Ethereal Riffian – “Afterlight” Live DVD Review + Stream + Video…

Ethereal Riffian

Afterlight – Limited DVD Packaging // CD // DD

Self Released – released August 17, 2017

Reviewed by Eric Layhe

 

Tracklist:
Whispering of the Ancients (1:39)
Beyond (7:04)
Transoma (9:05)
Wakan Tanka (12:02)
Thugdam (8:52)
March of Spiritu (10:55)
Anatman (12:24)
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

Guest Musicians: 
Makha Tretyakova – djembe
Sergey «Bookvarique» – djembe
Yaroslaw Kaminskiy – didgeridoo

 

 

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.”

Afterlight Packaging

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.

Artifactz

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.

Additional Links:
https://etherealriffian.bandcamp.com/
https://www.facebook.com/etherealriffian/
https://www.instagram.com/etherealriffian/
https://twitter.com/EtherealRiffian
https://vk.com/etherealriffian


A Comprehensive Look into How Ethereal Riffian Packages their releases…


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?


WITCHTHROAT SERPENT Stream ‘Striped Dragon’ Single

France-based doom stalwarts Witchthroat Serpent will release their new single Striped Dragon on June 15 through Svart Records. The newest offering from guitarist/vox Fredrik Bolzann, drummer Niko Lass and bassist Lo Klav finds the trio adding some psyche-heavy flourishes to this superb selection. The song and its B-side were recorded live at Drudenhaus Studio during the sessions for the band’s previous release, 2016’s Sang-Dragon. It is arriving just in time for the trio’s upcoming road trek (dates below).

Striped Dragon” is presented in a deluxe gatefold cover, a carefully-crafted work of art by Branca Studio. This piece is limited to 300 copies and is a one-time pressing.

– Pat ‘Riot’ Whitaker

WITCHTHROAT SERPENTRISING SUN TOUR” June 2017:

19/06 BE Antwerpen “Kid’s Kaffee”
20/06 GER Berlin “Tiefgrund”
21/06 GER Dresden “Ostpol”
22/06 GER Leipzig “Black label Pub”
23/06 GER Nuremberg “Kunstverein”
24/06 GER Munich “St Helena Festival”
25/06 FR Paris “Dr Feelgood”


MORASS OF MOLASSES ‘These Paths We Tread’ Review & Full LP Stream

MORASS OF MOLASSES
These Paths We Tread – Vinyl//DD
HeviSike Records – Released May 19th, 2017
Reviewed By: Pat ‘Riot’ Whitaker

Last Friday, May 19th saw the release of the anxiously awaited new effort from the self-proclaimed “swamp master generals” Morass Of Molasses, ‘These Paths We Tread‘. The seven song follow up to their ‘So Flows Our Fate’ EP finds these heavyweights further building upon the sludge-ish stoner doom of that release while exploring some richly fertile new territories as well. Vocalist/bassist BonesThe BeardHuse, guitarist PhilThe MountainWilliams and drummer ChrisThe BeastWest act as our sonic guides upon an album that will splendidly please those that seek the very best in dense hard rock.

This latest offering from these Reading, UK-based purveyors of pummeling finds them dragging us in by the necks with our introduction to ‘My Leviathan‘. It may be their monstrosity but it is indeed our good fortune as the fluid grooves soon ignite after a brief, melodic intro. Guitars wail, rhythms pulsate and aggressive, bellowing yells resonate but then an oddly intriguing Pink Floyd-ian vocal delivery takes hold of the verses. The track truly serves as a mere warm up when compared to much of the other content included here.

From there we get the upbeat blues ‘n roll of ‘So They Walk‘, a highly energized number where grooves encircle every step. All while some trippy vocals narrate things and guitars wail away. The latter comes at you from all directions it seems while the former explores myriad avenues of delivery, from underbreath and softly spoken to emotional yelps. We get our first real chance to catch our breath for a moment with the tranquil intro of ‘Serpentine‘ before it too bursts loose for a few brief bars. It then quickly throttles down to a bit of groove-geared bluesiness also and from there, routinely builds and buckles beneath things. There’s even a dip or two into some wind-blewn psyche elements amid the fiery guitar work and, at over seven minutes in length, a lot of ground is explored.

The psychedelia stays on hand for the female chanted interlude that is ‘The Ritual‘ and then comes one of my favorite cuts from the record, ‘Centralia‘. After a bit of spoken word, news report-sounding snippets about a fire in the mining town of “Centralia in Columbia County”, the thick riffs ignite and smolder. Keeping things dialed down and in-the-pocket, the song’s hazy overtones are the ideal vehicle for the scorching guitars and crunchy drums. Varied spoken samples about the fire-ravaged residential area come and go, an area that stays inflammed due to underground seams of coal that continuously burn (something I know all too well about here in Kentucky’s coal country).

