Original Tracklist: Intro 00:32
Down And Outer 03:36
Trip Down Memory Lane 01:11
Drugged Up Dolls 02:19
Sex Devil 05:50
The Doped Up Devil 04:05
Perversion For Profit 03:28
You Are The Prettiest Pill 04:06
Did You Know? 03:11
You Had This Coming 03:49
Nothing Song (Bonus Track) 03:30
Re-release Tracklist: Intro 00:33
Down And Outer 03:19
Drugged Up Dolls 04:40
Sex Devil 06:01
Perversion For Profit 03:19
Nothing Song 03:29
You Are The Prettiest Pill 06:53
Did You Know? 03:08
Devil’s Advocate 03:16
The Doped Up Devil’s with Sexual Grooves (Re-Release)
I’ll let his Facebook bio explain: “Bad Monster Black is a project formed by King Jeremy The Wicked (Jeremy Vibbert). “Bad Monster Black: The Doped Up Devils With Sexual Grooves” EP was released late 2014 and did not fit the KJTW catalog, it was something different, it had swing, punch, and an undeniable groove that broke away from the thrash metal criteria. So shortly after releasing the EP, it was re-released under the name Bad Monster Black, and eventually taken off of the KJTW Discography. Thus, making Bad Monster Black the new home of the experimentation with swinging riffs, overloaded guitars, and a tongue in cheek attitude that makes the music even more fun to listen to. This isn’t music you’d take home for your family to listen to, and that’s how it’s intended.”
The sound of Bad Monster Black’s music is very 90’s; it is very reminiscent of the music of Puscifer, Marilyn Manson,White Zombie and even Rob Zombie’s solo work. Even though those influences are very prevalent Jeremy found a way to make it not sound too dated. Both releases have different track-listings and have a couple of different songs on each.
That being said I’ll make a somewhat in depth look on the tracks that are same (and what has changed on the remaster.) On the tracks that are different I’ll say what each of them do to make the release different.
Almost all of the tracks stay except; Trip Down Memory Lane, The Doped Up Devil, Control, You Had This Coming, and Outro (on the original release) and on the re-release; Intermission, Devil’s Advocate, and Stoned. These tracks are either new (in the case of the re-release) or taken out (original) the only track is the Intermission which is a shorter version of The Doped Up Devil.
The tracks that stay almost the same; Intro, Drugged Up Dolls, Sex Devil, Satanola, Nothing Song, You Are The Prettiest Pill, Did You Know, Low. What did change was samples and some of the production. Overall there was less use of samples in the remaster and, in a way, that makes sense for the update to fit the Bad Monster Black catalog since the focus changed to more sleazy Rock. Intro, Did You Know and Low did not change at all, or not enough that change the experience. Satanola is a standout that would fit nicely into any Puscifer album.
There are only two original tracks that are different, Down and Outer and Perversion for Profit. For the remaster the guitar solos were replaced by slower guitar parts and dirtier production.
“The Doped Up Devils with Sexual Grooves” – (Original 2014)
The original release is more of a current sounding album than the remaster and is a heavier/more metal than it as well. As I stated before; the main differences between them is that on the remaster the recording is less clean and more fuzzed out for that dirty 90s feel and the guitar solos that are in the original are changed to fit the dirty sound so the sound isn’t as muddy and has less of a touch of Metal. The sleaze is upgraded for a more solid Sleaze Rock feel. If you like music that is dark, sleazy, has hints of blues, lots of fuzz, Rob Zombie-ish (and at times Tonetta-ish in the remaster) this band and its’ albums are for you.
Bad Monster Black (King Jeremy The Wicked) is a prolific writer and pumps out high quality music on a regular basis. To use Mr. Wicked’s own words about this album and his process, “This is a re-release from the 2014 version. The reason? This band is all DIY, Which means about 90% of the time it’s all trial and error.” So Support!!!
Download the original HERE and the Re-release HERE
P.S. to King Jeremy the Wicked, if you would like to do an interview about this album please contact me.
Tracklist: Moon Curser 08:26
Blood Lovers 06:37
Corpse Revival 08:26
Fucking Oath 06:12
Dear Demon 08:10
Old Hopeless 06:37
Spiritual Abuse 05:02
Grand Rites 08:48
On bandcamp the band describe their sound as, “…influences ranging from doom metal to classic rock, Dead Quiet seeks to meld melody with catastrophe as they weave through a dissonant landscape of crushing metallic riffs and somber choral musings.” Dead Quiet masterfully delivers this is high fashion with “Grand Rites”. If you recognize some of the members’ names above that is because Dead Quiet are the closest thing to a modern day “Supergroup”.
