Clouds Taste Satanic “The Glitter of Infinite Hell” Album Review + Stream…

Clouds Taste Satanic

The Glitter of Infinite Hell – CD // DD

Self Released – October 31st, 2017 on Helloween!!

Terry “The Ancient One” Cuyler

 

Yum…May I have a second helping?”

                  

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.

Band Logo

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.

Band Pic

Additional Links:
https://www.facebook.com/CloudsTasteSatanic/videos/970541083038312/

https://www.facebook.com/CloudsTasteSatanic/videos/1106859459406473/

https://cloudstastesatanic.bandcamp.com/album/the-glitter-of-infinite-hell

https://www.facebook.com/CloudsTasteSatanic/


Monolord “Rust” Album Review + Tracks Stream…

Monolord

Rust – Vinyl // CD // DD

Riding Easy Records – Release Date September 29th 2017

Reviewed by Andy “Dinger” Beresky

 

Lineup:
Thomas V Jäger – Guitars & vocals
Esben Willems – Drums
Mika Häkki – Bass

Born:
2013

Review:

I don’t write many reviews of actual doom albums, for good reason.  It’s a surprisingly complicated subject, not to mention a very personal one.  The whole stoner doom “genre” has a rather rich history, which through inexplicable luck, I’ve been privileged enough to play a small part in.  Like any other “genre” (and I use the word very loosely), it’s tough to pinpoint its exact birth, the point where it all started.  There are obviously precursors, though for me, the first real groundbreaking record of the genre was Sleep’s Holy Mountain.  And what exactly made it so groundbreaking?  It was such a convincing replica of the Black Sabbath model, condensed into a power trio, that even Black Sabbath said that Sleep did it best.  Perhaps you’ll already see where I’m going with this.  Stoner doom isn’t generally about innovation and originality, unless you’re YOB.  It’s more about the VIBE, man….

Sleep once again pulled off a landmark album with Jerusalem/Dopesmoker, which was innovative only in that it pushed the limits of length and repetition to their logical extreme, eschewing traditional songwriting structures in favor of elements from classical composition and Eastern motifs.  Perhaps most importantly, it established the importance of unique tones and massive low end above all else.  It’s largely unimportant from a critical perspective that the album is so monotonous – the repetition actually works in its favor, whereas with other genres, it would not.  Dopesmoker simply punishes, relenting only in shorter, quieter sections.

Other groundbreaking albums in the genre followed suit – Acid King pretty much perfected the combination of fuzzed out post-Sabbath riffs and ethereal vocals on Busse Woods.    Electric Wizard’s Dopethrone pushed the limits of production to the very extreme, with spaced, blown out vocals, hyper fuzzed guitar, unearthly effects and massively distorted bass.  I often deride this album as my least favorite of the Electric Wizard catalog, sheerly because it doesn’t sound GOOD.  However, that was never the point.  It doesn’t sound like anything else that came before it, and that’s why it’s so important.  I remember the first time I heard that bass burst in with that massive riff from “Vinum Sabbathi”, and my jaw literally dropping in disbelief.  Nothing had ever sounded like this up to that point.  Nothing.  Sure, Witchcult  Today sounds much better, Black Masses has much better songs….and Dopethrone will always hold a special place in my heart.  When you get into these groups, there’s only a couple ways you can get out….

Tour Schedule

There’s a few other landmark albums I’ll reference for context – Warhorse released As Heaven Turns To Ash, offering a sound that branched into death metal territory, utilized more dynamics and pushed the extremes to which a guitar can be downtuned.  Despite their sole album, they’re always going to be fondly remembered as the band that blew Electric Wizard off the stage when they ventured to our lovely continent on their first American tour.  Around the same time, Sloth borrowed Electric Wizard‘s gear and somehow unveiled a real corker of an album that seemed to stop both time and space in the wake of its gravitational field.  Goatsnake dropped a couple key albums around the turn of the millennium, matching big tone with accomplished vocals and making Sunn 0))) amps a household name and a much valued commodity.  A little later down the line, The Sword’s main achievement was in marketing and promotion, though they did introduce faster tempos and broke away from the established power trio format, utilizing NWOBHM inspired harmonies.  Conan pushed the limits of volume and heaviness with their first release, issuing forth a single-minded and monolithic statement of intent.  Uncle Acid and the Deadbeats injected sugar coated Beatles-eque harmonies into their psych-doom, and frankly, also changed the face of marketing by deliberately cultivating an air of mystery, concocting a lovely yet bogus legend around their origins, and then initially refusing to play live.  This combination resulted in massive hype.