Another bit of mellow blues resonate before the doom-ish psychedelia of ‘Maenads‘ plods forth like a slow rolling lava flow. Slowly it churns and inches ever forward while the eclectic vocalizations constantly cycle through a variety of styling. The music maintains a mostly steamroller-like momentum while one of the more intriguing compenents of interest is the combustible drumming. ‘Wrath Of Aphrodite‘, the final track starts sedately enough but it is not destined to last for before you know it, a tempestuous onslaught of sonics are surrounding you. Uptempo they unfurl and totally take us along for the ride in this highly energized exercise of brazen, groovened blues.

Once again, Morass Of Molasses display why they are one of the more interesting of rock acts to rise above the din in recent times. Totally unique, uniquely intrepid..this trio is not afraid to experiment, to take chances and blaze their own trail to get where they feel they are being led. If you will, call Morass Of Molasses the pioneers upon…’These Paths We Tread‘.

– Pat ‘Riot’ Whitaker

 


BISON Reveal New Album/Label Details & Plan Canadian Touring Trek; Album Teaser

Bison (formerly Bison B.C.)  recently announced their return after a lengthy hiatus. Now they’re sharing the news that they have signed with Pelagic Records for the release of a new studio album. ‘You Are Not The Ocean You Are The Patient‘ will see release on June 23rd in Europe with a North American release to follow on July 7th. Guitarist/vocalist James Farwell commented of the effort:

“It was important that the songs fit together to tell a bit of a story. A story of a new life and escaping the city, while still being tethered to it. Life is a constant fight, and though I have taken the fight to a more natural and beautiful place, that struggle still persists. This is an album of daily living. It is for everyone.”

Vocalist Dan And added: “The new songs still sound like ‘us,’ whatever that means, but we aren’t concerned with shying away from whatever influences creep up. The older we get and the longer we play together, the less we give a shit about trying to sound like anything in particular.”

– Pat ‘Riot’ Whitaker

Bison LP

 

Pre-orders are available here (CD) and here (vinyl) with a teaser posted below. The band will also be playing the following Canadian shows in June:

06/09 Calgary, AB – The Palomino
06/10 Saskatoon, SK – The Capitol
06/11 Winnipeg, MB – The Windsor Hotel
06/12 Regina, SK – The Exchange
06/13 Red Deer, AB – The Vat
06/14 Edmonton, AB – Brixx
06/16 Vancouver, BC – The Rickshaw


Deny Everything; Meet CONTRA (Members Of Sofa King Killer, Rue, The Unholy Three, Etc.) And Hear Some Songs

The roots of Cleveland, Ohio’s Contra are deeply connected to a bevy of bands that the members either are in currently or were in previously. In fact, Contra itself originally started as the instrumental trio of guitarist Chris Chiera (Sofa King Killer), drummer Aaron Brittain (ex-Rue) and baritone guitarist Adam Horwatt (So Long Albatross). That line up recorded a demo, Son Of Beast, that revealed the guys’ style of blended metal, blues, rock, and sludge but still, something was missing. Enter vocalist Larry Brent of such acts as The Unholy Three, Hatchet Job, Don Austin and Splinter. Then, after only three shows of the quartet playing together, Larry began recording vocals to eight of the ten tracks of what would become the Contra debut, Deny Everything

Deny Everything will be released by Robustfellow Productions and Shifty Records on July 1st. It was recorded in Cleveland at Bad Back Studios and mastered at Cauliflower Audio. Today, we are presenting you the new track ‘Snake Goat‘ below and after you’ve enjoyed it, you can check out three more songs from the ten-tracker further on down.

– Pat ‘Riot’ Whitaker

Contra Deny Everything

Tracklist:

Human Buzzsaw (3:24)
Snake Goat (4:07)
Altered Beast(3:19)
The Gorgon (2:27)
Humanoid Therapy (6:02)
Son of Beast (4:13)
Bottom Feeder (2:58)
One Hundred Hand Slap (2:45)
Dr. Goldfoot (4:54)
Shrimp Cocktail (7:41)


WEEDPECKER Reveal ‘III’ Artwork; Share ‘Liquid Sky’ Track

In my humble opinion, Poland’s Weedpecker are one of underground stoner rock’s more underappreciated bands. The guys, Wyro (guitar & vocal), Bartek (guitar & vocal), Mroku (bass) and Falon (drums), are readying the release of their third studio album. The appropriately titled ‘III‘ follows its predecessors, 2013’s Weedpecker and 2015’s ‘II‘, and is sure to be another magnificent outing.

We have the ‘III‘ album artwork, created by Maciej Kamuda, below along with the audio-only stream of new track, ‘Liquid Sky‘. We will bring you further details when they become available.

– Pat ‘Riot’Whitaker

Weedpecker III


DOUBLESTONE ‘Devils Own/Djævlens Egn’ Review & Album Stream

DOUBLESTONE
Devils Own/Djævlens Egn – Vinyl//CD//DD
Ripple Music – Release Date: May 5th, 2017
Reviewed By: Pat ‘Riot’ Whitaker

 

The Copenhagen-based Doublestone are back with their Ripple Music debut, ‘Devils Own/Djævlens Egn‘ on May 5th (today). Once again the band utilized the talents of Tony Reed (Mos Generator, Stone Axe) to master the new effort, one produced by the band themselves and Andreas Krohn at Wolf Ram Studios. With today’s release, guitarist/vocalist Bo Blond, bassist/vocalist Kristian Blond and drummer Mike James B. further explore the vintage-tinged sound that permeated earlier releases Set The World Ablaze (2013 EP), Doublestone (2013 self-titled) and the Wingmakers full-length.