As a follow up to their first album it fits in well. They have improved sonically and sound as if they are maximizing the talents of each member while making it a cohesive and flawlessly executed throughout the 64+ minutes and 9 tracks that comprises “Grand Rites”. With their roster set, there truly isn’t a dud in this second album. Like I said before this album is an improvement over the first, they went from a good first album to a great second and sadly, more times than not, bands do the opposite due to a myriad of reasons; time constraints, label demands and just the overall pressure of the “Follow Up” from the “Big Debut”.
Keegan’s vocal delivery is certainly worth noting. The songs are packed with acid laced lyrics ranging from Politics to Religion to The Thrill of the 1st kill in closer “Grand Rites” that name a few subject matters. Keegan preaches to the listener; the concert goer. He draws the listener in to pay closer attention as it is impactful, powerful, meaningful, genuine and most important…..it fits perfectly with the band’s overall sound – a melting pot of Rock, Sludge and Metal. We are only at the beginning of 2018 and we may already have a top 3 contender!!
So….I was record shopping in lovely downtown Northampton one fateful afternoon, and ran into this dude Glenn, who works for the Italian label Minotauro Records. I’m not sure exactly how his collaboration with the label came to pass, though we got to talking music: cool bands from New England we’d both been big on, such as Ogre, whose back catalog was re-released by Minotauro Records, incidentally. At any rate, all good things come to an end, and when Glenn and I parted ways, we planned on staying in touch, and he said he’d send me some stuff to review over at Taste Nation LLC. Well, as it turned out, he sent me quite a bit of material to review!! I was thinking of different ways to approach this, maybe figure out what the priorities are, see if any of the writers wanted to take on some of the work. It seems that everyone else here at Taste Nation always has a ton on their plate, and this was kind of my pet project, so I decided that I’d just forge ahead and do a feature on Minotauro, and basically write mini-reviews of each of the albums that Glenn sent me.
Now, that’s STILL a lot for me to take in and process, and like a lot of my creative endeavors, it really took on a life of its own. With that being said, I’ve decided that I’m going to break down the feature into two parts, with a longer biographical element on Minotauro in the second part of the feature.
Without further adieu, strap on your shields folks, as we take a trip into the labyrinth, the lair of the Minotaur, in search of our proverbial Daedalus within the dark depths of Italian underground doom and metal….
Where The Sun Comes Down – Welcome
Minotauro – 2017
This collaboration between Death SS founding member Thomas Hand Chaste and Alex Scardavian, who played with Paul Chain, has some of the more interesting cover art I’ve seen of late. It looks like a child’s drawing done with magic markers, though it’s none-the-less intriguing, especially given the reputation of the folks involved. This led me to reach for this album first and foremost. What I really liked about it was that it bucked all cliches of metal and doom in general, and I had no idea what to expect when I pressed play on the album. Would it be similar to Paul Chain’s material post Death SS? Even then, Chain’s projects and various solo albums haven’t all sounded the same, and have explored various styles and aspects of his personality. Would Where The Sun Comes Down opt for a more psychedelic or space rock sound?
It’s actually pretty close to what I’d initially expected: ultra raw cult doom with dramatic, emotional, over-the-top vocals, noisy, blown out Sabbathian riffing, off the cuff guitar and saxophone solos, a sparse yet powerful rhythm section, and haunting keyboards, all delivered with a heavy emphasis on atmosphere, theatrics and the bizarre. I don’t pull any punches and I’m not going to do so here either: it’s called “cult doom” for a reason. It’s not going to appeal to everyone, and it’s not meant to. The vocals alone are a hard sell, as they’re all over the place and quite frequently strained and/or out of tune. That’s not a deal breaker for me personally, as they have moments when they really shine, and they’re a vital part of the whole experience. They add a flair for the avante garde, and they make me feel like I’m living in a horror movie for the duration of the album. This is the perfect soundtrack for October….
Grand Delusion – Supreme Machine
Minotauro – 2017
Sweden’s The Grand Delusion play pretty traditional doom metal with a focus on the metal. Blending Black Sabbath, NWOBHM and 80’s metal influences with Wino inspired biker blues licks, big stoner tones, and just enough experimentation with psychedelic sections and additional instrumentation to keep things interesting. The vocals also offer up a nice cross-section of influence and variety, from the full throated bellows of the first two tracks, to the Iron Maiden-esque epicness of the two-part “Trail Of The Seven Scorpions” and the operatic choir chants of “Imperator.”
