Before you sink your teeth into this, let me make a quick disclaimer for those of you looking for a standard review. This ain’t it. If you want to read, ad nauseam, about each band that played, who was good, who wasn’t, what songs they played or how many bands are “female fronted,” have female members or where any of these bands are from I can guarantee you a quick internet search will get you your fix somewhere. If you are looking for someone to tell you what any of the bands sound like, look like or act like then here is a novel idea, buy their music, go to a show and form an opinion for yourself. No offense intended to anyone writing something like that or looking for that kind of thing but you won’t find it here because I don’t feel like writing something everyone else has or will. (Offense intended to anyone still finding some ridiculous need to write or read about bands being “female fronted.” Fuck off.)
Psycho Las Vegas 2017 will be taking place from August 18th-20th at the Hard Rock Hotel And Casino Las Vegas in Las Vegas, Nevada. The initial lineup seemed to feature every band ever, but now they’ve added Mastodon as the final headliner, and it’s officially one of the sickest bills ever created. Continue reading →
Ghost Cult once again brings you another “End Of Year” list, as we close out 2016. Today we get a list from David Gates of Nashville sludge and doom rockers Season Of Arrows. The band just signed a new record deal with Argonauta Records, Give it to the Mountain, due out on March 24th 2017. David puts down his axe, and picked up his laptop to send us in his essential list of albums from this past year, and it’s killer!Continue reading →
Desertfest London will announce next spring’s first bands next week on October 13th. Tickets will go on sale to coincide with the release at 10 AM local time GMT and will be £100 for the 3 day weekend fest, with no increase from this year. Continue reading →
Still They Pray (Relapse Records) is the first long-player in six years from legendary Virginian Doom quartet Cough, with a couple of later ‘splits’ the only things preventing their status from slipping into the mythical. Thankfully this time lapse hasn’t seen the band’s power or collective ability diminish.
Album opener ‘Haunter of the Dark’ exudes the heavy, Occult feel of their one-time ‘split’ mates The Wounded Kings: riffs and leadplay evoking the bone-crumbling mysticism of George Birch and Steve Mills. This is allied to the fuzzed sound and laconic, harrowing vocal of Electric Wizard, which is apt given that Jus Osborn handles production here. Follow-up ‘Possession’, however, and wonderful album highlight ‘The Wounding Hours’ with its haunting keys, both take on a new resonance: obsidian screams leading a slower trawl through infested swamps, resulting in the more familiar funereal pace. The standout feature here and in the crawling, sinister warmth of ‘Dead Among the Roses’ is some mournful, stirring leadwork, squealing and moaning through an oppressive riff and pummeling rhythm section like a speared anaconda.
This is, of course, the mark of this lumbering leviathan: it’s a sound you’ve heard before but, as with TWK, Cough adds a variety and subtlety which supposedly more influential contemporaries seem loath to display. The sheer evil of ‘Masters of Torture’s Blackened Sludge vocal heightens both the intensity and the omen: while wailing solos add morose emotion to a creeping, hideous body, suddenly enlivened by a rumbling, Dorrian-esque groove. The beautiful, leaden balladry of ‘Let it Bleed’, meanwhile, is graced by a Hippy drawl which still manages to carry a certain malevolence; as does the monstrous instrumental ‘Shadow of the Torturer’, Parker Chandler’s basslines plumbing the Pacific depths whilst seedy, seductive leads screech and oscillate, easing Joseph Arcaro’s lazy yet powerful drums to a crushing main section.
It’s a sound undeniably British, whilst reminiscent of Chandler’s work with Windhand and, as evinced in the acoustic-led closing title track, a late 60s Haight-Ashbury Americana. With such obliterating Doom spirited by the fire, despair and hate of the 21st century, Cough has never sounded so vital.