Lineup: Russel Clark (Vocals)
Christos Athanasias (Guitar)
Nicolas Dumont (Bass)
Andy Alkemade (Drums)
Tracklist: Promised Land 04:53
Black Widow 03:53
Raging Bull 03:21
Killing Time 04:31
Love Enemy 03:56
You & Me 03:58
Little Birdy Told Me 04:10
The Fire 06:24
The Ugly Kings are a Rock band from Melbourne, Australia. I’ll let the band explain themselves further; “[we] offer a stripped down but powerful injection of energy and emotion to the modern rock scene [by] formulating what can only be described as ‘Power Blues’ [with] memorable beats, thunderous bass lines and an electrifying barrage of bluesy ‘grit’ riffs tied with raw and emotive vocals.”
Darkness Is My Home is the first full length album by the band. (The previous releases being a E.P. of sorts, Of Sins, and a single, Promised Land, which is the same as the version on this release but has a b-side that is not on this album.)
Overall the band’s sound is a mix of early Classic Rock and are heavily inspired by Blues Rock. The perfect descriptor tag for the album is Doom Blues with Rock flair. In a way this album sounds like you can chop up and mix it up and make different songs each time. At the same time I like that it sounds that it was recorded in one take in a converted garage to studio.
Promised Land: I found a quote from the band on the song; “‘Promised Land is about the false promises that are preached to us by the charlatans of our society (politicians, big business, etc…). It’s about the pipe dream they sell us to keep us in servitude to the 1%, to keep us slaves to the dollar and material things. There is nothing at the top of the ladder, except another ladder. The Promised Land isn’t the destination we get sold, it’s inside of us.”
The band also have a beautifully shot video for the track too.
Black Widow: This is the 2nd hardest rocking track on the album. There is a bunch of back and forth in the tempo. It is also what I imagine the cover art comes from. (That and for Love Enemy)
Raging Bull: This is the hardest rocking track on the album. The riffs on this song sounds so familiar and I can’t think of what it is from.
Killing Time: Watch the music video for this track HERE
Love Enemy: This is a slower and more blues filled track. They sit on the riff while Russell is delivering the vocals. This track also feels like it could be a 2nd part to Black Widow.
You & Me: This is where the title of the album comes from. This is another slow track.
Lazarus: This track is a cover of David Bowie’sLazarus from his swan song album “Blackstar” and the band manage to make it their own while keeping the original close at hand.
Little Birdy Told Me: Kind of feels like Love Enemy.
Transcending Obscurity Records – releases June 22, 2018
Terry “The Ancient One” Cuyler
“Lending an Ear to the Mouth of Madness”
Not very long ago I was feeling a nice mellow after listening to some outstanding stoner rock however that soon changed after I received and listened to a pre-release of a debut album by Portugal’s black metal band GAEREA called “Unsettling Whispers”. Though they conceal their identities from the world at large behind black masks with occult symbols, GAEREA do not fail in making their intentions known. In the statement on their Bandcamp page they say to their audience: “Let’s make one thing clear. We need to stress the fact that our era is lost in a huge void of numbness. We are here to bring and present you what your system could not solve by itself. We’ll cover the daylight with ashes and smash the massive skull that’s blocking your brain and will to evolve.” – We’re GAEREA –
I can’t say with certainty when GAEREA began their quest to lead our world that is lost in a void of numbness to its ultimate destruction or evolution. But after a bit of research I learned many in the black metal underground began taking notice of GAEREA after the released it’s S/T debut EP on the Italian label Everlasting Spew Records in 2016 earning a small but loyal cult following and positive reviews in the black metal web-a-zines and blogs. Presenting themselves as a musical adversary GAEREA spits Narcissism, Self Destruction, Misanthropy, Mental Numbness creating an image of humanity at its worst through their music which it’s audience will hopefully be inspired to NOT become.
With a “Self Titled” debut EP out in MP3, CD, and Vinyl format, appearances around Portugal, and Spain and a boatload of reviews, GAEREA signed on with Transcending Obscurity Records and began work on their debut Full Length which is set for release June 22, 2018. Recorded, mixed and mastered by Miguel Tereso. With much better production, GAEREA has managed to put more focus into the artistic aspect their music deserves. While I felt the angst and venomous bile in their “S/T” EP, pushing the play button and listening to Unsettling Whispers was like lending an ear to the mouth of madness. Though I could only pick out a few of the words because the vocalist uses some hardcore vocal techniques that are spat out in a feral growl, I could definitely feel the musics intent and emotion he is trying to convey which I think were best represented in these “SELECT” standouts!
