UK Sludge/Doom band Opium Lord is dropping their brand new album tomorrow, October 11th, via the mighty Sludgelord Records. The album is great, with magnificent riffs and a guest appeance by the legend himself, Mike Scheidt of YOB! Check out the full album stream, only at Ghost Cult! Continue reading
Drone, much like Djent, is a wonderfully onomatopoeic genre. Say “droooone” out loud and you get somewhere close to the guitar tone that makes up this subset of noise music. It’s also a rather impenetrable genre, taking vast amounts of time to learn the ins and outs of a band’s oeuvre. Drone isn’t music for casual listeners, it requires dedication. When combined with swirling psychedelia and a deluge of Doom you get Asterismal, the latest album from experimental merchants, 11PARANOIAS. Continue reading
Tommy Stewart, lynchpin of Doom outfits Hallows Eve, Bludy Gyres and Dyrewulf, is not a man to allow moss to sprout betwixt his tootsies. After last year’s mammoth Bludy Gyres contribution to Rope Enough For Two (Black Doomba Records), their split with Dayglo Mourning, comes Negative Wall: a new project formed with long-time cohort Dennis Reid and guitarist Don Cole. Continue reading
Formed in 2012 in Portland, Oregon, doomsters Holy Grove follow-up their 2016 debut Holy Grove (Heavy Psych Sounds) with the rather imaginatively titled Holy Grove II (Ripple Music). Thankfully, the music contained on this weighty slab of metal is far more inventive than its moniker, as the band delivers five mighty tracks of absorbing progressive Cosmic Doom. Continue reading
Yob continues to close in on their new album, the highly anticipated Our Raw Heart, releasing June 8th via Relapse Records. As we await further information about the album such as a tracklisting and artwork, and of course new music, here is a cool video of frontman Mike Scheidt playing their classic track ‘Marrow’ acoustic in this clip made for Revolver. Continue reading
Not many bands can say they played every single day of a four-day festival. Well, Slow Down, Molasses can! The Canadian shoegazers took to the stage at various venues over the weekend. They mostly played songs from their brand new record 100% Sunshine, which you could buy on PINK vinyl (needless to say, we did). Continue reading
In Part II of our interview with Mike Scheidt of YOB, we talked about the popularity of the band and the wider acceptance of Doom Metal as whole the last few years. Although he refused to take credit for it, YOB’s killer albums have certainly been part of the equation. At the same time Mike remains grounded and remembers where he came from when the band played to empty clubs and heard crickets. Check out the piece below and make sure to catch the band on tour with Enslaved this spring.
“We are equal parts stoked, perplexed and surprised, so that is good. Part of it for us is longevity. We’ve been around and been around long enough to have seen it go from 50 people at a show to 500. The climate has changed and we have played big shows and things we certainly never set out to do. It has grown as we have grown. And we have also tried to focus and keep our heads down too, and focus on the music and why it is we love music, and love to play the music we love. I think metal in general has come more on the worldwide radar as art, as opposed to just deviant, meat-headed music as it did 20 years ago. Now it is being taken seriously much more so than before. We’ve worked hard to become a better, stronger band. I also think some of it has nothing to do with us. We’ve never tried to be an ambitions band, trying to get out there. We play Doom Metal. For a large part of our history, nobody really cared. Now that people do, we can’t really take credit for that. There are so many bands putting records out there.”
“When a bunch of critics and writers agree that they like our record, it’s totally an honor and humbling. It’s an interesting change. It’s taken a little running and getting used to. Those things come and go too. We acknowledge it. We are grateful for it. We keep working on, work on the music, the live performance. We just keep on keeping on.”
“We had no expectations to begin with. We are honored to share the stage with some of our heroes. The thing about a Doom metal show in the year 2000 was nobody was there by accident. Everybody knew what they were getting into. Those 50 people that we were there knew what they were getting into. Whether it’s a trend or not, time will tell how that will unfold. We’ve been doing it for so long now. I don’t see us deviating from that anytime soon.”
As a closing point, Mike made a profound comparison to the biggest bands of yesterday, and the line between critical praise and the commercialism of the mainstream today:
“Even 25 years ago, the metal bands that were big were fantastic. Really big. Iron Maiden. Judas Priest. Slayer. Motorhead. These bands are incredibly wealthy and they are all still good. And the fans haven’t abandoned them. Getting mainstream success today doesn’t mean the same thing today as it did for those bands. It’s a completely different world and completely different musical climate.”
WORDS BY KEITH CHACHKES
Red Fang has announced a string of upcoming Australian and New Zealand dates in May. This follows their European run in April, and return for European festivals this summer.