Of course, there’s also the first Black Pyramid album (full disclosure: I am a member of), which for some inexplicable reason made quite a splash at the time.  I don’t know – I just tried to draw influence from these bands, and I also tried to write good, brutal songs that mix things up in terms of tempo and style.  I wrote the lyrics to be evil in a way that I didn’t think evil was fully explored in the genre.  That’s it.  It wasn’t rocket science or anything, and I’ve honestly never fully understood the appeal.  I guess it just hit the right spots at the right time.

Band Pic

Enough ruminating on the past, let’s fast forward to the present.  It’s 2017, stoner doom is somehow still a thing, and Monolord is the band of the movement.  They are a Swedish trio and their bassist was previously in the grind outfit Rotten Sound, whom I rather like.  The other two were previously in Marulk, whom I’ve never heard.  I suppose that doesn’t matter all that much, as they’re in Monolord now, and I’m writing about them.

What can I say about Monolord?  How do they contribute to the landscape of the genre?  Well, first off, their name is an excellent description of their sound.  Secondly,  they’re very obviously influenced by most of the bands I’ve listed above, with the obvious exception of The Sword.  There’s some serious Sleep, Electric Wizard, and Acid King worship going on, so if you dig those bands, I don’t see any reason you’d write this off.  Thirdly, they’re a relatively young band, though not green by any means.  Their first album was released in 2014, and they’ve had an impressive array of releases since.  A single here, an EP there, a sophomore album in 2015; they’re certainly staying busy and making a name for themselves.  Their sound has stayed pretty consistent from their first release, and it’s everything that you’d want and expect from a good stoner doom band – downtuned, fuzzy guitar interspersed with trippy effects and bursts of feedback, huge bass tones, spaced out vocals, and a rock-solid drummer holding it down underneath all that precious noise.  They tend to stretch song lengths upwards of ten minutes at times, though I’d be hard pressed to define what criteria differentiates their decision to keep a song shorter or to extend it.  If I had to venture a guess, I’d say they just ride out the riffs that they really, really like to play, and this lends an authentic, organic vibe to what they’re all about.  That’s vitally important in a genre that’s so inherently derivative.

pics and patches

If anything, I’d say that the consistency has been Monolord’s strongest suit up to this point.  They haven’t made many efforts to tread new ground, and up until, they haven’t really felt the need to.  Their second album, Vaenir, is a little more polished than the debut, and this was exactly what they needed to do – double down on what’s obviously working.  The Lord of Suffering 10″ showcased a little more maturity in the songwriting department, and it’s still exactly what you’d expect.  This brings us up to Rust, where they’ve thrown out everything that’s come before, re-written the proverbial book and drastically redefined who they are as a band.

….

I’m just kidding, none of that is true.  Any one of the songs on Rust could have comfortably fit on a prior release.  That’s by no means a bad thing – I’ve already touted the consistency of their artistic vision.  The subtle though obvious shift this time around is that they’re beginning to make more use of the studio to explore more textures and sounds, and it makes for delicious little surprises interspersed between gargantuan riffs.  After opening the album with two pretty straight forward songs, the title track initiates with a haunting organ intro that drives the catchiness of the vocal hook home.  Once the riffs do actually drop, it makes for an extremely effective counterpoint.  It’s a seemingly little thing, and it makes a whole world of difference.  This is my favorite track on the album, and I think it’s the best song they’ve written to date.

