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.
Ufomammut is:
Poia – Guitars and FX
Urlo – Bass, vocals, FX and synths
Vita – Drummer
Ciccio – Soundlord
Lu – visuals
Previous Releases:
– Godlike Snake – full length cd/lp – Beard of Stars – 2000
– Snailking – full length cd – The Music Cartel – 2004
– Lucifer Songs – full length cd/dvd lp/dvd – Rocketrecs/Supernatural Cat – 2005
– Idolum – full length cd – 2lp+cd – Supernatutal Cat – 2008
– Snailking – full lenght double vinyl – Supernatural Cat – 2009
– EVE – full lenght cd – LP+cd+dvd – Supernatural Cat – 2010
– ORO – cd – LP+dvd – LP – Neurot Recordings / Supernatural Cat – 2012
– ECATE – full length cd – LP + dvd – Neurot Recordings – Supernatural Cat – 2015
Review:
Hey doomsters this is the Ancient One and I’ve just returned from yet another odyssey through the cyberscape traveling the ethereal soundwaves. While traveling I learned through fellow music heads Italian wizards of heavy psych / stoner / doom Ufomammut have released a new album entitled “8”. Wanting to know more I wasted no time in getting a early preview but I unfortunately failed you. While I wanted to let you know about it before its September 22nd release date to give you all time to get your pre-orders in I was unable to because personal issues got in my way.
For those who are unfamiliar with them, Ufomammut (pronounced- ufomam’mut) is a heavy psych / stoner / doom band hailing from Italy. Going strong since 1999 “Ufomammut” was formed by Poia (guitarist, synth, and sound effects), Urlo (bass guitar, synth, sound effects and vocals), and Vito (drums) With 7 albums to date the bands upcoming album was released on the “Neurot Recordings label on September 22nd and is the bands 8th album, thus its title “8”.
As in past albums “Ufomammut” fearlessly experiments with sound and music. But what makes “8” unique is the method in which it was recorded. Seeking to give the listener the experience of listening to them live Ufomammut recorded the instruments in live studio sessions. And this painstaking process that has resulted in an amazing album.
Opening with “BABEL,” stoner doom Wizards Ufomammut begin weaving their auditory spell using a language all can understand. While I’d like to tell you which songs I liked most I really can’t. Every time I took time to look at the title of the song playing it broke my trance. So instead I will tell you what I enjoyed about “8” as a whole.
Unlike some music in which you feel like a spectator watching or listening to the metal gods on high, “8” envelopes you making you feel like you are part of the music. Listening to the fuzzed out guitar, drums, bass, droning chants, and psychedelic sound effects had me feeling like I was part of some strange musical mystery cult. “8” is best listened to in full and if you don’t have a decent stereo I recommend listening with headphones.
Helping them launch their latest album on September 22nd the “Malleus Art Collective” unveiled it’s “A Malleusdelic Art Trip Into Ufomammut exhibition” at the release party held at the Santeria Social Club (Milan, Italy) on September 22nd.
AVAILABLE NOW (Here) https://www.malleusdelic.com/store/index.php… – “The Art of Ufomammut” is a graphic journey by Malleus through 18 years of UFOMAMMUT. We wanted to put together almost all the designs we created during these years for Ufomammut, from the first album covers to the last silkscreen posters, from the Limited Edition vinyls to the t-shirt designs. 96 pages – softcover.
Like many Ufomammut fans,I would have loved to go to the release party or to one of their European dates following it. But since I can’t get to Europe I can console myself with the fact Ufomammut will also be appearing at the Maryland Deathfest in Baltimore, Maryland next year May 24th – 27th, 2018. Highly Recommend!!
Juventud de la Gran Ciudad – CD (available May 13th, 2017) //
DD (released December 2, 2016)
Necio Records – CD released May 13, 2017
Reviewed By Santiago “Chags” Gutierrez
KNEI comes to us from Argentina, a country that has recently seen a resurgence in its music scene. Juventud de la Gran Ciudad comes courtesy of power trio Nicolas Lippoli (guitar/vocals), Mauro Lopez (bass), and Roberto Figueroa (drums). On just their second full length (La Puera del Sol being their debut back in 2011) they have already established a rather unique sound. What you get here is 70’s inspired classic rock that incorporates a well balance of psychedelic, blues and jazz-like touches.