This is a really solid release. I like the production a lot – it’s fairly clean and polished, and the sheer variety of cool guitar tones and well written compositions benefit from this approach. There’s a lot of more mid to uptempo sections, which keeps it from feeling like a slog. They’re not reinventing the wheel by any means, as that’s a tough feet with doom. However, if you’re bored of the same monotonous stoner doom fare, this is both a bit more nuanced and upbeat. It wears its influences well, giving them all a chance to shine and never sounding merely derivative.
Kroh – Altars
Minotauro – 2017
Birmingham UK occult doom crew Kroh also bring a refreshing take to the table with their second album. With a new lineup and new vocalist, Polish born Oliwia Sobieszek, they craft a captivating, dark and mesmerizing take on traditional doom metal. This sound revolves heavily around the powerful and ever prominent vocals and slim song arrangements. None of the tunes overstay their welcome, all clocking in at under the five minute mark or so, which is a mixed blessing. In one sense, it makes the album stand out, a concise statement trimmed of all excess. On the other hand, sometimes the lack of expansive parts makes the songs feel stifled and abrupt. There’s also the impending sense of predictability when all the songs follow a similar format. I personally like a bit of decadence here and there, and I certainly like variety. It’s the spice of life, as a wise woman once sagely stated. With all that being said, this is a great record, and makes ample space for improvement on future albums.
It’s worth noting that the guitar sound on this album is one of the meanest and most distinctive I’ve heard in recent years. It’s got that massively distorted, “swarm of bees” hyper-fuzz going on, and it also retains much of the notes clarity rather than just becoming a blur of notes. This alone makes this one worth a listen, just hearing those righteous, crushingly oppressive guitar riffs coupled with the haunting vocals.
Ufosonic Generator – The Evil Smoke Possession
Well, once again, this is totally not what I was expecting based on the name, illustrating the old adage that you can’t judge a book by its cover. I was expecting something a little more space-y, of the more cosmic doom variety, and that’s simply not the case. Ufosonic Generator play pretty straightforward stoner metal, complete with Garcia inspired vocals, uptempo songs with righteous boogie breakdowns, a rock solid rhythm section, and scorching guitar solos. The songs are a bit paint by numbers – you’re not going to get many surprises, and the influences are the usual suspects: Black Sabbath, Kyuss, Dozer. You get the idea; it’s a tried and true one.
I dig what Ufosonic Generator are doing on this album. Its approach is both charming and disarming, just four peeps really going for that proverbial “it”, with songs served meat and potatoes style, lean and mean. There’s certainly some standout tracks with killer riffs going on throughout. I’m not going to spoil the magic by giving you the play-by-play, song-by-song analysis. You’re going to have to do the heavy lifting and figure out for yourself which songs make your mind soar and your booty shake.
Funeral Marmoori – The Deer Woman
Italy’s Funeral Marmoori have a classic doom sound with a 70’s horror tinged vibe, thanks largely to the excellent usage of Farfisa organs, which make them sound like a more evil version of Deep Purple or Uriah Heep at times.It’s cool to hear a band that has such an intense interplay between the guitars and keyboards, just like the days of old. They wear some of their other influences on their sleeves, a bit of Saint Vitus styled gonzo guitar solos, some vocal mannerisms reminiscent of Lee Dorrian’s work in Cathedral, and of course a heavy debt to all things Paul Chain. Hell, they even cover a Death SS song, “Profanation.”
One of the things I really like about this album is the way that the vocals alternate between sounding more theatrical and more psychedelic. Similarly, there’s excellent variation in the guitar parts: sometimes we’re treated to righteous Sabbath-inspired riffs, other times more otherworldly explorations and introspective moments. The thing that really makes this one work for me is the rhythm section – the busy bass and drum work keep things moving forward. The Deer Woman never gets dragged down into the gloomy realms of excessively downtempo dirges, while the music always retains its evil edge. Highly recommended for fans of cult and traditional doom metal.
