#DHUS Studio

[fetichesonoro]

Early Fetiche Sonoro

Ibero-American music, hailing from diverse regions, underwent a departure from conventional norms and traditional ideals, potentially requiring the amalgamation of select elements to craft a novel and distinctive musical identity, in order to become what it is today. In retrospect, certain compositions and albums from the 1960s, 70s, and 80s bore the unfortunate brunt of subpar production resources and inadequate studio equipment. Nevertheless, this compilation endeavor strives to curate a selection of the most intriguing sonic expressions from this early period. Featuring: La Unión / Nina Galindo / Los Brincos / Juan Carlos Baglietto / Vainica Doble / Patricio Rey y sus Redonditos de Ricota / Cecilia Toussaint / Los Fabulosos Cadillacs / Frágil / Neón / Sumo / Pappo's Blues / Kiko Veneno / Gabinete Caligari / El Último De La Fila / Cómplices / Serú Girán / Sentimiento Muerto / Aviador Dro / Pescado Rabioso / Soda Stereo / Virus / Mocedades / Loquillo y Los Trogloditas / Charly García / Los Prisioneros / Mecano / Nacha Pop / Rodrigo González / Duncan Dhu / Moris / Jaime López y José Manuel Aguilera / Alaska y Los Pegamoides / Radio Futura / Volti / La Polla Records / Almendra / Jeanette / Maldita Vecindad y Los Hijos Del 5to. Patio / Los Toreros Muertos / Triana / Héroes Del Silencio / Mano Negra / Casino Shanghai / Santana / Los Lobos / Olé Olé / Kikí D'Akí / Ritmo Peligroso / Luz Casal / Los Encargados / Caifanes / Divina Gloria.

[doomedandstoned]

Chicago’s Black Road Announce ‘Witch of the Future’ & Drop Single

~Doomed & Stoned Debuts~

No two bands are the same. They all start out differently, and for their own reasons. Tim M. and Suzi Uzi of Black Road decided to form the band out of what felt like pure necessity. Tim had many riffs built up from almost two decades of guitar playing. Upon showing many glimpses of skill and songwriting knowledge to Suzi, she decided to try and form a band. There was an inherent need to get these riffs and songs out to the world. In June of 2015, Tim chose the name Black Road, and the rest is history.

Upon naming the band, the couple had an uncertain view of what direction the band might take. Anthony Petrucci was asked to join in on bass, and within one month of jamming, the trio recorded an acoustic rendition of a song Tim had brought forth from his past. “Innocent Woman” can still be found on the SoundCloud account for Black Road. After much reflection, the group decided they wanted to play out as a band and needed a drummer. Dennis Franco, longtime high school friend of both Tim and Suzi’s, was asked to join in on drums. A second guitarist was also involved, Eddie Salinas. Eddie and Tim had played alongside one another for years in high school. Along with Dennis, they were known as the main guitarists during the years they and Suzi all attended the same school together.

Photographs by Matthew Vineyard

After an unorganized, but ultimately fun first gig together, the band went through immediate lineup changes. Black Road lost its second guitarist, and became a 4-piece. Another gig opportunity presented itself in November of 2015, and then-current drummer Dennis was unable to perform. A fill-in was quickly found at the music store Suzi worked. Andrew Becker became Black Road’s full-time drummer going forward, after learning the entire set as a fill-in. For about 10 months, the band wrote more songs, became tighter, and performed several times together. The lineup then changed once more in September of 2016.

Former drummer Andrew was the first one to take a step out of the band for musical differences. Suzi had quit smoking to improve her vocals and had gotten much stronger and more confident. It was then that Tim had the “okay” to pull out the heavier metal riffs he had been holding back. Simply to allow Suzi time to get stronger and the fact that heavy songs can be harder and more taxing to sing, the band hadn’t written too many songs that would be considered metal. Since this was the direction Tim and Suzi wanted to go, Andrew and then one week later Anthony, both decided they wanted to pursue other musical endeavors.