They follow this up with “Wormland”, an instrumental with slower, more deliberate riffing that takes a stark turn once again into more melodic territory, with a most triumphant, transcendent lead guitar line once again surprises by finishing up with a violin echoing the same melody.  “Forgotten Lands” once again surprises us by making ample usage of its near 13 minute run time, detouring into a full-blown psychedelic breakdown mid song, with a delightfully wonky guitar solo and more exotic, modal guitar work.  The final song, “At Niceae”, basically utilizes a false ending.  It’s an otherwise standard track for Monolord, except that the riffs fade out, leaving us with feedback.  I thought the album was over, and then an acoustic guitar kicked in, overlaid with some heavily echoed vocals and a sorrowful melody.  It’s a great conclusion to a well executed album.

Monolord_Band Pic

As I stated earlier, there has been a maturity inherent in the development of the band, and it’s firmly showcased on Rust.  It’s not like they’ve gone full prog or anything – they still do what they do best, which is just heavy, zonked to the nipples doomliciousness.  There is simply an increased emphasis on melody within the songwriting itself, while retaining the heavy, trippy sound that’s made a name for them.  As far as how it fits into the continuum and tradition of the genre?  Well, they’re currently on top of the game.  Electric Wizard’s last album was far from their best work; it’s most likely their weakest.  Veterans like Acid King and Goatsnake are only sporadically active.  The Sword have a full-blown musical identity crisis on each album.  If Sleep actually drops a new album, that will be a game changer based on the strength of the one song they’ve recorded since their reunion.  Since for some inexplicable reason, there’s still a lot of interest in this sound, it leaves a lot of room at the top for more established bands that aren’t quite stoner royalty yet,  like Windhand and Cough, as well as newcomers who are able to make a name and get some momentum behind them, like Monolord and Vokonis.

In closing, I’m continually perplexed at the longevity of stoner doom.  Other genres that are so pigeonholed and overspecialized have only occupied a single moment in musical history before they’ve been forced to evolve or become redundant and obsolete.  You can’t really call it a trend – trends quickly rise and fall within the realm of heavy music, though doom’s rise in prominence has been slow, steady, and continual.  Indeed, there are those who have already evolved beyond their humble roots, bands like High On Fire, Elder and YOB.   What is it about turning up really loud, tuning down really low, and aping Black Sabbath that’s had such a lasting, overarching appeal?    Is it that musically, it digs right to the very roots of metal, the birthplace of all things heavy? Is it some primal, ritualistic element buried deep within the collective human subconscious?  Is it an attempt to identify with, and thereby transcend the darker aspects of human nature?  Some kind of catharsis for our more socially unacceptable emotions and fantasies? Once again, I don’t really know.  I can tell you that even I’m not immune to its perpetual pull – even though I’m bored with the more common cliches associated with the genre, I’m such a sucker for a huge, over-amplified Sabbath riff.  In that regard, Monolord has delivered the goods in spades.  As always, my brain jumps right head to “what are they doing to do next?”  It’s a fair question even now.  Will they continue down the path of predictable consistency, with a pragmatic and gradual approach to change, or will they choose to truly branch off into the outer limits, returning to us with some unique permutation of psychedelic doom-inspired mayhem that will blow our minds like the forebearers of the genre did before them?


Olde “Temple” Album Review + Stream…

OLDE

Temple – Vinyl // Cassette // DD

STB Records – released August 10, 2017

Reviewed by Terry “The Ancient One” Cuyler

Welcome to the Temple of Doom!!

 

Line Up:
Drums – Ryan Aubin (Sons of Otis)
Guitars – Greg Dawson (Sons of Otis)
Guitars – Chris Hughes (Moneen)
Vocals – Doug McLarty (Jaww)
Bass – Cory McCallum (Five Knuckle Chuckle)

Review:
I just finished listening to “Temple” by a band from Canada’s Greater Toronto Area called OLDE.  “Temple” by OLDE is the band’s 3rd  album. With a focus on crushing riffs that has left me with ringing ears and a spinning head, I had to recover a bit before I started writing this review. Formed by guitarist/producer Greg Dawson who was inspired by a recording session with long-time stoner metal stalwarts and bandmate in Sons of Otis as well as friends in Moneen, Jaww and Five Knuckle Chuckle, Dawson (Cunter, Grift, BWC Studios) handpicked and assembled OLDE.

