by my lack of knowledge about this group, I was eager to have a chance to discover a new-to-me band that was so widely acclaimed by my peers. Since forming in late 2004, Slomatics have built an amazing discography, from their 2005 debut split with El Bastardo to the more recent collaboration with Mammoth Weed Wizard Bastard, 'Totems' (2018), and five full-lengths in between. The most recent entry, 'Canyons' (2019) is destined to be a fantastic addition to an already impressive repertoire.

I had the pleasure of listening to Chris Couzens and David Majury on guitars, Marty Harvey on drums and vocals, as they guided me through my first listen with their aptly named sixth LP. The album art by Familiar Ink grabs you immediately as you seem to peer from a deep pit engulfed in towering walls and alien plant life. Tinges of black, orange and blue burst through the decay, stars twinkle dimly, bringing forth the call of the void. Embracing the atrophied arms of time, the growth of deterioration, death and darkness eternal.

I plugged my phone into my sound system, maxed the bass and cranked the volume before laying on the floor of my room to prepare me for a surreal aural treat that I had never encountered before.

Canyons by Slomatics

"Gears of Despair" leads you through the path of destruction. The fractured remnants of the bed we made but refuse to lie in. From the first few moments, echoing walls of fuzz shook my entire house, enveloping me in the dark corners of the universe. Creeping dread encroached my perception as I floated in the vast nothingness, cold and utterly alone. Marty’s voice beckons me further onto the path from afar. I try to follow but I fear I’ve become lost.

Canyons by Slomatics

"Cosmic Guilt" is a punch to the face. Only the second song into this remarkable album and I was completely enthralled with this band. My entire body was reverberating with the foreboding ether pouring from the speakers, dripping down my walls, smothering me with dread. I stumble on.

Canyons by Slomatics

As "Seven Echoes" flowed into existence with incredible crystalline psychedelic elements, I came to the realization I was all too sober for this listening experience. I stopped the music and smoked a fat bowl of Gorilla Glue as I pondered the beginning of this fantastic album. I came back to my prior resting place, awaiting transportation to another dimension. This is Doomed and Stoned, after all.

I found my head bobbing along as Marty’s drums introduces the track "Telemachus My Son," the music video for which we are debuting in this piece. Primitive, heavy guitar riffs from David and Chris soon greeted me as a choir of warm, fuzzy, reverb-soaked analog synth followed close behind. I was totally content while my body melted into the carpet. This kind of riffage and doomy walls of noise are exactly what I seek out when looking for new bands. I felt completely blissful. The steep path twists and turns, leading me further through the canyons.

Canyons by Slomatics

"Beyond the Canopy" blew me away and is easily my favorite song on this album. Glistening stars taunted me forward, past my line of vision. Suddenly a wave of grandiose exhilaration washed over my being as the tone built up anticipation of the unknown. Psychedelic synths echoing with saturated reverb and lush, vibrant light guided my path while I caught a glimpse of the heavens lying ahead of me. I felt at home amongst the billowing, brilliant quasars.

Canyons by Slomatics

"Arms of the Sun" embraced me with a light, heavenly flood of those glorious analog synths. I had become one with the void. I was no longer following the path on foot. I have ascended into stars, changed beyond all recognition.

Canyons by Slomatics

The song "Mind Fortresses of Theia" takes it down a notch with grounding, rumbling melodies from Chris and David that cascade freely on the track. Ominous riffage enthralls my essence. Marty's voice calls me. I am almost to the end. I can see the light at the end of this tumultuous, extensive path.

Canyons by Slomatics

Closing out this superb album is the track "Organic Taverns II." What a perfect track to end this flawless release. The sheer intensity, the suffocating sludge pummeled my spirit as I became one with my surroundings. I love Marty's vocal style, especially in this song. He is now counted as one of my favorite doom/sludge vocalists. This band is now one of my favorites.

Clocking in at just over 48 minutes, this album is pure aural ascension that I never wanted to end. I put it on again immediately just to fully grasp the immensity I faced. This time, I sat in front of my subwoofer, floor and walls buzzing with fuzz drenched glory. I cannot wait to backtrack through their discography, listening to the growth that lead to such a masterful conglomeration such as this. I am enamored.