Svn– Beginning with an eerie oscillating sound that moves into pained ghostly whispers, ‘Svn’ feels like walking up to the very gates of hell and seeing a glimpse of what is in store as the build up begins and then let loose with a maelstrom of melodies, blast beats, and bellicose harsh vocals that lead into ‘Absent’.
Absent – What I managed to pick up from this is its about a person that discovers a loved one dead by their own hand. Throughout the song I hear the guitarist playing with a melodic tremolo picking technique and the drummers blast beats lending the bitter disrepair in the vocals creating a vision of somebody smashing their house up and setting themselves ablaze.
Whispers – What impressed me most about this song were the buzz saw riff, and jackrabbit fast blast beats that fooled me into thinking the song was nearly over as the tempo slowed only to pick right back up again before ending in a furious crescendo.
Lifeless Immortality – While GAEREA definitely uses some Hardcore elements in their music. They also have a melodic feel that shows up in ‘Lifeless Immortality’ using techniques on the guitar and bass that would work just as well on a violin or cello.
“Unsettling Whispers” will be available on Jun 22 in MP3, Vinyl, and CD on June 22. This is definitely an album to pick up. You can pre-order it on Bandcamp at the above link and buy a T-Shirt.
Tracklist: Rise Of Beesus 07:31
6ft Under Box 03:55
Sonic Doom/Stoner Youth 06:21
Mata La Vergüenza 04:41
Beesus In Dope 07:40
Earlier this year the band made a Pledge Music page to promote and raise money for there second album. It is now closed (of course) and, luckily, reached 101% of its goal. It had some interesting options like, a cover song of your choice, a in your house performance, and an executive producer credit. Sadly the website doesn’t tell you how much of each option was bought so I can’t tell you what got bought the most. But anyway to the review…
Beesus’ second album has more of a venom and late 80s grunge, noise rock feel. The production and playing on this album has tightened up. There is also a more punk feel and the fuzz is still present but is toned down.
For a couple of songs the band have introduced a vocoder. It makes it’s entrance in “I Don’t Wanna Be” and it’s exit is “Beaux”.
The “Intro” and “Outro” are a strange mix of keys and maybe a garage door opening.
“El Dude” starts with a lot of noise and a solid bass riff. It also sounds like it could be the first part to a later track (I Don’t Wanna Be).
“Dubblegum Boom Metla” has four movements the first part which is medium passed and has a repeating riff and speeds up as it gets to the the second which is faster and then it speeds up and suddenly slows to the background screaming and slow churning fuzzy guitars. It then speeds up again, back to the second pace, but only briefly and then it fades out.
“Nuña y Freña” is somewhat of a throwback to their first album kind of like “Kusa”.
“Reichl” is the roughest and noisiest of the main tracks. “Take the cure, my man” is repeated many times throughout the song. Sonic Youth will definitely approve!
“I Don’t Wanna” be is a mix of stoner, punk, and a few moments of rapid, almost rapped vocals. This is the first track with the vocoder. It is in the background emphasizing some of the vocals.
“Junk Around” has the most affects added to it. Strangely enough it is also the most punk of the tracks. There is “You’ll succumb to me.” and “On your knees” are the phrases for this song.
In “Beaux”, the vocoder returns. It is more prominent. This song is also the slowest, and longest, on the album. Has a well executed sludgy feel to it.
“Sgt. Beesus and the lonely ass Gangbang!” is definitely an improvement on their first album and I am excited to hear some of those cover songs if anyone bought that perk.
Original Tracklist: Intro 00:32
Down And Outer 03:36
Trip Down Memory Lane 01:11
Drugged Up Dolls 02:19
Sex Devil 05:50
The Doped Up Devil 04:05
Perversion For Profit 03:28
You Are The Prettiest Pill 04:06
Did You Know? 03:11
You Had This Coming 03:49
Nothing Song (Bonus Track) 03:30
Re-release Tracklist: Intro 00:33
Down And Outer 03:19
Drugged Up Dolls 04:40
Sex Devil 06:01
Perversion For Profit 03:19
Nothing Song 03:29
You Are The Prettiest Pill 06:53
Did You Know? 03:08
Devil’s Advocate 03:16
The Doped Up Devil’s with Sexual Grooves (Re-Release)
I’ll let his Facebook bio explain: “Bad Monster Black is a project formed by King Jeremy The Wicked (Jeremy Vibbert). “Bad Monster Black: The Doped Up Devils With Sexual Grooves” EP was released late 2014 and did not fit the KJTW catalog, it was something different, it had swing, punch, and an undeniable groove that broke away from the thrash metal criteria. So shortly after releasing the EP, it was re-released under the name Bad Monster Black, and eventually taken off of the KJTW Discography. Thus, making Bad Monster Black the new home of the experimentation with swinging riffs, overloaded guitars, and a tongue in cheek attitude that makes the music even more fun to listen to. This isn’t music you’d take home for your family to listen to, and that’s how it’s intended.”