Pro Band Shot

I loved what I heard on “Temple” but I wanted to hear what OLDE’s past work sounded like to get a better feel for the band. So I cued up their 1st 2 albums as well as “Temple,” turned out the lights, put my headphones on and had myself a musical feast. What I liked most about the music in general is how the band focuses on crushing heaviness and the almighty power of the riff with bellicose vocals and sludgy bass and heavy handed riffing .

Yet the music isn’t just a bunch heavy riff and growling vocals.  Just like OLDE’s previous albums – “Shallow Graves” and “I”,  “Temple” has tons of meat to it. Besides the amazing guest solo on ‘Castaway’ done by  Joshua Wilkinson, and the stunt guitar work of  Ryan Aubin on ‘Maelstrom,’ “Temple” is full of intense leads and hooks. Some of my favorites are ‘Subterfuge’ and  ‘Now I See You’ which both have some killer riffs with drums by Ryan Aubin that sound positively tribal. The album’s title track “Temple” is an ominous bass heavy doom masterpiece that highlights the vocals of  Doug McLarty.

This album will leave you feeling like you’ve been in the mosh pit with Sasquatch (The animal) as you listen to OLDE  tell the world “it’s collectively full of shit.”

“Temple” was recorded mixed, mastered, and produced by Sons of Otis, guitarist/producer Greg Dawson at BEC Studio with album art by Joshua Wilkinson. The album also features a guest solo on ‘Castaway’  by Simon Talevski and a stunt solo on ‘Maelstrom’ by Ryan Aubin. “Temple” can be purchased as a Limited Vinyl LP on Bandcamp through STB Records, Limited Edition Cassette via Medusa Crush Recordings and in digital format on OLDE’s Bandcamp page.

Links:
https://www.facebook.com/oldedoom

http://medusacrushrecordings.bandcamp.com/album/temple

http://stbrecords.bandcamp.com/album/olde-temple-2

http://oldedoom.bandcamp.com/album/temple


Ruff Majik “The Hare And The Hollow” Album Review + Stream…

RUFF MAJIK

The Hare And The Hollow – Limited Vinyl // DD

Self Released – released June 20, 2017

Reviewed by Ric “Suisyko” Dorr

 

Formed:
September 1, 2012

Location:
Pretoria, South Africa

Band Members:
Johni Holliday (Guitar/Vocals/Organ)
Jimi Glass (Bass)
Benni Manchino (Drums)

Previous Releases:
“The Bear” EP (Oct 2015)

“The Fox” EP (Sept 2016)

“Monarch Of The Hills” single (March 2017)

“The Real Swan” (March 2017)

“The Swan” EP (April 2017)

Review:
Three piece band with a penchant for recording LIVE in the studio and this release that is being touted as not an EP, but part one of a four part release and was recorded in one take per their notes on their bandcamp page. According to their bio, Ruff Majik “has been aggressively marketing their brand of super-stiff rock ‘n roll madness since early 2012. Now they have three EP’s under their belt, an album filled with out-takes from the sessions for this album, and a reputation for wild and aggressive live shows, and they’re coming your way – tie down everything you want to keep, the boys are bringing earthquakes with ’em.” An intriguing descriptor for certain and I had to dive deep in. With the previous recordings, there has always been that garage-sound that lent itself to the ‘live’ feel that these guys tout as their modus-operandi,  while keeping that bass-heavy groove they are known for intact.

Live Band Pic

Let me re-emphasize that these songs were recorded  live and in only one take, not stopping for a break between songs but rather charging on through as a means to keep the cohesion true and the feel as ‘real’ as possible. Opener ‘Harpy’ starts off with a staggered drum line, mid-tempo pace, the bass hits four measures in and then the distorted guitar reaches out and grabs your throat before the vocals come out front in classic RM fashion, sounding slightly distorted and still clear in delivery.