Ancient Spell – Forever In Hell
Los Angeles’ Ancient Spell bring something much different to the table, with a decidedly more modern take on doom metal. It’s really telling that they list Death, Slayer and Lamb Of God as influences, because they bear more resemblance to these bands than Black Sabbath or Saint Vitus. The vocals in particular are more on the death metal end of the spectrum, harsh growls and drastic screams with dark and misanthropic themes. The guitars definitely utilize those chromatic style intervals that Slayer famously made into their trademark, and alternate between a thrash chug and a doom groove. Though the tempos can get pretty quick for a more doom influenced band, they never approach anything near the breakneck tempos associated with either thrash or death metal.
in keeping with the thrash tradition, this is a pretty short and sweet album, clocking in at under 40 minutes. That’s a good thing, as there’s not a ton of variety. It’s interesting to see a band bring together such diverse influences, and this feels like an album where they’re trying to figure out how to make all of those influences come together into something coherent. While it certainly never lacks in that department (their sound is fluid and polished, and never sounds forced), I think they have a lot of room to grow and try other things. I’d love to see them incorporate some of the aforementioned faster parts, some death or black metal styled tremolo picking, some super slow doom bridges and breakdowns. Forever In Hell seems like a great jumping off point for a band that has lots of room to grow and develop.
Tony Tears – Follow The Signs of The Times
Wow, what an opening to an album!! This one starts off with a brief intro that could straight up be a Goblin track that’s part of a D’Argento soundtrack. It nails that sound with a combination of synth washes, blurps and appergiated chords, overlaid with creepy, demonic voices. From there, we’re treated to more cult, esoteric doom in the traditional Italian style – darkly dramatic vocals reminiscent of King Diamond, 70’s metal riffs, ever present keyboards and a battering ram rhythm section of bass and drums. True to form, they even cover a Paul Chain song.
I really dig on the production job here. For me personally, cult doom has to have just the right production: grimy and cavernous, yet with enough clarity to let each individual instrument shine. Follow The Signs of The times showcases exactly how this is pulled off. I also really enjoyed the three shorter tracks (intro, an interlude, and an outro) that pull off that Italian horror soundtrack vibe so convincingly. It’s always great to hear a band so refined in their craft! Apparently Tony Tears started off as a solo outlet for Antonio Polidori, though he has since added a full band of backing and touring musicians, and I must say that I’m impressed with the results.
My Silent Wake – Damnatio Memoriae
Hailing from England, My Silent Wake are another band in the world of doom with decidedly modern influences, most noticeably of the death metal/goth metal variety. However, that ain’t the end of the story. There’s also a modern progressive slant to the songwriting and arrangements that keeps things fresh and dare I say, lively? Take the intro to the song “Highwire” for example, with its bouncing bassline and bursts of jazzy, dissonant chords. The album is loaded with tons of tempting little musical moments like this, and it makes for a rather refreshing listen.
Basically, if you’re into The Peaceville Three….you’re going to like this. I’m generally not into the more goth doom bands like Paradise Lost, Anathema, and My Dying Bride. I do like this album by My Silent Wake, as it’s got a lot of variation, tons of twists and turns. The keyboards add a nice texture, it ‘s got a clear production, some strategic usage of guest musicians, and they’ve clearly got the chops. Fans of the bands I’ve mentioned should give this a swing, it’s rather righteous in its ambition and scope of vision.
Misantropus – The Gnomes
Oh cool, another album with some truly bizarre and iconoclastic cover art, this one a simple cartoon looking drawing of what I’d assume to be a trio of green gnomes. I’ve talked earlier about the lack of longer numbers in discussing the other albums, and although this Misantropus album is rather short on the whole, tracking in at just above 35 minutes, it’s only four songs. So….we’re treated to a 9 and a half minute opening track and closer pushing the 13 minute mark.
These guys are obviously into the occult, as the song titles indicate. “The Gnomes (Ariel)”, “The Salamander (Mikhael)”, “Undines (Gabriel)” and “Elis (Raphael)” all connect an elemental spirit to the corresponding archangel for each of the Greek elements: earth, fire, water, and air. It’s obviously some kind of concept album, or ritual invocation – only the creators, an Italian duo, would know for certain. It definitely creates an air of mystery and intrigue. Musically, it’s an equally odd piece, consisting mainly of a variations on one stripped down guitar and bass riff with a trance-like drum beat. There’s a guest guitar solo on the second track, and some cool ambient synth passages that bookmark the beginning and end of the album, and zero vocals. Their stripped down instrumental approach levies them in my eyes as the Karma To Burn of Italian cult doom.
Once again, this is not going to be everyone’s cup of tea. It’s extremely monotonous, with very few changes, even from song to song. And while this may sound boring to some, and honestly left me pretty non-plussed initially, I found myself out humming those riffs in my head as I went out and ran my errands today. There’s something rather captivating and enchanting about them. If this sounds like your kind of jams, hey….I’d encourage you to give it a listen.