They are still supporting Whales and Leeches, which was produced by Chris Funk (Decemberists) and mixed by Vance Powell (White Stripes, Raconteurs, Kings of Leon). Featuring such guests as Mike Scheidt (YOB) and Pall Jenkins (The Black Heart Procession), Whales and Leeches propels Red Fang into the upper stratosphere of the heavy rock and metal elite. The album can be streamed in full via their official Bandcamp page here.
Stream their latest animated video for “Crows In Swine,” directed by Adam Avilla, here.
Apr 21: L’EPICERIE MODERNE – Feyzin (FR)
Apr 22: L’Autre Canal – Nancy (FR)
Apr 23: Grand Mix Tourcoing (FR)
Apr 24: Desertfest – London (UK)
Apr 25: Desertfest – Berlin (DE)
Apr 26: Alibi – Wroclaw (PL)
Apr 27: Fabryka – Krakow (PL)
Apr 29: Zal Ozhidaniya – Saint Petersburg (RU)
Apr 30: Volta Moscow – Russian Federation
May 07: Rosemount – Perth Wa (AUS)
May 08: Fowlers Live – Adelaide (AUS)
May 09: The Barwin Club – Geelong (AUS)
May 10: Cherry Rock 015 – Melbourne (AUS)
May 12: Crowbar – Brisbane (AUS)
May 13: Crowbar – Brisbane (AUS)
May 14: The Manning Bar – Sydney (AUS)
May 15: The Prince Bandroom – St. Kilda (AUS)
May 16: Kings Arm – Newton (NZ)
May 17: San Francisco Bath House – Te Aro (NZ)
Jun 06: FortaRock 2015 (w/ Epica Nymegen) (NL)
Jun 18: Copenhell 2015 – Copenhagen (DK)
Jun 19: Azkena Rock Festival ARF 2015 – Bilbao (ES)
Jun 26: Provinssi Festival – Seinajoki (FI)
Jul 03: Mighty Sounds Festival – Tabor (CZ)
Jul 04: Vainstream Rockfest – Münster (DE)
The Roadhouse is terribly small. And dark, much to our snapper’s consternation. Suitably subterranean then for the evil rumblings of London’s Ghold, an unassuming looking duo of bass and drums until part-time guitarist Oliver Martinez began to create stunning atmospheres halfway into their set. They surprised and seriously impressed by producing a captivating set of unholy sludge doom, the power of which would have given Conan a real run for their money.
The allure of doom’s new boundary breakers subsequently created a struggle for room. Brett Campbell‘s Godflesh shirt belied the soft edges Pallbearer portray on record, but their pulverising power was unmistakable from the opening strands of World’s Apart, the opening track from their recent and magnificent Foundations Of Burden (Profound Lore) album. Guitarist Devin Holt was the archetypal rhythm master, throwing shapes with grave abandon, whilst Campbell’s leads soared and punctured holes in the ceiling. A nod to drummer Mark Lierly induced the swell of noise that is first album highlight Devoid Of Redemption: a cymbal puncturing the purr of Zeus’ cat, that slow juggernaut of a riff catching a groove from Lierly’s brutal yet studious pounding. Campbell’s voice was a chiming bell, hitting notes full of melody and pathos, whilst bassist Joseph Rowland punched the air during the huge coda of Foreigner, showing both the relief and the euphoria of a defining moment. The crowd adored this brave, unfettered quartet who believe in every note they play and who were only slightly thrown by a venue protesting against the sheer weight of their sound. This was something special.
As was the performance from tonight’s headliners, the revered YOB: a pulsating, fulminating mass of energy, the enigma that is Mike Scheidt‘s voice soaring then slicing through a now-hammered venue. The full playing of latest album Clearing the Path to Ascend exploded forth with the maelstrom of clear sound and thundering bass that was In Our Blood, Scheidt bounding to his mic like a mugger, whilst he and bassist Aaron Rieseberg bucked with every twist of the crater-creating riffs. The sonic violence of Nothing to Win was greeted with joy, Rieseberg’s ferocious bass peddling belying his peaceful demeanour, Travis Foster’s drumming as phenomenal to witness as to hear on the album version. New classic Marrow concluded the evening, and was possibly the most subliminal and emotional twenty minutes of a gig I’ve ever experienced. In two-tone espadrilles and a purple leather waistcoat, the prince of doom led his bare-chested sticksman and spacey, body-shuddering bassist to a mellow yet wondrously heavy glory: at times a caressing savagery, others a cosmic beauty, the whole moving more than this old hack to tears.
The aftermath was a bewildered delight, people hugging the band or sitting on the stage fringes shaking their heads in awe-struck wonder. This most glorious of nights was a privilege, an epiphany, which a bigger venue would have enhanced but possibly robbed of its intensity and warmth, and will forever be fondly remembered by the fortunate souls who witnessed it.
WORDS: PAUL QUINN