The sound of Bad Monster Black’s music is very 90’s; it is very reminiscent of the music of Puscifer, Marilyn Manson,White Zombie and even Rob Zombie’s solo work. Even though those influences are very prevalent Jeremy found a way to make it not sound too dated. Both releases have different track-listings and have a couple of different songs on each.
That being said I’ll make a somewhat in depth look on the tracks that are same (and what has changed on the remaster.) On the tracks that are different I’ll say what each of them do to make the release different.
Almost all of the tracks stay except; Trip Down Memory Lane, The Doped Up Devil, Control, You Had This Coming, and Outro (on the original release) and on the re-release; Intermission, Devil’s Advocate, and Stoned. These tracks are either new (in the case of the re-release) or taken out (original) the only track is the Intermission which is a shorter version of The Doped Up Devil.
The tracks that stay almost the same; Intro, Drugged Up Dolls, Sex Devil, Satanola, Nothing Song, You Are The Prettiest Pill, Did You Know, Low. What did change was samples and some of the production. Overall there was less use of samples in the remaster and, in a way, that makes sense for the update to fit the Bad Monster Black catalog since the focus changed to more sleazy Rock. Intro, Did You Know and Low did not change at all, or not enough that change the experience. Satanola is a standout that would fit nicely into any Puscifer album.
There are only two original tracks that are different, Down and Outer and Perversion for Profit. For the remaster the guitar solos were replaced by slower guitar parts and dirtier production.
“The Doped Up Devils with Sexual Grooves” – (Original 2014)
The original release is more of a current sounding album than the remaster and is a heavier/more metal than it as well. As I stated before; the main differences between them is that on the remaster the recording is less clean and more fuzzed out for that dirty 90s feel and the guitar solos that are in the original are changed to fit the dirty sound so the sound isn’t as muddy and has less of a touch of Metal. The sleaze is upgraded for a more solid Sleaze Rock feel. If you like music that is dark, sleazy, has hints of blues, lots of fuzz, Rob Zombie-ish (and at times Tonetta-ish in the remaster) this band and its’ albums are for you.
Bad Monster Black (King Jeremy The Wicked) is a prolific writer and pumps out high quality music on a regular basis. To use Mr. Wicked’s own words about this album and his process, “This is a re-release from the 2014 version. The reason? This band is all DIY, Which means about 90% of the time it’s all trial and error.” So Support!!!
Download the original HERE and the Re-release HERE
P.S. to King Jeremy the Wicked, if you would like to do an interview about this album please contact me.
Poia – Guitars and FX
Urlo – Bass, vocals, FX and synths
Vita – Drummer
Ciccio – Soundlord
Lu – visuals
– 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
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!!
MERCHANT Beneath – CD//DD Black Bow Records – Released May 12, 2017 Reviewed By: Pat ‘Riot’ Whitaker
Black Bow Records is the label started by Conan’s Jon Paul Davis and it just released the 2-song ‘Beneath‘ from Australia’s Merchantlast Friday, May 12th. It was just little over a year ago that Merchant came crashing on to the heavy music scene with their four-song debut, Suzerain. Now, vocalist Mirgy, guitarist Ben, bassist/vox Wilson and drummer Nick are back with another brutish boulder of harrowing heaviness.
The slowly unfolding first moments of ‘Guile As A Vice‘ are somewhat sedate as a fuzzy riff reverberates and plodding drums render periodic, perfectly timed strikes. Soon a pattern begins to form and from that pattern, a rhythmic roadmap comes into sight..and sound. Equally melodic and epic, things build and circulate, almost reaching a drone like point before gravelly vocals finely enter the mix. Harshly acidic, they herald a tale told from what sounds like pure vocal chord shredding severity amid semi-psyche infused atmospherics of utter dread. At over fourteen and a half minutes running time, there is a lot of transcendental sludge to be explored here for sure.
Second cut ‘Succumbing‘ is instantly more uptempo yet no less savagely brutal and battering. Taking a cue from peers like Neurosis and Yob, the track’s flurry of circulatory rhythmic pulses pull you under. The vocals undergo a turn toward a much more sinister state than the previous track while the hellish audio bog beats you into submission. Another long-player, the song maintains a constant, fevered inferno of activity on varied levels and refuses to let up for the most part. A bit of haziness seeps forth at one point as things begin to pull back in intensity, gradually getting a bit more and more minimalist. That throttling down continues and soon gives way to a cacophony of feedback and dissonance before relinquishing its hold upon your throat.