Using all of the twists, turns and time shifts of stoner rock/metal you could hope for, ending with that hyper-fuzzed bass line that slowly fades into the opening progression of ‘Gone Down In The Woods Today.’  This is a full throttle galloping track that hits as hard as any SABBATH track with the veracity of a cobra and is relentless in the pummeling heaviness of the arrangement. Still no pause between as closer ‘Breathing Ghosts’ is even faster than the other tracks during the first minute until the vocal hits, tempo shifts and guitar drenched chords leaving their juices running down your chin as you drink it all in to the very last note.

If this is the tone of the next three releases, then the wait will seem unbearable. An amazing jumping point in this next stage of the evolution of this trio, MAJOR leaps in mix and composition and the arrangements truly are stellar in advance over all previous releases and should absolutely signify the turning of the tide for this band. Add it to your ‘rotation’ immediately, make sure every person you know hears it and support them live if they come to your shores…this IS South Africa after all. And as always, keep it LOUD!!

The Hare and the Hollow logo


Boris “Dear” Album Review + Video + Stream…

Boris

Dear – Vinyl // CD // DD

Sargent House Records – released July 14, 2017

Reviewed by Santiago “Chags” Gutierrez 

 

It’s been twenty-five years since Boris was formed, taking their name from a Melvins song, they have since released a multifarious catalog of music. From the onset, they have run the gamut of ambient, drone, doom, noise, psych, punk, sludge, and shoegaze along with everything else in between, and no one has been able to pull that off as effortlessly as Boris has. They weave their multi-genre magic seamlessly and to great effect on every release. Takeshi Ohtani, Wata, and Atsuo Mizuno have been together since the formation of the band and the chemistry they have still bonds well to this day.

Opener ‘D.O.W.N. – Domination of Waiting Noise’ sets the pace with a powerful and impactful intro of controlled noise with enchanting vocals. ‘Deadsong’ continues along the same path with an electronic drone number that showcases whispered vocals among haunting screams and howls. ‘Absolutego’ may be considered the most accessible song on the record, as it follows a more traditional song structure. You can find the official video for ‘Absolutego’ on YouTube as well.

‘Beyond’ is a highlight of the record as it takes the listener on a roller-coaster tempo ride while vocally, they hit every mark perfectly. ‘Beyond’ segues into ‘Kagero’ where Boris showcases their noise/experimental/dreampop skills with efficacy. Shoegaze-like vocals are featured on ‘Biotope’ with dreamwave and noise components.

Boris brings the doom with ‘The Power’ and ‘Memento Mori.’ Both tracks would irrefutably fit perfectly on any respectable doom record. ‘The Power’ is an instrumental piece that recalls elements of Electric Wizard and Trouble. The vocal tone on ‘Memento Mori’ is damn near perfect to go along with the funeral doom musical melee going on behind it. Certain elements of the song reminiscent of the gloriously classic Italian doom era.

Pro Band Pic

This brings us to ‘Dystopia Vanishing Point.’ To say this has song of the year potential is an understatement. Clocking in at almost twelve minutes, this one will be hard to beat. The song intro is reminiscent of a great soundtrack record. Chino Moreno-like vocals kick in to go along with the slowed down shoegaze vibe followed by an amazing guitar solo that runs the final five-minute leg of the song. The album bookends nicely with “Dear” which hearkens back to the slowed down drone feedback style we heard on ‘D.O.W.N. Domination of Waiting Noise.’

Boris are still going strong after all these years, continually looking for ways to challenge themselves with experimentation. Dear, like most of their albums, is about motion and magnitude. It is without a doubt a spiritual journey and despite the variety of genres explored, it’s still dexterous in its delivery. Thankfully Boris never seems comfortable staying fixated on one single style or genre. They continue to change and explore the dimensions of sound. I think by now it goes without saying that this will undoubtedly make my end of the year top ten list.


