Virginia doom mavens Windhand have shared their video for their new track ‘Grey Garden’. The song comes from their new album Eternal Return on October 5th via Relapse Records. This all coincides with a new tour with their EP teammates, Satan’s Satyrs. Watch it now! Continue reading
Brought to you by the minds behind Maryland Deathfest, Days of Darkness Festival have added more names to the bill Bell Witch, Claudio Simonetti’s Goblin, John Haughm (ex-Agalloch), Heavy Temple, Ecstatic Vision and more have been added to the already killer bill. They have one more major announcement, coming up soon. Full lineup so far and ticket links below.
Doom metal merchants Windhand have released a video for their track ‘Forest Clouds’ off their latest album, Grief’s Infernal Flower (Relapse Records). Watch it below. Continue reading
When it comes to after parties Desertfest is certainly no Roadburn, where shenanigans are abound after the bands finish, but the brilliant cocktail bar outside, and rum n coke’s so strong you can see right through them in the venue itself, do get the party started, even if it takes a while. And by three in the morning, as venue security tries to sweep us out the door, most want to linger for a bit more dancing.
The Desertfest franchise is a well-known concept throughout the heavy stoner scene in Europe, having started in London and spread to other major cities like Berlin, Athens, and the last two years to Antwerp in Belgium as well. This year the line-up is incredible, and even the sad loss of Graveyard as a headliner can’t stop the momentum this fest will have. Continue reading
If you are into doom and 70s style stoner rock then The Met in Pawtucket Rhode Island was the place to be on Thursday, October 1st where the American masters of the sound, Pentagram, came through on their recent tour in support of their new album, Curious Volume (Peaceville).
Although Pentagram is the only band on the tour that was actually active in the heyday of doom, both bands on the tour package, Electric Citizen and Satan’s Satyrs, showed that they understood the aesthetic and vibe of the now classic sound. The only outlier was the local opener, Extinction Machine. Although their set started out slow, within minutes they got into a groove with their angry punk attitude and had me entirely captivated.
Pentagram played a varied set consisting of six songs from the new album, some of which had never been played live before (not that you could tell), along with the classics that everyone wants to hear. Their set was exactly as you would expect. Hard hitting, mesmerizing, weirdly sexual and totally perfect. No matter where or how often I have seen them, they never seem to disappoint. Check out the tour dates and go to a show.
British doom legends Electric Wizard are in the midst of their first full-scale tour of the US in twelve years. What’s the special occasion? Well their acclaimed 2014 album Time To Die (Spinefarm) is occasion enough to bring this troupe to our shores and give doom fans the tour they have been dreaming of. In tow for the coast-to-coast jaunt are up and coming Virginia dirt merchants Satan’s Satyrs, making for a potent bill. On a Friday night at Boston’s Royale nightclub, all the beardos, crust punks and vest metal folk descended near the famed Boston Common-area to share their love of crushing riffs, copious herbal smoke, and many frothy brews. Photographer Hillarie Jason was on hand to capture this photo set from the show.Satan’s Satyrs, by Hillarie Jason Photography.
Electric Wizard, by Hillarie Jason Photography. Electric Wizard, by Hillarie Jason Photography. Electric Wizard, by Hillarie Jason Photography. Electric Wizard, by Hillarie Jason Photography.
Electric Wizard will embark on their first US tour in 12 years, with Satan’s Satyrs (featuring Electric Wizard bassist Clayton Burgess) as support. They are touring behind Time To Die, out via Spinefarm Records.
Mar 31: Union Transfer – Philadelphia, PA
Apr 01: Baltimore Soundstage – Baltimore, MD
Apr 02: Webster Hall – New York, NY
Apr 03: Royale – Boston, MA
Apr 04: Corona Theatre – Montreal, QC
Apr 05: Lee’s Palace – Toronto, ON
Apr 07: Metro – Chicago, IL
Apr 08: Mill City Nights – Minneapolis, MN
Apr 10: Summit Music Hall – Denver, CO
Apr 11: Urban Lounge – Salt Lake City, UT
Apr 13: Neumos – Seattle, WA
Apr 14: Rickshaw Theatre – Vancouver, BC
Apr 15: Hawthorne Theater – Portland, OR
Apr 17: Slims – San Francisco, CA
Apr 18: The Observatory – Santa Ana, CA
Apr 19: The Roxy – Los Angeles, CA
Witchsorrow play to a sparse crowd, but still manage to kick up a storm. Nick Ruskell churns out barbaric slabs of distortion while bassist Emily and drummer David make a perfect partnership in more ways than one. Rivalling Jus Oborn and Liz Buckingham’s partnership in manner in which they communicate so exquisitely with each other.
This powerful compact performance is more than Shazzula can muster. Solo member atmospheric drone doom projects can prove tricky to translate in the live arena and while the accompanying feature film on the back screen helps provide the nocturnal 70s horror ambience this lady is looking for one the organ subsides it is clear that fiddling with an effects unit fails to conjure up hideously introspective feelings of foreboding. In more intimate surrounding this may prove more effective but for now this is a languid trip that few are buying into.
Satan’s Satyrs fully embrace their occult metal heritage featuring vocals very reminiscent of Ozzy Osbourne. ‘Show Me Your Skull’ has some ballsy riffs but other than that there are not a great deal of hooks to draw you in.
Eerie sound of thunder and the garish projections fill the stage as ‘Witchcult Today’ announces the arrival of Dorset’s Electric Wizard. The second departure of sticksman Tim Bagshaw and subsequent reintroduction of Simon Poole sees a tighter more efficient outfit which should hope to dispel recent memories of sloppy performances.
For the most part the set flows like molten lava; relentless and constant. Material from new opus Time To Die (Spinefarm) is consistent with the band’s early work, mining the depths of paranoia and subterfuge to compelling effect. Enveloped by a cloak of Hammer Horror psychedelia Wizard are at times mesmerising yet the cavernous venue doesn’t seem prepared for the bombastic showing with tonight’s set being quieter than some of their recent outings.
While the wheels don’t come off tonight, we don’t escape a snafu in the sound department when Jus Oborn’s amp blows up during ‘Funeralopolis’. Luckily Nick Ruskell is on hand to supply his equipment, but Oborn looks pissed off at this slight interruption. Soon enough the black tar riffage cut through the PA allowing the show to be brought to a cathartic climax. Not the triumph the band would have hoped for but in places Wizard showed capable of transfixing an audience who shall surely be ushered into their loyal Supercoven.
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WORDS: ROSS BAKER