What strides Merchant has made since their critically acclaimed release last year are more than evident on the new EP, ‘Beneath‘. The sludgier vibes are prevalent and punishing of course with one of the most noticeable differences here is the change in the vocals. I am sure this newly released beatdown of blackened bereavement shall leave no listener unscathed. You can now stream it for yourself via the Soundcloud embed below if you dare.
THAL & HASHISHIAN Taurean: Split EP – CD//DD Self-Release Reviewed By: Pat ‘Riot’ Whitaker
After a string of singles, multi-track EPs and the critically acclaimed 2016 full-length ‘Glitter‘, Columbus, Ohio’s one man abomination that is THAL (The Heathens Are Loose) is back! But the wizard-like maestro behind the project, Vince Green, has brought some friends along with him on this latest offering. Not only is his wytCHord bandmate Kevin Hartnell stepping in to contribute drums and guitars to this new material but hell, there’s a whole other band connected to this release. That band, Malaysia’sHashishian, contributed three tracks along with THAL‘s three here for this six song, two band recording: the ‘Taurean‘ split EP.
THAL are the first to rumble out of the gate with their bass line-introduced first song, ‘Bloodglutton‘. Things quickly escalate into a full on aural discharge of wailing guitars and crushing drums before the lyrical lull of the first verse draws us into things. Before you know it, a vicious, throat searing scream fully unleashes the track loose upon us all. Things soon settle into a rhythmic patterning while spoken word inserts, in this case news reports, describe sightings of what sounds to be Chupacabra. Next on deck is the southern doom-infused grooves of ‘Flood The River‘, a song driven by thick, chugging riffs and splintering drum work. Hazy tones ripple across the air as Vince’s distinct vocals weave the tale to be told within the track. The last track from the Buckeye State boys is ‘Feast For The Wicked‘ which begins with some seriously Iron Maiden-ish-toned guitars before kicking in. Once fully engaged, the song takes on a bit more airy overtones as its uptempo, energized delivery powers through. You can hear a much different vocal approach here than what we are used to with THAL too but it suits the more European-flared power metal sound of the music well.
Hashishian are a quite bit different than their predecessors, at least style-wise as these guys play more downtuned, slower-paced sludge. Seth Nazgul (Bass/Vocals), Jiesus (Guitar/Vocals) and Sur Gondrong (Drums) are clearly students of the Black Sabbath-meets-Sleep school of sonics. Once the wispy, sedate intro of ‘Carving The Void‘ melts away, things explode into a deluge of fuzzened guitars, shuddering rhythms and acidic, volatile vocals. The thick-ass tones in the track periodically yield to frenzies of furious, punk-ish musicality. However, ‘Journal Of A White Crow‘ unfolds with some bluesy guitars wailing out as the cleaner delivered vocals present themselves. After a moment or two, things abruptly hit a wall of slowly rendered psychedelic flavors before reprising the frenetic intensities once again. Last track, ‘Magic Of Kenna‘, delves into a dizzying den of southern sludge and relentless rivets of drumming before hitting the brakes and turning headlong into some doom. It all escalates into squealing guitars, spiraling bass, and solid drumming before it finds its end and leaves you nearly breathless from what you’ve just experienced.
The unexpected pairing of THAL and Hashishian for the ‘Taurean‘ split EP was a nice surprise and in THAL‘s case, a nice holdover item while the work continues on the follow-up to Glitter. He probably won’t mind me telling you this but Vince recently let me hear a brand new THAL demo track, a work-in-progress if you will. Even in that raw state I can tell you the song is bad ass and definitely displayed some experimentation going on with the band’s overall sound, and vocals too. Anyway, ‘Taurean‘ is streaming in the Bandcamp embed below so check it out but wait, it gets better! Once there, the 6-song EP is available as a NYP (Name Your Price) item so you can snag it for notta if you must go that route.
From Poznań, Poland we have received the impressive new effort from Strange Clouds, ‘Calm Before The Storm‘. This five song album possesses an interesting potency of melodic rock that’s founded on bluesy swagger and solid playing. Those bringing that surety through in the music are vocalist/guitarist Lucky, guitarist Żożo, drummer Czarek and bassist Kajo. What they manage to capture in that self-same music are hazy, ethereal qualities that add an intriguing texturing to these songs. Laid back with a definite carefree vibe to them, songs like the scorching introductory cut ‘Heal The Ghosts‘ hit great heights within their groove-laden release. Killer guitar work is stitched throughout the song, including some cool, meandering moments laced with trippy psyche touches. Continue reading…
Thirty years is a mighty long stretch between album releases for any band and although rare, it does happen at times. In fact, it just happened this past Friday, April 7th as an iconic act of yesteryear, Jesters Of Destiny, returned with ‘The Sorrows That Refuse To Drown‘ via Ektro Records. See, this is the first new studio album of original material from the duo of jokers Bruce Duff and Ray Violet since 1986’s seminal Fun At The Funeral outing (released through Metal Blade subsidiary Dimension Records FYI). Some might say the new record was by sheer accident while others might claim divine providence, take your pick. Evidently the new music began as an independent, non-Jesters undertaking but as the songs took on lives of their own, it became quite clear they were of such a caliber worthy of a Jesters Of Destiny designation.