Their musical prowess shines through on first track, “Juventud de la Gran Ciudad.” Clocking in at over eleven minutes, it showcases their full arsenal of writing skills. It centers, as most good rock songs do, on a powerful riff and adds time changes, experimentation, varied rhythms, and a feel of improvisation. “Vidas Pesadas” follows suit with an unmistakable 70s/psych touch that turns into a fantastic jam session. “Rock de la Mujer” incorporates a bluesy touch, yet ends in wonderful fashion as KNEI playfully interact with their musical ideas. Three tacks in and the listener is already getting lost in the arrangements KNEI has on offer.
“El Inentendido” is yet another blues infused track with great progressions throughout that continue to showcase the bands ability to guide the listener through the architecture of their arrangements. “Los Demonios” follows with a straight-ahead rock approach that incorporates a galloping bass line bordering on doom. Progressive tendencies show up again on “No Te Asustes Ya Mas, Loco”, each member having a chance to shine at different points throughout the track. You can sense how the members have an almost telepathic relationship as they playfully seem to bounce ideas off one another. “La Tumba” closes the album in glorious fashion, KNEI proving they undoubtedly belong among the higher echelon of current rock bands.
Every track on this record is egregious, KNEI having a knack for taking astounding musical ideas and yet achieving a smooth listening experience. Sung entirely in Spanish, this is still well worth checking out if Spanish is not among your linguistic skills. Lippoli providing an apt vocal style that fits in perfectly with what is going on musically. And what a musical journey it is. If this wasn’t released digitally at the tail end of 2016, it easily would be on my current 2017 “best of” list. ¡Provecho!
Ah Russia, land of cold climate, bears, vodka, and Malefic House. The band started out as a cover band back in 2008 playing Led Zeppelin, Black Sabbath, King Crimson, and Jimi Hendrix songs. Eventually they decided to make their own music which resulted in a “Self-Titled” EP. A shift in band members followed soon after. The change proved to be a positive one, as this current line-up has the chemistry and the focus their previous incarnation lacked. The band members have a varied background consisting of blues, folk, metal, hard rock, doom, stoner, and prog. Listening to Tetramorph, you can surely see how most of those elements have come together to form a rather unique sound.
According to Lena Kataykina (vocals), the four-track album follows a concept based on four cardinal points. Each song represents a different character: a sailor, a freedom fighter, a pharaoh, and a priestess. Each one embodying a different class, age group, culture, and element of nature. Each persona breaking superstitious boundaries and fears along their journeys. Lena states the concept was four years in the making, so it’s truly been a labor of love for this DIY band.
‘1,000 Bulls for Pontus’ opens the record with a rather long intro which serves to gradually set up what follows. Once Lena’s bluesy, soulful voice hits the speakers, the picture becomes clearer. This is a wonderful amalgam of 70s psych, occult tinged stoner rock that is unlike most of what their contemporaries are offering up these days. ‘Geronimo’ follows up with a rather unique drum pattern about half way into the track courtesy of Dima Dvornikov. Artem Zibrov providing a wonderfully amazing psychedelic trip of a guitar solo midway through ‘Mother of the Void.’ ‘Har’ finalizes the offering with an adventurous bass line at the tail end of this musical journey courtesy of Sergei Kataykin. All the moving parts of this band meshing incredibly well throughout.
Malefic House’s geographic location (Russian Federation) has proven advantageous as it has allowed Malefic House to create a peculiar blend of psych/stoner rock that is all their own. So, do these characters meet a malefic, doomed fate after what they endure during their bizarre nightmare odysseys? I can’t possibly spoil the fun. Listen and find out for yourselves. You can find Tetramorph over at bandcamp.
Band Members – Sam Nuytens – drums // Jeroen Van Troyen – rhythm guitar and vocals // Kevin Gernaey – lead guitar // Bert Wynsberghe – bass guitar
When asked to describe themselves, FIRE DOWN BELOW says, quote “We are amp-hugging, hard-hitting, fuzz-loving, ear-splitting, riff-worshiping rock ‘n rollers.” En-quote. And they aren’t kidding!! This album being the first offering from this four-piece, they present 39 minutes of pure stoner/doom/psych/unadulterated rock-n-fucking-roll wrapped into seven tracks that will melt your brain like the smoke of an opium-den. You are instantly consumed with all of the bass rumbling, drum skin splitting, power chord ripping slathered in lead crescendos that shake your core in the essence of what HEAVY music is defined as, and then taking you further down that road than you have ever been before.