Film by Billy Goate

A drummer who had previously made contact with Suzi online immediately stepped in, Robert Gonzales. It was clear from the first time jamming with him that he would become a member of Black Road. The last thing to find was a bassist, and there were some folks who auditioned and did not end up working. Without realizing he was under their noses the entire time, bassist Casey Papp stepped forward as a local who had already seen Black Road perform and supported the band. He came to audition and Tim knew right away that he fit his style of playing and would make an excellent addition to the lineup. A couple jams later, the band was announcing the new members on Halloween of 2016, and they remain to this day.

Black Road was eventually noticed by DHU Records label head Robert Black. There were several demos out online, all recorded by John Morrison. In August of 2016, Black Road had signed with the label out of the Netherlands for a vinyl and cassette release. This may have prompted the eventual split with the former members, but it was a great source of inspiration to everyone in the current lineup. In the time the band was going through all of this, BloodRock Records (Italy) label head Enrico Spallarossa took notice, and signed the band to another deal for a CD release. There was a sense of urgency but also excitement, knowing the songs the band was learning and eventually writing together would be printed on multiple physical formats. in January of 2017, local friend Brad V. Earl tracked and recorded the band’s debut EP. It was released October 6, 2017.

Photograph by Matthew Vineyard

There were many hard lessons learned during the recording process, and the same can be said with most bands. These experiences with demos and album recordings made the eventual full-length album much easier to conceive and execute. The “Black Road EP” was well-received, and completely sold out on all formats. The band knew what they wanted and now did not want to happen for the next time they attempted the recording process. The band went through many hardships, struggled financially, and survived some intense times together...only making them stronger. The songs were written from life experiences and shared interests. The full-length album “Witch of the Future” contains songs completely written by the current lineup, whereas the EP had songs written from both incarnations of the band. An initial, separate recording session of a single track for “Witch of the Future” was done prior to the full-length, to test the capabilities and sound at Roosterbat Studios. It was released late 2018 on Bandcamp in the digital format.

The recording sessions varied, as they always do. There were bumps in the road both technical and personal. The window of time to record was limited. Already planned were a music video shoot and two tours quickly following, so the album needed to seemingly be done by then. In the time the band and labels were waiting for the mixing to be done, DHU Records proposed a 7” inch single vinyl release, and Suzi immediately said yes! Thanks to original artwork created by Shane Horror, a mock-up became a reality in less than a month. 50 copies were printed and the tiny clear vinyl sold out in a mere 20 minutes. It was also thanks to the quick work of John Becker that the single was made possible. He and Alec Haley tracked, recorded and mixed the full-length album at Roosterbat Studios. It was then handed over to DHU Records favorite Tony Reed at HeavyHead Recording Co. for mastering on all formats. Over 2 years in the making, “Witch of the Future” can finally be brought to the present. It is the culmination of the band’s progress, triumphs, and failures.

Album Notes

Tim M. lead the songs as usual with his soaring riffs. Melodic and harmonic, they set the tone for the vocals. All lyrics and vocals are done by Suzi Uzi, with Tim doing backing vocals on a few tracks. There is synth and tambourine sprinkled throughout, but not overdone. Robert Gonzales took charge of the recording sessions! He absolutely nailed his drum takes during the live recordings, while Casey Papp complimented his every beat with some killer, amazing bass.

After having super solid takes, vocals and guitar solos were added, as well as percussion and synth, to round out the sound. The ambience of the studio and the relaxed nature of the entire process comes out in the album. The single "Witch of the Future" was first released as a live track in 2017, then again in 2018 as a standalone digital single. It was completely redone in the studio and is released as the title track for this album. “Blood on the Blade” was released for the music video and as a single, but has been remixed and remastered for the “Witch of the Future” album release. A bonus track in included in the digital release, previously released as Side B of the “Blood on the Blade” 7” vinyl single.