On Devils Own/Djævlens Egn, the guys devise a seeming time machine and use it to return to an age of traditional, early rock music. In doing so, they keep the retroactive vibes and consistently rocking on such superb stand-out songs like ‘War Machine‘ (streaming below), ‘Man On The Hill‘, ‘I Natten‘ and ‘Solen Sover‘. Meanwhile, other cuts incorporate some nods toward a bit of psychedelia and more melodic influences. The partial title track ‘Devil’s Own‘ is a bit lighter fare that has an almost sea shanty-like quality to it while the other partial number, ‘Djævlens Egn‘, is a definite blues track.

Of the eight songs here, my personal favorite has to be ‘Here Comes The Serpent‘, an upbeat but doomy selection that weaves a mythical tale amid thick grooves and infectious rhythms. It rides along a direct trail of much heavier content and possesses some amazing guitar work as well. When taken in stride with the other songs, they all work together collectively to yield yet another incredible outing from this trio.

Once again, Ripple Music will release the new Doublestone album, ‘Devils Own/Djævlens Egn‘ worldwide today, Friday, May 5th. It will be available in the following formats: Vinyl, limited-edition/multi-colored Vinyl, CD and digital download.


EVOKE THY LORDS – “Lifestories” Review & Stream

EVOKE THY LORDS
Lifestories – CD//DD
Solitude Productions – Released April 24th, 2017
Reviewed By: Pat ‘Riot’ Whitaker

Imagine if you will a band that melds a magical blend of psychedelia with traditional doom vibes, groove-fueled heavy rock and death metal-ish vocals. Oh, and they do it all from Russia with love and lysergic lividity. Well, thanks to Steve Woodier and Frazer Jones, I too have now discovered a band that does all of that and more, Evoke Thy Lords. Their latest offering, the 5-song ‘Lifestories‘, was dropped this week and now here we are experiencing this amazing aural ride for ourselves.

And what a ride it is, my friends! With fuzzened riffs that reverberate for miles, the fantastic trek begins with the stoner-fied rumbles of ‘Regressed‘. A hypnotic rhythmic pattern keeps you anchored in place while periodic flutes and trippy effect-laden vocals swirl about. The doom is undoubtedly doubled down upon with a southern slant on the superb ‘Still Old‘ and its follow-up, ‘Life Is A Trick‘. The latter’s music evoking a classic Trouble feel for the most part and takes on a much different approach vocally compared to the other cuts. With ‘Heavy Weather‘ comes a palpably more gloomy, somber tone as it encircles you with trance-inducing rhythms and minimalist drums at first. It all soon gives away to some increased tempos that eventually yield themselves to some hazy, ethereally enhanced music. I cannot help but have comparative memories of Cathedral’s ‘Forest Of Equilibrium‘ during this song and times during others as well. At nearly twelve minutes in length, it covers a lot of territory and contains some interesting tones or effects, like the springy or “boingy” sounding licks around the 8:15 mark. Things end with the scorching delivery of the last song ‘Stuff It‘, an uptempo, heavy hitter containing some killer guitar work. Yep, what is stuffed is opiate-like riffs drenching the cut, more airy flutes, and some true to form, tight knit drumming.

So, to summarize, Evoke Thy LordsLifestories tells a tale of unique woe but woe with a lot of go and energy really. Tagged with being Stoner Doom is really quite fitting and to be sure, the band has a rather unique sound and style of their own going on. If you’re open to hearing something different then by all means, perform your very own evocation via the Bandcamp embed below.


VOKONIS Stream Title Track Of Upcoming ‘The Sunken Djinn’ Record; Album Details

Swedish psyche/doom trio Vokonis are sharing a stream of the title track from their upcoming Ripple Music release, ‘The Sunken Djinn‘ today. The band, guitarist/vocalist Simon Ohlsson, drummer Emil Larsson and bassist Jonte Johansson, will release the new album on June 9th. The eagerly anticipated new effort is the follow-up to last year’s critically acclaimed Olde Ones Ascending and today’s song share provides ample reason to fuel clamoring for the new record.

As the press release puts it: “Following countless appearances in the underground’s essential heavy directory The Doom Charts and frequent “Next Big Thing” mentions in end of year lists, Vokonis’ The Sunken Djinn will undoubtedly mark the arrival of Sweden’s next great hard rock and heavy metal export.”

A vinyl 7″ of today’s Single, ‘The Sunken Djinn’ (top image), will be released on May 13th from Ripple Music and the full-length album itself on June 9th.

The Taste Nation LLC review of ‘The Sunken Djinn‘ is coming to the site soon.

– Pat ‘Riot’ Whitaker

Tracklist:

Tracklist:
1. The Sunken Djinn
2. Calling From The Core
3. The Coldest Night
4. Blood Vortex
5. Architect Of Despair
6. Rapturous
7. Maelstroem