Listing their influences from TOOL to ELDER, as well as from THE BEATLES to DEFTONES, there is little doubt as to the intent here. Instrumental opener ‘El Viento Del Desierto’, translated as ‘The Wind Of The Desert’, sets the tone as you settle in for this trip and you are greeted with the sounds of including crickets and the ‘cracking’ of a beverage as a loopy acoustic slide guitar permeates the air around you until ‘Through Dust And Smoke’ hits you in the chest with both barrels from a muted chord progression to full-on power chords rip it up with the body as plush and that vocal steps tall letting you know his stand stating “I don’t want to hear the news, shut your mouth before you speak.” and with a rolling snare, the real ride has begun because “The less you know, the less you feel.” Thick bass pulsing flowing in absolute symmetry with the thundering time-sigs and the spell has been cast as you grab onto each echo of “Shut up” at the end until ‘Roadburner’ cracks the sky with an almost tribal tempo until the harmonic dissonance takes control again with this faster paced romp that is indeed a perfect road-trip track that would probably induce a need to get it hammer-down with this tempo, album title right in the verse of, around the middle. The last half of this opus is a guitar lover’s wet dream filled with all the meandering you could want amidst time shifts galore.
Gears shift dramatically as ‘Universe Crumble’ comes on with a haunting single note that warbles slightly until 25 seconds in when an ultra-fuzzed up/phased out bass line joins in with an air of calm as the hand-drum presence and a ringing guitar tone take hold with an almost GODSMACK feel until the two minute mark when the body shifts. Rising out of the mist that had been lingering at your feet and the cadence is one that forces you to move in time, matching the tempo as your heart races to keep pace. When the ethereal sounding vocal finally enters at the four minute mark, the dream-like feel takes a turn to the heavy with a bombastic resonance not expected but perfectly suiting this opus, carrying you along until the softness fades back in with all the glory so befitting this song.
‘Resurreccion’ is another instrumental that is absolution perfection in it’s passion-filled purity and flows as smooth as glass right into closing tome ‘The Mammoth’ that is as majestic as the whole of this record and clocks in over 11 minutes itself and is the embodiment of the sum of the rest of this album, letting each member showcase themselves while fitting in seamlessly with each other creating what can only be described as a force to be reckoned with. Standout track for me, difficult as it is to select just ONE, but the one I kept going back to was ‘Dashboard Jesus’. With the wind in the background as that drumline starts your feet to instantly tapping or in my case, my fingertips keeping time along, that jangly guitar line that rolls on for several measures before the tale of the road takes off from the line and I found myself reaching for the volume every time to try to get it loud enough!!
For a debut effort, I am blown away beyond and hope this a sign of what is to come from these guys, the album will be re-released via their new distributor Ripple Records after they worked out a deal in January 2017 and let’s hope they make it to our shores to afford to witness this band in the glory of LIVE!! Buy the record as soon as you see it, share it with every set of ears you know and support them if they come anywhere close… keep it LOUD!!
The next event horizon, from Italy’s mighty Argonauta Records, is Dustrider’s debut full length, titled just that…”Event Horizon.” A very fitting title to this tripped and stoned out fuzz fest into the ether of outer space. An instrumental band formed in Rome in early 2015, Dustrider released the self produced EP entitled, ‘Mother Engine.’ In steps Argonauta Records. Dustrider and Argonauta both hail from Italy, so its definitely a match made in hell. In my humble opinion, Gero and the crew at Argonauta have a finger on the pulse of the cutting edge of heavy music…and this release by Dustrider is no different. The band consists of Bruno ‘BrÜno’ Bellisario on guitar, bassist Andrea ‘Keoma’ Romano, and Francesco ‘Krundaal’ Romano on drums. A few fat spliffs, a couple grams of shrooms, and the baddest dune buggy you’ve ever laid eyes on. These are the tools you’ll need for “Event Horizon!”