Bloodnut “St. Ranga” Album Review + Stream…

Bloodnut

St. Ranga – CD // DD

Self Released – Released August 1, 2017

Reviewed by Aaron “Red Beard” Wall

 

Bloodnut…the burly, bearded, ballistic, berserkers of fiery red have returned to pillage and destroy. St. Ranga, is the sophomore follow up to their acclaimed debut, Blues for the Red Sons.  This slab of concrete has progressed the Bloodnut accoutrement immensely. While some of the tongue in cheek humor remains, the ginger heavyweights have upped the seriousness factor. St. Ranga is still fun, but its definitely not funny. Heavy stoner, massive sludge, and raw punk rebellion. Normally a three piece, Bloodnut recorded the album as a four piece. Adding a second guitar to the fold, which lends extra girth and goodness. Doug McFarlane-Bass/Vox, Nick Smith-guitar, Kyle Wetton-guitar, and Ty Boniface-drums are here to viscerally eviscerate.

Opening salvo, ‘The Space Orangutan’ builds a force of fuzz. Slowly creeping, raising the cackles. Down tempo and enveloping distortion, as Doug raises his vocal game tremendously.  Oddly, but very intriguingly sounds like the Doors in mood…albeit much heavier. The drums pause to let the main riff show its head. The redheaded beasts then explode in full on stoner glory. The chugs begin as the groove runs full steam ahead. The vocals are gravel, but with soul you can feel. No doubt Bloodnut bring the heavy, but also have an excellent underlying melodious factor that grips. The second half ups the tempo and the dirt. The brood throws in a shredding solo, then beats you into submission until ‘The Space Orangutan’ has destroyed you.

Full Band Pic_8-6-2017

‘Mark of the Outcast’ is four minutes of straight up beast mode. Huge High of Fire-esque intro, into a mid-tempo sludge toe tapper. Tunes like this are the reason I am completely on board with the boys in Bloodnut. Heavy as gigantic balls, while always retaining a soulfulness that is undeniably felt throughout.

Next up is ‘That Fire Inside’  This song is straight up raw punk filth. Quick bass intro and cymbal grabs, prime the ears for a fury of fiery flames.  Gruff vocals, raw guitars, pounding drums of perfection. This jam is a sharp, powerful, quick punch to the gut. You will be doubled over, in glorious pain.

‘Burning Bush’ brings back the cheeky lyrics, but there is absolutely no joking going on instrumentally. Bringing some of the thickest riffs on St. Ranga, and multiple tempo changes keep the listener blissfully on their toes. The song is executed masterfully. The riffs are sweet, the rhythms are tasty and the vocals outshine anything previously in the Bloodnut catalog.

‘Red Dead Riders’ is a sing along song. Dirty and rough musically with huge choruses. This track is a journey across the desert, looking for blood, on the back of a mammoth steed. Kicking up dust and spit, only in death do we quit. Standout song on a stand alone album.

Closing St. Ranga is ‘Song of Fire and Ice.’ No explanation needed on this song. Best song on the record in my humble opinion.

Bloodnut have composed an album more crushing and weighty than an avalanche of boulders. The fire headed gang of badasses continually bruise and batter eardrums. St. Ranga is an escape into landscapes of flame. Visions of battle and triumph. A plethora of genres in relation to all things heavy. No pigeonholing Bloodnut. New Zealand has something to be extremely proud of in this band of gingered berserkers.  These redheads have definitively smashed the sophomore slump with a battle axe. A record filled with passion and soul, drums that roll, and riffs that are raw while still being in full control. Take a pilgrimage in St. Ranga, and prepare to shed blood. It is worth it.