Additional Links to Minotauro Records:
Tracklist: Lactomeda 01:49
Known by the Ancients 07:01
Dead Blood for the Royal Weather 07:14
Two Temple Place 09:36
Stellar Drone 10:59
Are we Drowning in Digits 06:13
Magical Train 05:07
Review: The band have their album described as an “Addictive cosmic journey, one entrancing hybrid embracing heavy psych riffs and sweet vocal harmonies.” The album does have those elements of that. When Hermano is singing it sounds like Jane’s Addiction but heavier and more distortion on the voice. The parts when Sara takes over it sounds like either Belly or Hole. When they sing together it sounds almost new, but still has those influences. So in shorter terms; they gave their album a good description.
Lactomeda – Is a Spanish term for the Milky Way Collision with Andromeda. The cover even seems to be depicting it. The song is a collision of Noise Rock and Space Rock. It is almost sludgy for a noise song but in pace but it is also fast for a space song. It is a good intro for what the rest of the album holds.
Known by the Ancients – Here is where the Jane’s Addiction comes in (Especially in the 3 minute area). This song is more of noise than of space origin. This is a heavy rock song, Hermano comes in at the last two minutes and makes the song seem even heavier.
Dead Blood for the Royal Weather – This is one of the more radio friendly songs, even though it is eight minutes. It plays it safe and doesn’t do anything too crazy. It stays on the cusp of being space and noise.
Two Temple Place – This is the first true Space Rock sounding sounds and as it moves along it introduces some of the harmonies the description on bandcamp mentions. It is a slow song with slow vocals with stretched out chords with reverb and drum fill. That is until the 3 minute mark; more drums and distortion to the guitar is added and everything gets slightly faster. At around the four minute mark the tempo changes again and is like Known by the Ancients.
Stellar Drone (Favorite track) – This track is more spacey than the previous track but it is also faster and more distorted and changes tempo a few more times.
Are we Drowning in Digits – This song is almost like a continuation of Two Temple Place. It sounds very similar but has more “Normal” Rock influences.
Magical Train – This is the most radio friendly track and could have been released as a single to promote the album. It is also the song that reminds my the most of Hole (the first album.) Sara really goes in on this track and gives a great performance. It is like the previous track but stays on the heavy rock side of music.
Review (Continued): Musically, Earth Drive are bringing back the 90’s Noise Rock and helping to bring back Space Rock (in the more expansive tracks). During the mostly instrumental parts it sounds almost like a soundtrack to a late 80’s sci-fi movie. In some ways it sounds like it is two separate ideas for an album that were pieced together but it is done well so it doesn’t sound too different. To paraphrase the TV Series “Stranger Things” – ‘The Upside Down'”.
This is a very easy first listen and is also very accessible because the stretches of odyssey are in between more pop/rock radio-ish oriented tracks. If you have any interest in Space Rock or a modern take on it with influences with 90’s Noise Rock, you should take a listen.
There are two choices either from the Raging Planet (For a physical and/or digital) Bandcamp HERE or the band’s HERE !!! (Where you can get the full digital discography)
Attack of the Mammoth (7:52)
War Pipe / Rite of the Calumet (7:38)
Mescalito/Meeting of the Half Moon (7:02)
Emerald [digital-only bonus track] (4:05)
Band Members: Present:
Jacob Sawrie – Vox/Rhythm
Drew Skarda – Percussion
Tyler Weaver – Lead
Dustin Weddle – Bass
Josh Ingram (RIP) – Lead
Alan Wells – Bass
To say the least, 2017 has been a huge year for heavy music. The year has granted us several new releases, most notably Mastodon’s Emperor of Sand. However, the music world often functions like archaeology – The deeper you dig, the more treasures you will find such as the gargantuan slab of Doom that is Sumokem’s “The Guardian of Yosemite”.
When I say gargantuan, I mean it. Each tune on this release is not only long, but feels like it has been custom-tailored to be as gigantic as possible, from the performance to the production to the composition. Every riff hits like a Warhammer to the temple and it wouldn’t feel right any other way. Each member is extremely in tune with one another and they really feel like a single living and breathing organism.
Sumokem’s Special Vinyl Release Date – Friday, January 12th, 2018
Special credit, though, goes to their lead guitarist. Every member is excellent at their instrument, but the guitar goes above and beyond to ensure that each and every solo is searing and quick, keeping the listener’s attention while still progressing the song further and further down into heavier and heavier territory as the album goes on.
It’s unbelievable just how heavy this album can be. It opens like a freight train, but by the time the epic-length dirge and album high point “Nantucket” begins, you can only be floored by how well Sumokem brings music back to its primordial roots. There is no feeling greater than finding a band that is both classic and novel – one that both pushes the boundaries of music while reminding us why we love it in the first place, and with its ultra-heavy prehistoric jams, Sumokem’s “The Guardian of Yosemite” has given us just that.