From The Band

“There were many people who helped bring this to the light. Artists like Nick Gurley have helped make a name for us by presenting one-of-a-kind pieces inspired by the music, that made a lasting impression. Music videos can be found thanks to Don Corthier and Liza Moon, which have been the source for thousands of people discovering Black Road. Friends have helped record demos, take photos, and get video up online for others. All of the support from reviewers, blogs, and interviewers have helped get people involved and interested in following the band. We feel so humbled by hard-working people like DHU Records and BloodRock Records, and we are honored to be on their roster! It is a community effort, and we are one big family. We wouldn’t be here without you all, and we are eternally grateful. We live by the golden rule and the future looks super bright. Thank you for being a part of this journey trippin’ down Black Road with us!”

First Single

And now, Doomed & Stoned proudly presents the single "Hash King" from 'Witch of the Future' (2019) by Black Road, coming to DHU Records on Halloween, with pre-orders beginning on Friday, September 13th.

Give Ear...

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[jaimecuetomusic]

Grabado en Chihuahua, México. 

"De Platón y trapecista" es la quinta canción del álbum La Tradición del Inocente. El álbum contiene un total de 9 canciones. 

El tema trata de un profesionista que encuentra un amor platónico y pierde la cabeza y el corazón. 

Letra y música: Jaime Cueto 

Producido por: Jaime Cueto 

Producción adicional: Camell Kelly 

Voz: Jasset González Izquierdo 

Coros: Melissa Villarreal 

Bateria: Camell Kelly 

Bajo: Mauricio Mendoza Portillo 

Guitarra: Iván Almanza 

Piano: Jaime Cueto 

Grabado en Raíces Casa Productora 

Mezclado y masterizado en DHUS Studio 

Logotipos e imagotipos: Ivan Lara y Denisse Alvidrez

[budgetfantasy]

Zirael Dhu (Black Swallow) //  Cirilla Fiona Elen Riannon // Ciri Witcher series

With Witcher 3 holding the position of my favourite video game, I had quite the mixed feelings when a Netflix series based on the franchise was announced: it was easy to imagine the studio not doing the amazing stories justice. What sparked my interest about the series, however, was the racial controversy around Ciri, with rumours that she would be cast POC. I was excited! I know not everyone was, but I was really zazzed about Ciri’s portrayal by a POC, somewhat breaking from the eurocentric Witcher series. Alas: she wasn’t, the casting has been revealed. The girl they cast (Freya Allen) is an excellent actress, and I wish her all the best in portraying Ciri, but I wanted to do a little tribute to POC!Ciri either way. Hope y’all like it!

Check my blog for more fantasy art and commission info!

[theredwidows]

Posted @withrepost • @dhu_records DHU Records would like to thank all the bands, recording studios, vinyl plant, webzines, reviewers, charts, DIY radio stations, DIY record labels & graphic/art designers for an outstanding year in Art, Wax & Music! Together we made some killer releases see the light of Doomsday and presented it on a blackened platter served to those who want to enter another dimension, a dimension not only of sight and sound but of mind... With the New Year of Heavy MMXIX just around the corner we can already say that it's going to be a Dark & Wicked one with the first release already being processed, a crushing Split between 2 established bands that will RIP the lid off 2019! AND, DHU will be signing and working with one hell of a band that burst onto the scene this year... more on that very soon! Thank you all eternally for your support, cause without YOU ALL this could never have existed for over 4 years! Presented here is the celebratory video DHU RECORDS: YEAR IN VINYL MMXVIII which includes all 12 releases we did this year, enjoy! 🤘 !!! HAILS & HORNS & LOVE !!! 🤘 @dawn.doomcoven @doomstress_band @sparrowmilkband @blackroadband #Grajo @youngbloodsupercult @theredwidows #Skull Mountain @officialancientvvisdom @sonofthemorningband @witch_ripper @sonic_wolves @hauntedband @dhu_records #DarkHedonisticUnionRecords #DHUfamily #DHUcult #DIY #SupportDIY #Heavy #Doom #Metal #waxenoughforyou #limitededitionvinyl #vinyl #vinylig #vinyligclub #vinyloftheday #vinylcommunitypost #vinylcommunity #CallingAllVinylJunkies #ListenToDHURecordsAndHailSatan #damnedifyoudo #doomedifyoudont https://www.instagram.com/p/BrpPWAUlRUZ/?utm_source=ig_tumblr_share&igshid=1bq4eutkw8u4c