Band Logo 2


Devil Electric “Self Titled” Album Review + Stream + Tour Schedule…

Devil Electric

Devil Electric – Limited Vinyl // CD // DD

Kozmik Artifactz – releases August 11th, 2017

Reviewed by Terry “The Ancient One” Cuyler

 

Standing at the cross roads of blue, rock, and psychedelic is the  Melbourne rock quartet Devil Electric. The band first debuted in 2016 and gained a sizable following among stoner, psych, a doom fans with “The Gods Below.” This 4 track fuzzedelic blues EP full was of bluesy vocals done by Pierina O’Brien and heavy riffs laid down by Christos Athanasias- Guitars, Tom Hulse -Bass, Vocals, and Mark Van De Beek- Drums. Encouraged by the fans response Melbourne’s Devil Electric is preparing to release its 2nd release; their debut “Self Titled” Full Length on Germany’s Kozmik Artifactz Records.

Tour Schedule

 

When describing the bands 2nd album Tom Hulse, the bands bassist, backing vocalist and co writer said in the album press release “Lady Velvet” was written with the idea of painting a picture at the forefront. I wanted to create images and draw a theme in the listeners mind within the first few lines, touching on opposing forces and building a character. The song is about the push and shove of relationships we experience with the world both on a human level and a fictional/dramatized one. There’s always light and shade in life and when you run your hand across velvet you can see it change in color and form, reflecting just that in a material form.” 

After listening to this album several times now I’d say Tom Hulse did a pretty good job describing both the song Lady Velvet and the entire album both lyrically and musically. While the band is most definitely rock they take a different approach to heavy rock than some bands. Throughout Devil Electric, Pierina’s bluesy vocal style adds a dark element to the music as Tom,  Christos, and Mark lay down the psychedelic heavy blues rock. This are showcased especially in the instrumentals ‘Monolith’ and ‘Lilith.’ The songs I like most from the Devil Electric album are ‘Lady Velvet,’ ‘Acidic Fire,’ ‘The Sacred Machine’ and most of all ‘Hypnotica’ as Pierina vocals really cuts loose.

 

Devil Electric will be released digitally, on CD and vinyl on August, 11th, 2017 and is available for per-order right NOW. If you are a fan of Graveyard, Kadavar, The Dead Weather, Blues Pills, The Well, Electric Citizen, Black Sabbath you may like this band. Don’t be afraid to comment and share our posts with your friends.  Strongly Recommend!!


Arteaga “Vol II. Dios Sol” Album Review + Stream…

Arteaga

Vol II. Dios Sol – CD – releases July 16, 2017  // DD – released February 7, 2017

Forbidden Place Records – USA // South American Sludge Records – R.O.T.W.

Reviewed by Santiago “Chags” Gutierrez

 

The first notes of ‘Cuicodelia’ may seem like an homage to Electric Wizard, however, if you keep listening, you will start to unravel what makes Arteaga stand out from most Electric Wizard clones. To their advantage, Arteaga put their South American (Chile, to be precise) stamp all over this release. Yes, this album has the trademark stoner/doom/sludge touches. The drawn-out riffs, the thick rhythms, the slow trampling drums are certainly all there. However, the crepuscular vocals (sung in their native tongue) is what sets them apart, used almost as a fourth instrument to enhance the overall mystical horror vibe of the record.

While their first EP, Vol I. Agradable, “added sludge and stoner riffs, desperate voices and constant beats” to the established sound of their debut demo, Vol II. Dios Sol “dragged guitars down a little bit more, they expanded their horizon turning themselves to the darkness of 20th Century Italian Giallo and Grindhouse dirt, genres that influence both their lyrics and aesthetic.”

 

Promo Pic

 

‘Cuicodelia’ and ‘Chapultepec’ open the album with pure, straight up sludgy/stoner grooves, at times recalling a mid-90’s desert sessions sound. Both songs have accompanying videos on YouTube worth checking out that capture the previously mentioned Giallo and grindhouse aesthetic with elements of mystery, slasher, exploitation, and supernatural horror. ‘Daga’ and ‘Ruta’ follow up with a slightly different take on the genre. At times having a late 80’s early 90’s alternative/punk sound not unlike you would find with certain bands on a label such as Alternative Tentacles or Touch and Go.  Final track, ‘Dios Sol’, briefly follows a similar style before shifting gears into a long droned out acid-fest. Expertly using crawling atmospheres and crafty grooves within the canvas of the 20+ minute song.