Hello everyone this is The Ancient One and I want to tell you about a new album I came across just recently called Mirror Reaper by the Seattle based duo BELL WITCH. Founded in 2010 by Drummer/Vocalist Adrian Guerra and Bassist/Vocalist Dylan Desmond,BELL WITCH nearly came to an end. Unable to continue due to his struggle with alcohol and meet contractual obligations, Dylan Desmond had to make the heartbreaking decision to release founding member Adrian Guerra and replace him with Jesse Shreibman, of the grind-core band Transient. The two of them had been trying to keep the duo together in its original incarnation but were unable to do so because of Guerra‘s increasing addiction. Alcoholism is motherfucker of a disease, with a mind of its own. On May 17, 2016, Adrian Guerra passed away in his sleep from heart failure while Mirror Reaper was being recorded.
For those unfamiliar with Bell Witch, the Duo occupies a special place in the metal scene as they rely on nothing more than bass, drums, and vocals to create their haunting funeral doom sound. The best way I am able to describe what they do is to imagine having nothing but black paint and a goal of painting a picture leaving no part of the canvas untouched by the paint forcing the artist to rely on texture to create the negative and positive spaces that make up an image. While many musicians can do this with sound to a point, BELL WITCH’sDylan Desmond and Jesse Shreibman have taken it to the next level on there 83 minute single track album Mirror Reaper.
As with past albums BELL WITCH’s Mirror Reaper is a continuation of that which is ghostly. After reading an article about the new Bell Witch album in which Dylan Desmond explained that the track’s theme is about mortality and the experience of dying. Some may want to call this ambient and I suppose you could if you sat down reading a book and used it for background noise. But if you actively listen you will find it easy to picture in your head what is going on for the person on their deathbed.
With a steady mournful riff by Dylan Desmond and slow purposeful beats by Jesse Shreibman, theysound like a mourner crying and the dying person’s fading heartbeat. When I got to the part were of the song in which Jesse Shreibman stops drumming I found it easy to envision those last moments after the heart stops as I listened to the soft crooning and the soft ghostly bass. Listening to this sort of messed me up as it reminded me of being in the room as my own father died. While I am certain this album started out being an exercise in thought, I believe Adrian Guerra’s death made the album a reality for Dylan Desmond and Jesse Shreibman that affected the end result leaving BELL WITCH fans with a monolithic masterpiece!
From BELL Witch’s Bandcamp page “During the writing process we were devastated by the loss of our dear friend and former drummer, Adrian Guerra. In love and respect to his memory, we reserved an important yet brief section in the song for him that features unused vocal tracks from our last album. This specific movement serves as a conceptual turn in the piece, or point of reflection. We believe he would be proud of it as well.” Adrian Guerra (R.I.P.)
Bass: Chris Cappiello
Drums: Kevin Flynn
Vocals: Ed Grabianowski
Guitar: Richard Root
Five Days in a Hole (5:34)
That Witch Rises (6:56)
Warlike Prelude (1:16)
Hollow Moon (4:11)
The Old Road (3:09)
Black Sword (4:28)
Review: Monster Magnet is a band whose far-reaching influence on the world of Rock music is not always properly appreciated. Without them, such Hard Rock giants such as Queens of the Stone Age and Eagles of Death Metal may have never seen the light of day, and yet Monster Magnet has never become the household name that they probably should be. After all, the school of Monster Magnet is a deceptively large one, and an excellent recent graduate of that school has recently surfaced with the name of Spacelord.
There are Monster Magnet followers of two basic varieties: Desert Rockers a laQueens of the Stone Age, Brant Bjork and Kyuss; and Stoner/Sludge Metallers a laSoundgarden and Red Fang. Spacelord straddles this line a bit, but tends to adhere a bit more to the Stoner Metal side of things. As a matter of fact, Spacelord’s self-titled debut is quite reminiscent of the early days, sounding like they’d be right at home among the track-list of Louder than Love, especially tracks like the 6-minute sludgey atom bomb “Warlike”, which opens with lots of reverb and closes with sinewy guitar lines that Soundgarden’s Kim Thayil would be proud of.