As ‘Warped’ starts the record, you get in your kick ass buggy and turn the key. The song starts with a thunderous rhythm and bass heavy intro as you rev the motor of this beast. Drop it into drive as you feel the “tools” kick in…and you’re off with wheels kicking up the desert sand. Riffs and groove, manifest as you raise a middle finger in the air. As you light the first spliff Dustrider takes off into a heavy psyche wonderland. Weaving and twisting in bliss. As the song ends with feedback of fuzzy distortion, I cant wait to see where the rest of our spaced out journey goes.
Second track ‘Cosmo’ kicks in with a classic rock intro, then boom we’re off again with spliff in hand. Racing across a floor of desert riffage. This band needs no vocals, the music itself tells a story and takes you away into your imagination. It’s a thrilling ride so far.
‘They Live!’ is the fuzziest so far. A straightforward stoner jam with a glorious and colorful psychedelic solo. The double bass lick at the end is sick! Wait for it. The drum sound on the record as a whole is great. It’s raw but refined. Sounds like real drums. Played by a real good drummer. I dig that.
‘Fallout Criminal’ follows and is an exercise in Fu Manchu. ‘Nuff said.
The next three songs, ‘Agartha,’ ‘Stratosphere,’ and the title track ‘Event Horizon’ are standout tracks that take our badass dune buggy up in to space. We’re floating, we’re flying, and we’re not denying that the mushrooms are taking over.
These songs turn and soar, they bring heavy and can destroy. Tracers of shooting stars are so close, almost touchable as they shoot away with the riffs. Then they let us gently down. We breathe as we ready ourselves for the conclusion of our heavily psyched out stoner trip across the universe. From the desert floor to the galaxies.
The closing tracks to the album ‘Ultima IV’ and ‘Dust Devil’ end Event Horizon perfectly. They are exhilarating and celebratory. Dustrider makes you reminisce on the adventure, and make you wanna get on this dune buggy spaceship and do it all over again…and again…and again.
Dustrider have focus yet flexibility on ‘Event Horizon’ they know when to hold on and they also know when to let go. I for one love instrumental bands and this three piece know how to do it to perfection. They make you hear in colors and in dialogue by the notes, and the complete songs they play. They tell a story, but let you write the script. Your mind is the canvas and Dustrider paints it. ‘Event Horizon’ is an amazing record. I don’t know about ya’ll but I’m getting back in the dune buggy to take another trip with Dustrider and you should too!!
This is the second time in recent weeks that I’ve had to be extremely critical of a band that I truly like. If you read my review of Ecstatic Vision’s debut, you’ll remember that I really liked their sound, thought it was a really promising debut, and was fairly nonplussed by the banality of the lyrics. They were for the most part extremely pot-centric, and lacked any real depth or sense of subversion. I like subversion in art, I think it’s a really vital and overlooked element to a successful artistic statement.
At this point in time, I feel like there are two distinct schools on how to be a band: one school just gets their asses on the road, plays as killer of a live show as they can day in and day out, and sells as much merchandise as humanly possible to support their efforts. They put all of their energy into the stage each night. Their records are made in an effort to capture some of that live show and establish an ongoing connection with the fans who have experienced them live. Ecstatic Vision seems to fall firmly into this first camp.
The second school is composed of musicians who take their time with songwriting and recording, and are more concerned with making records that actualize their artistic impulses. They play live sporadically, when they can, though it’s not really their focus. The album itself is the ultimate art form and personal statement. I’m someone who falls firmly into this second camp.
It’s worth saying that most of the best bands of past and present can do both, though it’s a rare commodity in this day and age, with the way that the modern music industry works. I think that it’s vitally important for bands to attempt to bridge the gap – bands that make amazing studio albums should make an attempt to translate that into a live setting, and bands that that are awesome live need to learn the nuances of songwriting and the studio. There are obviously some serious growing pains involved in this process, and part of that process involves the ability to take criticism and evolve accordingly. The responsibility to offer this criticism lies mostly with the fans, though there are those of us who are fortunate enough to have our thoughts published. I happen to find myself in this position, and we do bands and fans a disservice by not offering up our most authentic selves in succumbing to hype and the pressure of PR companies.