[roominshanghai]

SJTU off campus DHU off campus studio home in shanghai https://www.instagram.com/p/B8dbyOLlXsq/?igshid=gxk0cofyf7qn

[tylrswftss]

aliyah and reece for the meme please, lil mama!

send me a ship and i’ll tell you...

who hogs the duvet; aliyah does. she’s always cold, so reece doesn’t even stand a chance.

who texts/rings to check how their day is going; reece does, always checking in to see how his queen is doing.

who’s the most creative when it comes to gifts; they both are. 

who gets up first in the morning; reece has to leave early for work, so he does.

who suggests new things in bed; dhu, definitely reece. that guy always has new things he wants to try.

who cries at movies; aliyah does.

who gives unprompted massages; probably reece.

who fusses over the other when they’re sick; they both do.

who gets jealous easiest; lmao reece. you’ll never meet someone more jealous than him.

who has the most embarrassing taste in music; neither. they both have a pretty good taste when it comes to music.

who collects something unusual; nether.

who takes the longest to get ready; without a doubt aliyah. she’s always tryna look good for her baby.

who is the most tidy and organised; aliyah.

who gets most excited about the holidays; they both absolutely love the holidays.

who is the big spoon/little spoon; reece is always the big spoon.

who gets most competitive when playing games and/or sports; reece. he’ll get mad if he looses.

who starts the most arguments; both. they always try to start arguments, can’t go a day without fighting.

who suggests that they buy a pet; neither. they don’t like animals and with a baby on the way there’s no time for one either.

what couple traditions they have; they don’t have any.

what tv shows they watch together; quite a few actually. king of queens, fresh prince of bel air, sons of anarchy, breaking bad, the get down... and a few more since all they do is watch tv.

what other couple they hang out with; they only hang out with one other couple and that’s his sister and her boyfriend.

how they spend time together as a couple; mostly just lounging in bed and watching movies, making out. or they go on romantic dinner dates or aliyah visits him at work in the studio.

who made the first move; reece did.

who brings flowers home; reece. but only ever if he’s done something.

who is the best cook; aliyah is. reece can’t cook at all.

[riffrelevant]

FACES OF THE BOG 'Ego Death' Review & Stream

FACES OF THE BOG ‘Ego Death’ Review & Stream

(By Pat ‘Riot’ Whitaker, Lead Journalist/Writer, RiffRelevant.com) Chicago’s Faces Of The Bog are absolutely taking the subterranean music community by storm with their latest offering, “Ego Death“. Although it was originally independently released digitally and on CD in October 2016, it gathered so much steam and recognition that something has to be done. That “something” was the official vinyl…

[puppyluver256]

And here's my Celebi. He's a sweet guy, but also kind of a self-centered asshole. ...I can't help but hear him in my mind with ProJared's voice. And considering his Tumblr escapades...let's just say I have a little comic planned for little Ghillie and Lady Diamond... :3c

Commissions, if you're interested~♪ Redbubble store, for retail therapy~♪ Patreon, for extra support and exclusive goodies~♪

Celebi © Nintendo/GameFreak Artwork and Ghillie Dhu © PuppyLuver Studio

[doomedandstoned]

Doomstress Rides Again With ‘Sleep Among The Dead’

~By Tom Hanno~

Photographs by Mark Brown

I remember hearing DOOMSTRESS for the first time a couple years ago. I was absolutely stunned by the weighty riffs, '70s vibe, and the vocal work of Doomstress Alexis. I was immediately hooked on the band and have got the ink on my arm to prove it. Now, after all of our waiting, the Doomstress is preparing for the release of their full-length album, 'Sleep Among the Dead' (2019) on May 10th, with the CD version released through Ripple Music and the vinyl issued by DHU Records.