Francisco Gonzalez (bass/vocals), Sebastian Morales Munita (guitar), and Domingo Lovera Parmo (drums) have gradually begun to refine their sound with each release. If this LP is anything to go by, I’m sure they will come back even stronger with their next effort. Vol II. Dios Sol is out now on Forbidden Place Records – USA and South American Sludge Records – Rest of the World.  You can also find it on their Bandcamp page. Give it a listen and take the trip!!


LLNN & WOVOKA ‘Marks/Traces’ Split Review & Full Stream

LLNN/WOVOKA
Split – CD//Vinyl
Pelagic Records – Relase Date: June 16th, 2017
Reviewed By: Pat ‘Riot’ Whitaker

LLNN’s and WOVOK’s Marks/Traces split will see release June 16th via Pelagic Records on CD, LP, and digital formats. It remains to be seen if the planet’s fans of atmospherically dense, crushing doom heaviness are able to withstand this bleakly oppressive effort. The seven song Split sees Copenhagen, Denmark’s LLNN contributing six of those selections while Los Angeles, California’s WOVOKA add one rather lengthy number themselves. But it is the results that matter here I suppose and in this case, those are impressive…perhaps depressive too for some but either way, this is textural doom in all of it’s glorious greatness.

The beginning of the Split does so with the superb LLNN track ‘The Guardian‘, a melding of post-hardcore and noise rock with obvious doom and metallic overtones. The track’s rhythmic, pattern-like pulses act like a slow-grooving juggernaut rendering all before it asunder. Tribal drumming and intermittent walls of sound host the acidic vocalizations that permeate the song. Subsequent cuts like ‘Swarms’ and the blast furnace ferociousness of ‘Engineer Of Ire‘ only drag you further downward into the mire of this sludgened bog. The stand-out content provided by LLNN definitely is delivered in the back-to-backs tracks ‘Nostromo Falls‘, ‘Eye Of The Covenant‘ and ‘Gravitated‘. The latter one an instrumental delivering a slow deluge of electronica, rumbling undercurrents of bottom-end heaviness and shadowy, eerie vibes altogether. There are haunting vocal chants that remain ethereal and quite ghostly as well.

Traces‘ is WOVOKA‘s one lone, long-playing selections at over seventeen minutes playing time. After a brief intro piece, a barrage of molasses-molded riffs, skull crushing rhythms and drums driven by what sounds like axehandle-hewn strikes arrive. Hellish, anguished vocals cascade from within the cacophony, flowing across turbulent tempos and resting harshly upon your soul. Everything feels as if it is gradually increasing, building ever so subtly like a slow rising tide that will eventually overcome you..and it does. Aggressive transmittances ebb and flow, rise and crash within this swirl of tidal tonality until a break point is reached. From it, things settle into a less chaotic state as some massive bass lines and tightly wound drums take the reigns. Eventually they are accompanied by some intriguing, emotionally-enhanced clean vocals as the cut takes on a more definitive alternative, almost showgaze-y styling of post-rock content.

The pairing of these two bands on this Split from Pelagic Records is an ideally intelligent move. Both LLNN and WOVOKA work well in complimenting each others’ contribution. While there’s currently just a track from each band above (a press promo copy of the album was used for this review), it is more than enough for you to fathom exactly what we are dealing with here. ‘Marks/Traces‘ is a volatile offering that is simultaneously dangerous and daring for all the parties involved..them, you, me, us..everyone. See all ordering links below.

For Fans Of: Cult Of Luna, Neurosis, ISIS, Amenra

North America:
CD: http://pelagicrecords.indiemerch.com/item/45849
Vinyl: http://pelagicrecords.indiemerch.com/item/45848

EU:
CD: http://www.pelagic-records.com/?p=11628
Vinyl: http://www.pelagic-records.com/?p=11621

– Pat ‘Riot’ Whitaker