After the cosmic dust had settled following two stints amongst the ever expanding nothingness, I tried to ground myself into reality. Nothing really tops the high of smoking a good bowl and putting on fantastic tunes to pass the time. Pressing play on this album was honestly the best decision of my day and I sincerely hope you listen to this album, find your little niche in the groove and enjoy the ride.

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doomedandstoned · 5 years

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Fire & Brimstone Fury from Wells Valley as the Trio Light Up Devastating 2nd LP

~Doomed & Stoned Debuts~

Wells Valley is a Portuguese blackened avant-garde metal trio with doom and sludge tendencies from Lisbon, formed in October 2011. Through the years the band count numerous shows, sharing stages with several bands such as Jucifer, Bolzer, Mantar, Weedeater, among many others. 'Matter As Regent' (2015) was the first record to capture the band's distinctive sound, followed by the EP 'The Orphic' (2017), released by Raging Planet, Bleak Recordings, and Chaosphere Recordings.

Equally as interesting is Wells Valley's lyrical concept, inspired by cosmology, hermeticism, and theology. This is especially evident on the band's latest album, 'Reconcile The Antinomy' (2019). Each of the six songs embody doom at its best, dense with atmosphere, a mood heightened by its spiteful outbursts of blinding anger. "Pleroma," for example, rains fire and brimstone upon the earth in an almost unrelenting torrent, with moments of dreadful calm lasting just long enough to contemplate the devastation.

There are moments when you'll be reminded of Lord Mantis, even Gojira, in the heavy-laden final minutes of "Henosis," for example." The whole thing plays off as a terrible nightmare, with thoughtful touches that kept me invested throughout. At times, the nightmarish terror was palpable and I could feel my heart beating heavier, as if seeking to match the overwhelming power of the mood enveloping me aurally.

Filipe Correia's hooks make not only this song memorable, but the others in its company, too. He's also the vocalist and what a monstrous fury he rustles! Pedro Mau is practically in a trance as he pounds out the obsessive rhythms of the album. And Pedro Lopes enhances the effectiveness of the rhythms ten-fold with his effective bass work.

Reconcile The Antimony by Wells Valley releases November 8, 2019 in multiple formats on Black Lion Records, Chaosphere Recordings, and Raging Planet (pre-order here). And now, Doomed & Stoned presents the world premiere of this harrowing record in its entirety. Vicious riffs, thunderous rhythms, and caustic vocals make this one of the year's best!

Give ear...

Reconcile The Antinomy by Wells Valley

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doomedandstoned · 5 years

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The Slayerking Reveal Sinister New Music Video

~Doomed & Stoned Debuts~

What I've been craving has finally arrived: doom with a soul. It can only mean one thing: THE SLAYERKING is back! Not since Troll's 'Legend Master' (2019) have I been as excited about a new album. Like the aforementioned Portland band, The Slayerking have a well-articulated flair for the dramatic.

Tetragrammaton by The Slayerking

Coupling harsh, death-touched vocals with melodic guitar leads and darkly beautiful harmonic development, 'Tetragrammaton' (2019) promises to be one of the darkest albums of the year. Efthimis Karadimas (bass, vox), Kostas Kyriakopoulus (guitar), George Karlis (drums) have outdone themselves on their latest spin, which was issued October 4th by Off The Record Label.

Today, Doomed & Stoned gives you a window into the Greek band's latest masterwork with a lyric video by Costin Chioreanu, who did the album artwork for Tetragrammaton. Do not miss this album! This is "Queen of Sheba Undresses Before Pulsating Chords."