Steeped in the type of rock heard in the movie Heavy Metal (1981), Sleep Among the Dead is full of driving riffs, powerful drumming, and an old school vocal flair that really grabs me. In my opinion, this is Album of the Year material. I don't say that out of my love for the band, but from the way this music is put together -- the songwriting, arranging, lyrics, studio performances, and overall feel of this album are proof of my boasting.

Sleep Among The Dead by Doomstress

We shall begin with my favored track, “Dreaming Spider.” I own a beautiful rose hair tarantula, so the title attracted me -- but only after I had heard this excellent number. The intro is a slow, arpeggiated piece on an acoustic guitar and it's beautiful. Hovering above is an amazingly played lead, with just the right amount of effects (including some nice fuzz) that complete the picture being painted musically. Then there's that main riff -- and it is so infectious! I heard it in my head for hours after my first listen. It's incredible in its power, as well.

Sleep Among The Dead by Doomstress

“Burning Lotus” is full of NWOBHM vibes and, in terms of tone, it also reminds me of early Judas Priest (the Sad Wings of Destiny era). Alexis’ vocals are better than ever and her performance is without flaw, in my opinion. There is just something within her execution, inflection, and word choice that I simply cannot get enough of. Let's not leave the lead guitar out, because the solos are ablaze like the Hindenburg, adding exactly the right touches to all of these tracks.

Before we go on, I'd like to address the sound across this record. The mix is great, with no instruments competing with each other for dominance, and it is as clear as any mainstream group out there. The cool thing about it is that it's also got a very classic-era metal sound, mixing the modern with the golden age of the genre.

Up next is “Your God is Blind.” The title really says it all, but the lyrics are decidedly telling. With the current state of affairs in the Catholic Church, priests being jailed for sex crimes and other distasteful aspects, the words of this track spell out how a great deal of people feel, myself included. The music is heavy when needed, light and atmospheric at other times -- just excellent work across the board.

Do you guys like fuzzed-out bass? Of course you do! Check out the title track for an introduction to just that: a beautiful, warm-sounding fuzz tone that creates a fantastic intro. “You're fate has come at last, it's written in my eyes” the lyrics declare. The chorus lines, “Lay your body down, let the stillness be one with you,” have alternating vocals. The first are layered, male voices, with Alexis singing the following part. I honestly believe that this track is the one to listen to for cool vocal work. The nuances are fantastic.

I urge, no, I insist that you all get on board the Doomstress train, because this album is their crowning achievement (besides the fact that I absolutely love them anyway). Sleep Among the Dead is headed your way in a matter of only weeks, and I suggest you get on it because vinyl pre-orders are flying fast. I ordered my CD version today. Enjoy!

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[jaimecuetomusic]

Grabado en Chihuahua, México. 

 "En mi mente" es la cuarta canción del álbum La Tradición del Inocente. El álbum contiene un total de 9 canciones. El tema trata de un amor imposible. 

Música y letra: Jaime Cueto 

Producido por: Jaime Cueto 

Producción adicional: Camell Kelly 

Mezcla y master: Cristobal Moreno 

Voz: Jasset González Izquierdo 

Coros: Melissa Villarreal 

Batería y Guitarra: Camell Kelly 

Bajo: Mauricio Mendoza Portillo 

Piano: Jaime Cueto 

Grabado en Raíces Casa Productora 

Mezclado y masterizado en DHUS Studio 

Logotipos e imagotipos: Ivan Lara y Denisse Alvidrez

[helenemuron]

How do you say detox in sanskrit?