Spacelord is first and foremost a very genuine affair. There’s nothing absolutely perfect here. It is perfect in its imperfection. That’s not to say the music is bad – in fact, it’s very much the opposite – But a huge amount of personality is found in those little moments where a backing vocal is a little flat, or a guitar comes in the tiniest bit late. This is not a tightly-composed Progressive Rock opus, and it shouldn’t be. This is an intentionally organic album. The performance here is not done by robots programmed to hit every note with surgical precision, it is done by humans – real living humans, and the interplay and charm associated with such a work breaths through this album impeccably.
Spacelord is the album that it needs to be and not an iota less. With their very first record, Spacelord has asserted a very real identity for themselves. It is one that regales you with the feeling of the early 90’s, when Stoner Metal was at its absolute finest. It gives you hope for another golden era that Monster Magnet and Kyuss would likely welcome with open arms.
Tracklist: Whispering of the Ancients (1:39)
Wakan Tanka (12:02)
March of Spiritu (10:55)
Drum of the Deathless (7:29)
Sword of the Deathless (9:29)
Light of Self (7:28)
Ethereal Riffian is:
Val Korniev – guitar/vocal/didgeridoo
Olexander Korniev – bass
Max Yuhimenko – lead guitar
Nikita Shipovskoi – drums
Live albums are a risky endeavor: If a band has not yet achieved worldwide success, then releasing such material is a gamble on its potential success, and essentially risking a good deal of money on the production, recording, and packaging of a single concert with the hopes that enough people will want to experience that singular show. Thankfully, Ethereal Riffian is not a band that seems to care about gambling.
Ethereal Riffian are a Rock band from Kiev, Ukraine. I simply say “Rock” in such a sub genre-obsessed genre because Ethereal Riffian is sort of their own thing- Somewhere between Progressive Rock, Doom Rock, Spiritual Rock, Stoner and Psychedelic Rock. It might paint a clearer picture to call them something along the lines of “Meditative Rock”. Their drum-based composition and vocals reminiscent of Gregorian or Tibetan Chanting are extremely conducive to sitting down on the floor, crossing legs, entering a groove (which there are many), and just listening and enjoying.
“Since 2013 I wanted to have a single release that can give a versatile overview of the band’s creative work – its music, philosophy, approach to limited editions and live potential. And now we have it,” says Val Kornev, the frontman of the band. “With this release we, on one hand, aim to crystallize all our work and ideas since the inception of the band, and on the other hand, we want to show the quintessential component which unites all spiritual paths. For the band this release marks the end of the first chapter in its history and the beginning of the new one.”
It’s important to keep in mind, though, that this is a live album. This was indeed recorded live, and I wouldn’t believe it had it not been accompanied by the occasional applause of the probably all too small audience. Ethereal Riffian does an excellent job of bringing their intricate and lengthy compositions to the stage, to the point of getting the listener to almost smell burning incense and experience visions of what must be the most intense temple experience one could ever feel.
One thing that must be emphasized is that if you can afford their unbelievably extravagant limited edition packages, certainly do. Almost all of Ethereal Riffian’s releases have an absolutely beautiful package that is hand-crafted with a degree of dedication and love for the craft that is practically never seen elsewhere, and naturally, the best way to ensure that these packages to continue to be made is by buying them. The band’s many releases are worth buying for the package alone. For example, their album “Æonian” is packaged with a full-length original hardcover novel.
All in all, “Afterlight” is a fantastic release by a band that obviously has an unparalleled passion for all things artistic and this passion reflects in all aspects of the release- composition, performance, and packaging. If you are not averse to live albums, I would highly recommend you purchase this album. Finally, if you do: please, please get the limited edition version. You won’t regret it.
Hey all you doom freaks this is The Ancient One and I have just learned of the return of Nottingham, England’s IRON MONKEY. Their original line up was: Justin, Greaves, Johnny Morrow, Jim Rushby, Doug Dalziel, and Steve Watson . Formed in 1994 this band of misanthropes sole purpose in life was to irritate and piss as many people off as they could. Spewing forth an auditory assault of bellicose, nihilistic vocals IRON MONKEY then fronted by Johnny Morrow was doing a hell of a job. But, like the notorious G.G. Allin they developed a cult of Misanthropic followers who liked what they were doing and so began IRON MONKEY’s then 3 year recording career that produced 2 albums and a split album with Japan’s Church of Misery.
Rumored by its cult of follower to have been playing when Pantera’s frontman Phil Anselmo had a near fatal heroine overdose the IRON MONKEY S/T debut album was first released on the Union Mills label. The release generated a stir that when combined with their insane live performances lead them to being signed on with Earache Records who re-released the album in 1997. Soon after its defection to Earache Records, IRON MONKEY released their masterpiece of negative rock “Our Problem” in 1998. Then in the following year they released their IRON MONKEY/Church of Misery Split album. Following their split album the band members got involved in side projects and with the death of their unholy vocal terror Johnny Morrow in 2002 it seemed IRON MONKEY was to be a legend relegated to compilations and box sets that old SLUDGE-CORE / PSYCHO-DOOM fans told the young’uns about. But the Fat Lady hasn’t sang yet.