LYRICS

C’MON BLACK QUEEN DANCE FOR ME MY WISDOM; YOUR BEAUTY ASK ME ANYTHING, ANYTHING YOU NEED

PENETRATE MY FAITH, MY HEART MESMERIZING TONGUE, FIERY TOUCH HEDONISING MOVES; INSIDIOUS ART

FALL IN LUST, I AM INSANE, SHE IS EVERYWHERE IN MY HEAD

NAMELESS ONE I AM SLAVE TO THEE ALL THE BEAUTY OF THE WORLD INCARNATES MY SECRET DREAMS

BOW TO HER BEAUTY; I AM INSPIRED PRODIGIOUS, ENORMOUS, THE ONLY ONE THROUGH HER I BREATHE

BOW…

QUEEN OF SHEBA LEADS THE DANCE

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doomedandstoned · 5 years

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Austin Doom Powerhouse FOREBODE Issue Explosive EP

~Doomed & Stoned Debuts~

We've all experienced it. The unnerving feeling that something, somewhere out there is not quite right. Perhaps some ominous fate is about to befall. You can feel it palpably throughout the new five-tracker by an Austin band that has a name for the dread: FOREBODE.

Look to the sky and you see Fire raining down, as you plea For your God to save you But you see only me

From the solemn Sabbathesque chords that open "Firebrand" you can tell a storm is in queue on the horizon. Then those deathly vocals reveal themselves and everyone within earshot is feeling the trepidation, too. A torrent of riffage -- alternately groovy and blackened -- erupts, joined by furious drumming and a bitchin' bassline.

Introducing singer TJ Lewis, guitarist Eddie Konopasek, bassist Guillermo Madrigal, and drummer Zach Donnelly. While it's hard to write in the strictest genre terms about the sound these guys are belting out, one thing is for certain: this is some seriously sludged-up, ferociously doomy metal-making with a southern stoner twist. How's that suit your fancy pants?

You will circle the earth As in death, so rebirth No more physical form As in death and so the storm

I was advised from the outset to just let 'Forebode' (2019) play out from song-to-song in one consecutive listen. I'm so glad I did, because the experience intensifies, sonically and emotionally, as the second track "Soul Trip" takes hold. This one alternates between solemn plodding and dancing rhythms, culminating in TJ's sky-filling vox directing all eyes heavenward as the end of the age is upon us.

I agree with my colleague JJ over at The Obelisk when he says that Forebode's sound is "a wide space" that's "cavernous and bleak in like proportion." The team of Matthew Alvarez (recording), Alec Rodriguez (mixing), and Kevin Butler (mastering) have done an outstanding job of capturing "massive" in a way our ears absolutely believe. It feels like we are indeed in wide open spaces, yet fully present -- a front row seat for the Apocalypse, as it were.

Forebode the coming end Hide behind The book of holy lies Forget the worlds helpless cries Don't forget you will die

Next, we enter into "Forebode PT I" and "Forebode PT II" and it feels like Judgement Day has already begun. Only there is no one there to judge us ("As above, so below. Heaven/Earth die slow"), for we have borne witness against ourselves -- and the judgement is death ("Vacant man, save us not. The world must end for what it has forgot"). Doom was born for such a time as this. Everything in our world -- past and present -- is awaiting this mighty rebuke.

I am searching for a way to breathe Pulled under in my own grief Broken dreams are all I keep Walk amongst the tombstones everyday Watch me hang from my noose again

By the time we reach "The Primitive Realm" we're grooving on a whole new level. We're dancing in our graves during the End of Days. I'm talking Bongzilla-style sway and stomp, people. This is the real deal. And with that, I leave the listening to you. Keep your eyes peeled for the June 16th release of Forebode on CD, cassette, and digital formats (pre-order here).

Give ear...

Forebode by FOREBODE

Forebode: Live 'n' Loud

June 14th - Atomic House in Houston

June 15th - Jandros in San Antonio

June 16th - Carousel Lounge in Austin

June 25th - Come and Take It Live in Austin with Sixes and Atala

July 3rd - Safehouse Sessions in Austin

Sept 1st - Come and Take it Live in Austin with Orange Goblin, Black Cobra, Mothership and The Skull

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doomedandstoned · 5 years

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Surprises Abound in ‘Burn Scar’ by Shadow Limb

~Doomed & Stoned Debuts~

Album Art by Aaron John Gregory

A scar represents many things: pain, grief, loss. More than anything it is a constant reminder that some chance happenings can never be reversed, tragic or otherwise. Northern California crew SHADOW LIMB bear the metaphorical mark of Cain on their new album, 'Burn Scar' (2019).