“That’s my last iPhone”, annonce Ira en désignant le rectangle posé sur la table à côté de lui. Il vient de me retrouver à Abbot’s Habbit, un rade mythique (si tant est qu’on puisse qualifier ainsi une institution qui ne date jamais que des années 90) d’une rue historique de Venice, et on discute tous les deux du monde et de son état peu glorieux. Je regarde mon rectangle à moi, prête à répéter la sentence. Ira n’en attend pas tant: il a cette tolérance tranquille des gens sûrs de leurs croyances. Je pourrais avoir une armada de rectangles obsolètes en train de moisir dans une salle, ça lui serait sans doute bien égal. Sauf qu’il suffit d’une pichenette pour me faire sauter les yeux fermés dans de nouvelles idées radicales. C’est décidé: “Moi aussi, c’est mon dernier”.

Mon compagnon de voyage ne nous a pas encore rejoints et Ira en profite pour me donner son verdict: “He’s a good man”. Je souris; ce n’est pas rien, d’avoir l’approbation d’un homme comme lui, d’un authentique hippie. Ira a bien senti, pendant les quelques moments où ils se sont vus la veille, entre Muscle Beach et notre hotel, ce qu’il y avait derrière le regard rêveur et les cheveux bien coiffés de l’homme que je lui ai présenté. Ira ne m’a pas vue tant de fois que ça, moi non plus, mais il sait d’où je viens, qui m’a faite, qui je suis, et ça non plus, ce n’est pas rien. Sur le ponton où on s’était donné rendez-vous, il a dégainé son last iPhone pour prendre des selfies de nous, et les a envoyés à mon père, sans commentaire.

Le regard rêveur apparaît, abrité derrière une paire de lunettes noires. Il fait très beau ici - c’est ce qui permet aux autres hippies authentiques, ceux aux dreadlocks et aux corps tannés, tatoués et piqués, de vivre dehors une bonne partie de l’année. Ira et le nouveau venu se saluent. Après quelques politesses (Can I get you anything? Are you sure? How do you like your coffee? The next one’s on me), ils discutent à bâtons rompus: des mérites comparés du modèle de rectangle le plus répandu et de celui que le good man s’est fait livrer de Chine il y a quelques années; de la fameuse obsolescence programmée. Je suis enveloppée par la puissance réconfortante de leurs belles idées. Je me lève pour aller aux toilettes. Quand j’ai le coeur qui s’emballe trop, ça m’inquiète.

Be careful what you wish for, c’est la phrase qui me traverse la tête quand, sur le chemin de l’aéroport, je repense à la promesse que je m’étais faite ce jour-là avec Ira. Si tu souhaites te libérer de ton rectangle, ne t’en fais pas, quelqu’un s’en chargera pour toi. Oh, et puis si ça arrive, bon débarras! En quelques secondes je me dis ça: une chose et son contraire, et j’attrape le rectangle dans la poche de mon manteau, et je mets de la musique pour éloigner mon esprit de la laideur du RER. Ah, ce qu’on est bien avec ses écouteurs. Téléphone. Je clique sur le nom du groupe sans saisir l’ironie. Un jour j’irai à New York avec toi. Ouais ouais Jean-Louis Aubert, c’est ça, en attendant je suis dans le RER B en direction de CDG et t’es pas là. Je re-range le rectangle.

“Have you seen my phone?” J’interroge ma voisine tout en gigotant pour sentir si par hasard l’appareil s’est glissé entre mes fesses et le siège. Elle me répond que quand l’avion a décollé elle m’a vue tapoter sur le clavier d’un appareil datant au moins de la même époque qu’Abbot’s Habit. Je lui explique: Non, ça c’est le téléphone antique que j’utilise pour envoyer des textos et passer des coups de fil; j’en ai un autre, un iPhone, qui n’a plus de carte sim, mais qui me sert à écouter de la musique et prendre des photos, et qui fonctionne en wifi, aussi, vous voyez? Non. Elle me regarde comme quelqu’un qui porterait une camisole de force et qu’il ne faudrait surtout pas contrarier, et me répète que j’avais bien un téléphone dans les mains au moment du décollage de l’avion.