You want to talk about fake news?? The music industry is 90% fake news, maybe more. Putting forth our honest, authentic and thoughtful reflections on an album is largely a lost art. You’ll see reviewers saying things like “If you haven’t heard this album, you’re living under a rock, people.” No. Fuck you. That’s blatantly manipulative. Lots of people cannot hear or not like a release for a wide variety of reasons, and they are entitled to their opinions and their dismissiveness. Those of us who have some sort of audience for our opinions, given our positions of power, it’s up to us to respect the tastes and opinions of others. If you think that I live under a rock because I don’t worship an album that you do, fuck you. Seriously, fuck you. Own your fucking opinion as just that – you’re not the do all and end all. You’re one small person with questionable tastes and an asserted opinion, in a veritable ocean of people with tastes and opinions. What I say about Raw Rock Fury is simply my opinion, take it or leave it. Any reviewer who asserts otherwise, you should rightly tell them to fuck off. Your opinion is just as important as mine, if not more so. People just publish my opinion, because I feel empowered to speak it. You should feel equally empowered. Seriously. If you’re passionate and articulate enough, someone will publish you. That’s my high dream, that every one of you that reads this review goes out and writes their own. Your opinion is vitally important, and anyone who tells you otherwise is a shitbag.
With all that said….
From my perspective, when a band releases a promising debut, the natural next step is to write a stellar sophomore album. That’s the make or break point for me. From where I stand, Ecstatic Vision have not delivered a knockout punch with their second album. Quite the opposite. I’m trying to think about how I can best express this.
I went to the movies with a good friend yesterday. We were both making comments about action movies and how banal they’ve become, how they lack substance, how directors have forsaken the art of pacing, and how these movies just rely on special effects and vapid over stimulation. Then we talked about how Hollywood science fiction movies are now basically constructed around a decent sci-fi concept that rapidly descends into a mindless action movie. See above for how that turns out. Still, people love that shit. It’s not for me. Have you ever seen 2001: A Spacey Oddity?? Do you still even have the attention span to watch it again? Do it, as a personal favor to me, not that I’m deserving. Do it for yourself then. It can’t hurt. Maybe you can’t do it. That’s sad.
Watch how there’s just a goddamn blank black screen with some of the most iconic film scoring of all time for the first five minutes. That’s it. Watch how slow and deliberate every single scene is revealed to us. It gives you time to think about what’s really happening, and more importantly, about the implications of what’s really happening, and what’s going to happen next. Then think about the conclusion, how ridiculous of a psychedelic, sensuous delight that we’re treated to!! Think about how climactic of an ending that is, and how it contrasts with the deliberate pacing of the beginning.
It’s like sex; all good art should be like good sex. Seriously. That’s why sex is so awesome. Great songs should be like great sex. Granted, there’s different kinds of songs, and different kinds of sex. Some sex is extremely one dimensional. This album is extremely one dimensional.
Ecstatic Vision’s music certainly has a primal, sexual appeal. That’s what I liked about their debut. It’s like that first time you hook up with someone, and you’re thinking, “Damn….that was pretty good, things are just going to get better from here.” After you hang out with this particularly special person and discuss it a bit, the next time y’all are together, they just bombard you with the most climactic techniques of your last encounter, rather than exploring the subtleties. The sex doesn’t turn out better; they’ve forgotten about the pacing and dynamics that made your first encounter so special, yet they think that they’re the shit when it comes to matters that happen between the sheets. They’re missing the point. I’m not going to expound on what that point is, because I trust that every one of you reading this has had a similar experience. Perhaps I’m wrong. I’m often wrong. If you haven’t experienced this, seriously….get yourself out more.
This is what their record company says about the album: “ ‘Raw Rock Fury’ is a raucous mix of troglodyte Detroit rock, soothing Krautian moto, filthy Beefheartian blues, and Hawkwindian primal world heavy psych!” I’m not going to disagree with any of this, it’s all true. It’s true in the same sense that Obi-Wan tells Luke that he didn’t lie to him because his spin on the whole Anakin/Vader situation was that he’d told him the truth, from a certain point of view. A record company’s point of view is based around selling records. I’ve told you what my point of view is, and I’m not even completely sure what it’s based around. Reconcile the two accounts of the album. Then, most importantly, take it in from your own point of view, and form your own conclusions.