As has already been intimated, this is the band's most ambitious effort to date, following a well-received EP and split LP last year with Pacifica sludgers Squalus. It is quite evident from the outset that bassist Mike Crew , drummer Dan Elsen, and the guitar/vocal duo of Chris Roberts and Adam Scarborough are baring heart and soul for their first proper full-length. Shadow Limb's dedication to nuance, as well as respect for overall form and development of a song, makes Burn Scar an engrossing listen. This is what happens when you make melody-driven songwriting king, accented by effective harmonies, engrossing rhythms, and a cathartic mix of clean and dirty vox.

Recorded, mixed, and mastered by Tim Green at Louder Studios in Grass Valley, the sound is fresh, vibrant, never muddy or distorted. This makes the album immediately engaging, encouraging the listener to stick around for the entire spin just to find out what will happen next.

Look for the full release of Shadow Limb's Burn Scar on October 11th via Seeing Red Records in both digital and CD formats (pre-order here). In the meantime, Doomed & Stoned is pleased to present the album to you in its entirety from start to finish. A wholy engrossing listen, fans of Elder, Mastodon, and Giant Squid will find much to relish here.

Give ear...

Burn Scar by Shadow Limb

Some Buzz

Shadow Limb was formed in 2013 after La Fin du Monde, the long running instrumental band featuring all the same members, called it a day. The guys wanted to take a heavier more stripped down direction with Shadow Limb while maintaining all the dynamic shifts and genre bending that had been a staple with their instrumental band. Since 2013, Shadow Limb have played countless shows, released a three-song EP 'The King is Dead' (on digital and cassette via Vulture Print), and 'Mass and Power' as a 12" split LP with Squalus (on Translation Loss).

"The title 'Burn Scar' pertains to some of the lyrics referring to scorched battle fields and villages, but also has a personal meaning to us as it's something you hear a lot around here," says Mike Crew of Shadow Limb. "We are all from Paradise, California which suffered the biggest wildfire in California history last November. We all still live nearby but luckily didn't lose our homes. Friends and close family we're not so lucky. It has been rough. Most of the town is a 'burn scar.' Ironically, though, all the lyrics that were written for the album were written before the fires."

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doomedandstoned · 5 years

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Lexington’s FORREST Astound with Musical Wizardry in ‘Final Frontier’

~Doomed & Stoned Debuts~

Art by Brittani Fuller

For the past few weeks, Doomed & Stoned has been treating you to the sounds of 'Final Frontier' (2019), the new EP from Kentucky's proggy instrumental post-sludge quartet FORREST, and today we get to hear the record in its entirety. It's a clever, even inventive, and electrifying spin that finds Forrest wrangling a rambunctious, sprawling sound like a veteran rodeo cowboy.

Here we have five exciting numbers that can certainly stand up as self-contained tracks, but for full impact you can't beat taking them as five consecutive shots (though you might end up just a bit tipsy by the end). There's the hot-to-trot opener, "Bubba"; the monstrous "To Lose a Whale"; the grave, but persistent doomer, "The Final Frontier (Dan II)," featuring some very tight drumming; the punchy, proggy crooner "The Intensity of Frenchness"; the folksy jig-turned-dirge, "Specialman," complete with some surprisingly warm vintage rock moments; and the vigorous album closer, "Vacation (...Don't Ever Come Back), which feels like a solemn car ride full of aching heads and reflection after a night of solid debauchery.

Congrats to Riley Logan (lead guitar), Charlie Overman (rhythm guitar, synths), Jared McIntyre, and Josh Summerville (drums) on this bold and distinct entry into the ever crowding swamp of sludgy doom! If you're anything like me, you'll find yourself binge listening this one on the daily. Final Frontier by Forrest releases on Wednesday, July 17th.

Give ear...

Final Frontier by Forrest

Peeking Under The Hood with Forrest

Photographs by Nathan Hampton

'Final Frontier' is an incredible effort, guys. What are some of your roots, musically and technically speaking?