See, if you know anything about this cult-revered band then you know that they are the very embodiment of terms like “unique” or “iconic”. They obtained such tags long, long ago when they were first pioneering what we now call Alternative Rock/Metal. At the time, there was no such genre classification and it’s because of the things that Jesters Of Destiny were doing musically that such labels were inspired and attached. They spearheaded the movement itself with their amalgamated hodgepodges of jumbled bits and pieces of various types of sonic smatterings in their earlier life. A touch of this, a taste of that, all blended together to create something unlike anything else in their contemporary surroundings at the time.
That very same approach, the method to the musical madness so to speak, is the very exact formula applied to these new recordings as well. Frenetic flavors of metal, punk rock, psychedelia, new wave and other extensive abstracts are melded into a cohesive, and yes, rather eclectic effort. So many decades in the making has allowed for a truly freestyle process to unfold where limitless elements are instilled into the music. Bassist/vocalist Bruce Duff says it best perhaps by stating: “This is our third record,” he says, “we took 30 years off. It wasn’t like we were sitting around though. We’ve been working on these songs for a while and we think it connects with the same stream of consciousness we previously mined but without looking back to 80’s sounds. We think it’s pretty current. It also required a lot of current.”
There will be no track by track breakdown this time, to attempt such would result in a struggle to properly quantify the myriad nuances contained within this album. And in all humility, I am good but even I may not be THAT good in this case. No, ‘The Sorrows That Refuse To Drown‘ is an album that must be heard firsthand to fathom, to understand fully and appreciate justly. Thank your lucky stars that Taste Nation LLC has provided you the very means to do so in the embedded stream of this opus below. Old fan, new convert, unsuspecting stranger, it matters not as Jesters Of Destiny are a band that must be experienced aurally to either embrace or reject. That undertaking is what I now leave to you and remember, ‘The Sorrows That Refuse To Drown‘ was just issued on vinyl (the version you hear with this premiere), digitally on CD and via download/streaming this past Friday. The vinyl and digital versions are different from one another too as the CD has different mixes of two of the songs, and three songs not on the vinyl, including a cover of John Lennon and Yoko Ono’s “Two Minutes Silence“. Now, explore and enjoy!
This past Friday, April 7th saw the unleashing of the 3-song act of savagery from Witchapter, the “Spellcaster” EP though Black Bow Records. This is sinister sludge and damnable doom music for the hopeless human as it is bleakly to the point. The UK-based band itself is in its infancy really as guitarist/vocalist Chris Grenfell, bassist Bobby Smith and drummer Louie Spencer just united under the moniker in 2016. However, it does not take long to manifest a deluge of despair-laden tunes when you find inspiration in history’s horrific mistreatment of people. In this case it is the events called punishment of those that were deemed heretics by the Roman Catholic Church. The band have addressed their muse by saying:
“Prior to the 13th century witchcraft involved a collection of practices and beliefs centered on healing. In practice this utilized ointments and potions prepared using natural ingredients and administered to the patient as a remedy for the particular ailment.”
“This created a destabilizing effect on the church and it was not long before the clergy, empowered by a movement passed by the Roman Catholic leadership, began branding these ‘healers’ as witches and heretics, the punishment being for those found guilty: death by burning.
“The accused were forced to confess, even if innocent, via brutal torture and then burnt alive to purify their souls and ‘save them.’ The lyrical content leans heavily on the accounting of these times and inspires the aesthetics chosen for the graphical representation of the music.”
Damned if you do, damned if you don’t and with this EP, damnation is the name of this most cruel game as ‘Veiled Aggressor‘, ‘Through Smoke And Sulphur‘ and ‘Everywhere I Look I See My Grave‘ are ruthless. Forged upon sludgened riffs, bone-shattering rhythms, and heavily downtuned elements everywhere, this is raw and visceral. Thunderous gutturals permeate the tracks as thick, godless grooves plot the course and render a mutually assured destruction. Deserving or not..hell awaits.