Rather than call IRON MONKEY a memory, Steve Watson and Jim Rushby with addition of current Chaos UK drummer Brigga have returned once again, this time on Relapse Records with their album “9-13″. So get yourself ready for this psychotic power trio to unleash their simian rage. While Johnny is no longer on this earth to assault us with his beastly vocals Jim Rushby who has taken up the mantle is a force to be reckoned with. Throughout the 9 original tracks and 48 minute album, Jim Rushby assaults us with bellicose hate filled rants as Steve Watson lays monstrous fuzzed out sludge laden riffs with Brigga pounding out warlike drum beats.
While I had a great time listening to 9-13 it really seems to take off with the album’s 4th track “Toadcrucifier – R.I.P.P.E.R.” It is the point were I start hearing some ass kicking guitar leads to go along with the breakdowns. With Five short verses THE ROPE, NO HOPE, NO HOPE, THE ROPE, THE ROPE… The 7th track “The Rope” is a breakdown that prepares you and flows into “Doomsday Impulse Multiplier”. Listening to this album has truly damaged me!! Listening was like being attacked by a baboon in the throws of a PCP induced rage. Available on Relapse Records “9-13” is set for release on October 20th, 2017!!
Hey everyone this is Terry the Ancient One and I got some more kickin’ Doomaphonica for your Rocktober by Clouds Taste Satanic. Formed in 2013, Brooklyn’s instrumental Doom Quartet is made up of bassist Sean Bay, drummer Christy Davis, guitarist Steven Scavuzzo, and guitarist David Weintraub. While pretty close mouthed about themselves on their Facebook Page and just as mysterious in Encyclopedia Metallum, They have managed to amass a small army of followers which I think is due to the fact Clouds Taste Satanic is promoted mainly by their loyal and deeply devoted fans through word of mouth and social media outlets.
While “DOOMED & STONED” has been quoted as saying “one of the most remarkable and tragically unknown metal bands of our time continues to reach new creative heights.” in their review of latest album by Clouds Taste Satanic. I must say I disagree on the part about them being tragically unknown. If they are then tell me why I am seeing them all over Facebook’s various metal and doom pages and communities and in the big underground Webazines: Decibel Magazine , CVLT Nation, DOOMED & STONED, Outlaws of the Sun, The Sludgelord , Metal Bandcamp, Sleeping Shaman and these are just the big ones. DOOMED & STONED, as cool as I think you are I think you’ve smoked a bit much.
Now that I have probably pissed off the Rolling Stone of doom music I will tell you a little about Clouds Taste Satanic latest musical offering “The Glitter of Infinite Hell.” Scheduled to be released October 31st, 2017, this 4 song, 74 minute demonic masterpiece of doom backs one hell of a punch. It’s songs fell like an opium dream turned into nightmare. Quite possibly inspired by Old Scratch himself “The Glitter of Infinite Hell” seems to tell the story of Lucifer’s rebellion and fall with the songs Greed, Treachery, Violence, and Wrath.
Opening Track off “The Glitter of Infinite Hell”
The songs feel like an opium dream turned into nightmare. What’s really cool about this album is the songs sound like the titles they are given. Through a brilliant combination of Doom, Sludge, Psychedelic Rock and Stoner riffs; “The Glitter of Infinite Hell’s” tracks manage to convey the meaning of the songs titles. For instance, the opening track ‘Greed’ sounds like a hulking beast lumbering across the land it laid waste filling its maw in a vain attempt to satiate its endless hunger. I could continue about every track but I think you are going to have to listen for yourselves to fully understand. You now have your soundtrack for Halloween this Year compliments of CTS!!
Break out your headphones for this one boys and ghouls Clouds Taste Satanic has some amazing ear candy ready for you. In “The Glitter of Infinite Hell.” If you can’t afford this one, beg your mom, dad, wife, husband or don’t buy that $6.00 Cup of Coffee for One Day… and spend the $5.00 to get the digital download, or $7.00 for the CD. If that doesn’t work, sell blood, volunteer for an experiment, sell sperm/eggs or you could try to sell your soul to Satan. In the mean time here are some of their past videos and a Bandcamp link to the new album.