For influences, I'd say Melvins, Deftones, Yob, and Mastodon.

I'm always interested to hear different band's experiences recording an album, especially when it sounds this damned good. Walk us into studio, if you would, and describe the whole she-bang for.

The EP’s got its fair share of progginess, but even the least doomy tracks on the record were recorded through old Sunn stuff and driven mainly by boutique fuzz pedals built by our friend Eric over at frost giant electronics -- he’s also in the band Switchblade Jesus. The production and engineering side of things was done by our good friend Will Chewning at Springhurst Recording studio. The environment was super chill, and this was the second time we’ve worked with him. We love it there. The artwork was done by Brittani Fuller.

I think it would be cool to give our readers some insight into the songs on the new record. Do you mind walking us through it?

Alright, Billy, so in regards to background on the tracks:

Bubba -- As far as thematic tie-ins, it's named after the character Bubba from the movie Forrest Gump. In fact, as you'll see, most of this EP's songs are either Forrest Gump themed or Star Trek: The Next Generation themed.

To Lose a Whale -- This song was originally going to be added to the end of the EP as a bonus track. However, once the song was finished we timed it's length and discovered it was roughly three-and-a-half minutes long, so we decided to add it as its own track. With this second song, while it does have a rather different sound than the rest of the EP, it still follows a similar formula to many Forrest songs, "Bubba" and "The Intensity of Frenchness" in particular -- the pattern being a heavy/catchy intro riff, a high, spacey post-lead thingy in the middle, and then a return to that heavy/catchy riff. The song was in part inspired by Gojira, hence the name, "To Lose a Whale." On the song "Flying Whales" by Gojira, their vocalist at one point screams, "I have to find the whales!" Riley and I were listening to it once and he goes: "It'd have to be pretty fuckin hard to lose a whale!" Beyond the Gojira reference, the sample in the beginning is from a scene in Star Trek: The Next Generation in which Data attempts to do stand-up comedy.

The Final Frontier (Dan II) -- Half the title is obviously a Star Trek reference. However, the second half is the song's original title, very simply "Dan II." There's a song off of our first EP entitled "Dan," named after Lieutenant Dan from Forrest Gump. In "Dan II" we took the bridge riff from the original "Dan" and turned it into one of the song's main riffs. The bridge section in the middle of the song, over which Riley takes a solo, was probably bit off the album which we all spent the most time obsessing over. That bridge section was inspired primarily by Yob. I can say with confidence, I think it's one of the sweetest doom riffs around.

The Intensity of Frenchness -- This is a reference to Captain Jean Luc-Picard, the captain of the Enterprise on Star Trek: The Next Generation. The song opens with a sample from the show in which Picard delivers his famous one-liner: "Make it so." The intro riff is also inspired by a French progressive rock band called Totorro. This is the third song on the record after "Bubba" and "To Lose a Whale" that follows the formula of heavy/catchy intro to weird, spacey post-lead riff and then back to a heavy/catchy riff. In this song, and in Bubba's case, they return to the same riff as in the intro.

Specialman -- This one's named as such because Forrest Gump is a special man. Maybe that's insensitive or something, I don't know. Regardless, this one's inspiration is sort of all over the place. The only thing I can say for sure is that the bridge section with the jazzy chords was written in an attempt to weave a doo-wop chord progression into a metal song, and I'd say it was done successfully. The song reminds me of the Melvins, in many ways -- the last riff of the song, the tones, and the way things are played; you know, dynamics and all.

Vacation (...don't ever come back) -- After the recording was finished, Riley described it as John Baizley and Mike Scheidt merged into one big, pretty, doomy thing. Something along those lines. It was heavily inspired by the Baroness song "Grad," and while I can't say for certain, I'd say the flute popped into his head either from Zelda or from Jethro Tull. The song gets its title from another Forrest Gump reference, in which Forrest is talking about his Dad leaving his Mom and him as a boy, and his Mom describing it to him as a vacation. I think Forrest asks something like, "What's a vacation?" and she goes when you leave and never come back. Something along those lines.

What kind of instruments, amps, and gear did you use in the recording?

Just for context, our standard rigs are:

Charlie (rhythm guitar): Epiphone SG for C standard tuning, an Ibanez rg7421 for 7-string A standard tuning, Egnater Tweaker 40 amplifier head, Way huge electronics Green Rhino, Frost Giant Electronics Massif, a 300-watt 2x12 with an Eminence Tonker and an Eminence Legend 1218. I also turned on a nano chorus occasionally.

Riley (lead guitar): Gibson Les Paul Studio, occasionally a Fender Strat, both for C standard tuning, Ibanez rg7421 for 7-string A standard tuning, Jet City JCA20HV which is a head they made in part with the Soldano brand. He uses a Laney 2x12, also 300-watts with two Eminence Swamp Thangs in it. As far as pedals for him, he was using a Frost Giant Electronics Soma Fuzz, a Leviathan which is a custom one off pedal he had made by a guy here in Lexington, which is an octave fuzz and a JFet boost. He uses an ehx canyon for a ton of the ambient parts as well. Along with a delay and chorus here and there.

Jared (bass): Squier Jazz bass for C standard, Epiphone Thunderbird bass for A standard. We tracked Jared through a DI, and then reamped him through an old Sunn Sorado head. We also used that head all over the record for guitar overdubs. For some parts Jared would use an old 90s Black Russian Big Muff as well as an EHX POG. I believe we ran him through an ampeg speaker cab, but I can't remember specifically. If you'd really like to know I can find out.

Josh (drums): Josh switches up his rig constantly, but at the time of recording he was using a drum kit with evans drum heads, and a mix of meinl, and Zildjian cymbals. He used Vic Firth sticks as well I'm pretty sure.

With the standard rigs out of the way, for the individual songs some little extra pieces of gear are:

For the song Bubba, we used pretty much only our standard rigs on this song, not really many overdubs. However, the spacey post lead section in the middle, Riley used an MXR Blue Box, an octave fuzz, to really thicken up those leads and add an extra layer to everything.

While it's probably one of the songs that strays most from doom in the traditional sense, much of To Lose a Whale was recorded through that old Sunn Sorado head guitars and bass included, along with the standard rigs of course. Josh also used some bongos on this track.

Mostly standard rigs were used for the bones of The Final Frontier (Dan II), however, we did lots of overdubs with the old Sunn head through an Emperor 4x12 loaded with Ted Webers. For this song I'd say it's also important to note we used exclusively dirt sounds from the amps for crunchy stuff and our Frost Giant Electronics fuzzes for the big fuzzy bits, i.e. most of the song. (laughs) Nothing in between, though. For this one, I put a Korg Ms-20 mini synthesizer with a bit of analog tape echo added over top of the very beginning of the song to thicken it up even more. It was a patch I'd been working on for a while, and I was glad to get to use it. Riley used his canyon pedal lots on this track, as well.

Once we transition into the clean bit right before the super heavy middle section with the same melody, Riley's tone there is his Frost Giant Electronics Soma turned on with the volume on his guitar rolled off, I think it sounds particularly amazing right there. When that riff gets giant and fuzzy over top of the fuzziness there's a Hammond organ droning and following the melody of that riff. When it goes back into the crunchy riff that was taken from the original Dan, we used that old Black Russian Big Muff for guitar overdubs when the whole band kicks in.

We used standard rigs for both Specialman and The Intensity of Frenchness, plus a banjo overdub on the middle section of the latter.

For the final track, Vacation (...don't ever come back), Riley used his standard guitar rig and his Leviathan for pretty much all the dirt. I didn't play guitar on this track and instead just did some droning on the Korg MS-20 mini synthesizer, as well as a Roland Juno-6 synthesizer. There's also a flute.

The Great Forrest Giveaway!

Forrest has some Bandcamp download codes for y'all and I do mean they have dropped the motherlode! Get 'Final Frontier' (2019) por nada while you can (redeem here).

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doomedandstoned · 5 years

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Doom Metal Juggernaut Mammoth Storm Disclose Title Track to New LP, ‘Alruna’

~Doomed & Stoned Debuts~

The last time we heard from MAMMOTH STORM, the Swedish steamroller had just flattened us with their crushing freshman full-length, ‘Fornjót’ (2015 - Napalm Records), which was certainly one of the year's Heavy Best. We followed them as their star began rising in the months that followed, interviewing Mammoth Storm during their magnificent European tour with Ahab.

Afterwards, the band hunkered down to begin writing their next brooding opus, giving us a foretaste of the power to come with a demo track called, "Giant." Now in its more evolved state, the song takes its place as album opener for the band's sophomore effort, 'Alruna' (2019 - Argonauta Records).

Nothing, not even these early hints, could have prepared us for the intensity of this five-track tempest. Alruna churns and agonizes like a cloud pregnant with showers, yet it never feels in danger of collapsing under its own weight. That's because there is always something happening -- lumbering, thunderous movement, accented by dramatic outbursts of violent lightning and torrential rainfall. The lyrical themes match the grandiosity of the music, taking us into mythical realms and exploring the fantastic speculative reality of science fiction. Today, we present to you the album's title track, which receives its global premiere as a lyric video via Doomed & Stoned.

Reached for comment, Mammoth Storm had this to say about this seven-minutes-and-fifty-seconds bruiser:

"Alruna" is one of the first tracks we wrote for the new LP and it serves well as introduction of what to expect of the album as a whole. Both sound and music-wise. It's got a nice heavy flow and a kind of hypnotic main riff that takes your mind somewhere else -- just like the poison of the plant that has inspired the lyrical theme.

The initial song title was "Mandragorian Forest," but we later decided to change the name to "Alruna" and to name the whole album after this mythical crop. Our songs usually tells an imaginative story that can be interpreted in many ways, and this one is no exception. Hope you like it as much as we do.

Vegas odds are high that we will relish it, in fact. Alruna comes out in all formats June 28th via Argonauta Records (pre-order here).

Give ear...

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Some Buzz

The Swedish doom heavyweights Mammoth Storm finally strike back: After the trio has just recently signed a worldwide deal with Argonauta Records, they are set to release their brand new album titled Alruna on June 28th, 2019!

Formed in 2012, Mammoth Storm left an impressive first stamp with their critically acclaimed debut EP, 'Rite Of Ascension,' followed by numerous shows all over Europe alongside acts such as AHAB and many more. 'Fornjót,' the band's first full-length album released in 2015 with Napalm Records, gained Mammoth Storm the well-deserved, high praise by both fans and critics alike, while pursuing heavy as hell riffs in the name of doom.

Giants by Mammoth Storm

Four years later, the band featuring Daniel Arvidsson (also in Draconian) on bass and vocals, drum and organ wizard Emil Ahlman, and guitarist Christer Ström, return to the scene with their sophomore storm of a mammoth album, 'Alruna' (2019). Named after the mythical plant Mandragora, Alruna is the enigmatic sequel to the highly appreciated debut album 'Fornjót.' The album holds five new songs sprung from the same source as its predecessor but shows a broader range of expression and a somewhat different sound. The production has a rare deadly punch that animates the progression of Mammoth Storm into a new earth shaking experience. The deceptive silence has ceased, the storm is approaching!

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doomedandstoned · 5 years

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Take the Long Ride with Heavy Feather

~Doomed & Stoned~

Oh hellll yeah! It's been a minute since we brought you a record this hot that spins this cool. Ladies and Gents, HEAVY FEATHER. These guys get it, man. This is how you do stoner rock. No, scratch that. This is how rock 'n' roll was meant to be. And wouldn't you know it? They're from Stockholm. Sweden once again rules the day! Sweden, where the waters of bluesy stoner goodness flow freely with endlessly rich variation! Heavy Feather have indeed been blessed by the Scandinavian stoner gods, you know the kind that prefer to smoke that dank reefer as opposed to slinking lightning bolts on their foes.

'Débris & Rubble' (2019) fresh, vibrant, and vital with the blood of the Feel Good Era running rich within its veins. The band's name covers the feeling of the music perfectly. Free-spirited, yet substantially riff-driven, with strong vocals and deft songcraft. Think of this as Skynyrd-worship, but with a female vocalists. Not sure if it's been done before, but it absolutely works for Heavy Feather.

We're blessed to live in an era with some damned good vocalists in this genre. Lisa Lystam is absolutely enchanting, with vocals that are lush and beautiful, but never there to show off their full power, simply to serve the needs of the song. Though their range and style may be different, I couldn't help but reflect back to my own childhood when mom would play Olivia Newton-John records while cleaning the house. Like Olivia's earliest work, though, there is but the slightest hint of classic country as the album rolls along, providing a nice bittersweet touch that kept the songs from feeling at any moment trite.

The album churns along as smooth as Cream, with songs like "Long Ride" (surely the long-awaited romantic standard the scene has been missing) and the album's touching final number, "Whispering Things," which concerns two souls falling away from each other. "Why do we keep whispering things, when both of us know what whispering means?" (I'll admit, this brought a little mist to my eyes).

As you can tell, the lyrics are immediately relatable. In "I Spend My Money Wrong," Lystam sings of staying up too late, partying too hard, and ending up a little short-changed toward month's end. And "Where Did We Go" may be one of two instances in which I enjoyed hearing cowbell in a song (the other being Holy Grove's "Aurora").

After spending weeks mining the depths of depressive doom and dank sludge for a new podcast series called Poem of Pathos, Heavy Feather came as a welcome pick-me-up. Certainly, Débris & Rubble will make a fine companion for the long drive from festival to festival this summer.

Look for the new album by Heavy Feather to release on Friday, April 5th, out via The Sign Records -- which has shaped up to become a scene-defining label over the past several years. Pre-orders for the digital release are happening here, and I wouldn't be surprised to hear if vinyl will eventually follow. In the meantime, Doomed & Stoned is streaming it all for your listening pleasure.

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Débris & Rubble by Heavy Feather

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Longing for bands like Free, Lynyrd Skynyrd, and Cream? Heavy Feather (SWE) serves up that late 60s and early 70s rock vibe that will bring listeners back in time yet still offer hope about the future of rock n roll. It´s retro rock filled with air and honesty.

Heavy Feather takes it back to the roots on their debut album Débris & Rubble, set to release April 5, 2019 via The Sign Records. It's raw, real, and heavy riff-based rock. While the band is influenced by the greats of the '60s and '70s, they have created their own unique style.

Their high ambition has pushed the quartet forward, making them proud of the roughness they perform on stage. Featuring former members of Siena Root, Lisa Lystam Family Band, Diamond Dogs, Stacie Collins and Mårran, Heavy Feather believes that organic roots rock deserves more attention in the world's rock scene today.

And with Débris & Rubble, Heavy Feather is sure to garner some of that attention. Their airy riffs packaged in a heavy sound, full of rawness and authenticity, will leave listeners with an ardent desire for more.

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doomedandstoned · 5 years

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What Weird Tales We Weave!

During a particularly long and vicious Pacific Northwest winter, I developed a strange affinity for a band called WEIRD TALES. The doom trio of Dima (guitars, vox), Kriss (bass, vox), and Kava (drums) emerged three or four years ago from a part of the world that gets cold, miserable weather ten times as worse as mine. I was never quite sure what to make of the Warsaw band's warped, sloggy sound, made all the more odd with its imposing Gothic vocals and pernicious earworms. All I knew was that Weird Tales had some bad, bad medicine to offer during a time in life when I'd grown pretty jaded and disillusioned. It was, as the well-worn saying goes, just what the doctor ordered.

Before us is the latest and most ambitious effort to date from Weird Tales and I must say it's showing me a brave new side to the band. As 'Hell Services Cost A Lot' (2019) opens, we hear an orchestral crescendo of screeching feedback. Dogs are barking in the background, perhaps to warn lurkers of dangers just beyond the shadows. The band responds with a vicious beating of guitar, bass, and drums. It's an attack we're not used to hearing on doom records and I find it refreshing to break away from the gloom for a chance to vent some good old fashioned aggression. This instrumental preamble eventually gives way to the first words of "Madness" and the record is off to take care of its mischief.