Départ CDG 18h05, arrivée 7 heures plus tard, sans téléphone, à Babylone. La cité du consumérisme effréné, où l’on peut se faire livrer des couches lavables pour son bébé avec en option la récupération des couches sales, qu’on vous re-livre lavées, et ainsi de suite jusqu’à ce que quelqu’un invente l’étape d’après: l'enfant livré à ses parents tout prêt, propre et alphabétisé, à l’âge de 7 ans. J’attends les pubs dans le subway; pour l’instant, il faut se contenter de services proposant des matelas, des repas ou des sous-vêtements. Pour bénéficier de réductions réservées à tous les usagers de cette rame, scannez le code ou envoyez NYC au numéro suivant. J’en aurais bien profité pour me faire livrer un hot dog à peine arrivée, mais je n’ai plus de téléphone. Volatilisé.

"I’m on a phone detox” ai-je dûment indiqué sur la paperasse visant a réintégrer l’équipe de karma yogis de mon centre de hippies favori. Les détox de tout acabit passent comme une lettre à la poste ici. Au rayon nutrition de la boutique, j’époussète frénétiquement un livre sur l'ayuverda quand Rebecca, la cuisinière, passe derrière moi. Elle me complimente sur mon legging léopard, un des rares rescapés animaliers de ma détox sartoriale de l’été. En la remerciant je me dis: il te reste des progrès a faire, jeune yogi. L’ascétisme des sādhus vêtus simplement d’un longui, ce n’est pas encore pour aujourd’hui. Je poursuis mon ménage - deux-trois recueils de poésie de Rumi, un ouvrage sur les yoga sūtras de Patanjali - avant de monter au quatrième étage.

Juste en-dessous de Heaven, le bien nommé studio de yoga qui donne sur un escalier menant tout droit jusqu’au toit, il y a un étage secret dédié aux nourritures terrestres. Sésame, ouvre-toi! C’est mieux que la caverne d’Ali Baba. En cuisine, trois femmes en tablier discutent en agitant les bras: de leurs maris, de leurs épices favorites, de leurs chakras. Au menu aujourd’hui: chana masala et matcha coconut fudge dont je pique des morceaux à meme le plat avec les doigts. C’est au sirop d’érable, il paraît - not sugar per se! Ma sugar detox et moi sommes ravies. A côté de moi, la conversation est ponctuée de Ohmygad! avec trois accents différents: portoricain, indien et suédois. Je me sens autant à ma place ici que sur la plage de Venice au milieu des clochards.

Dans la family room, Rudra et Laksmi sont en plein débat. C’est l’équinoxe de printemps, aujourd’hui. Douze heures de jour, douze heures de nuit.  - Today is the best day to die, apparently. Rudra ne va pas se laisser convaincre comme ça: - Oh yeah - who said that? - Who do ya think? The Bhagavad Gita! - Which verse? - Alright alright, I’ll check for ya. Laksmi déplie ses longues jambes et les déplace en direction de la bibliothèque. Trop tard: Rudra a déjà sorti son rectangle argenté. - Hey Google, which verse of the Bhagavad Gita talks about the best day to die?

[jaimecuetomusic]

Grabado en Chihuahua, México. "En vida no" es el tercer tema del álbum La Tradición del Inocente. El álbum contiene un total de 9 canciones. La canción trata de un ser humano quien goza del dolor y no del amor, en la historia se nota un dolor satisfactorio por el rechazo de la pareja. 

Música y letra: Jaime Cueto 

Producido por: Jaime Cueto 

Producción adicional: Camell Kelly 

Mezcla y master: Cristobal Moreno 

Voz y coros: Rab Ramírez 

Batería y guitarras: Camell Kelly 

Bajo: Yoshio Guzmán 

Teclados: Jaime Cueto 

Grabado en Raíces Casa Productora Mezclado y masterizado en DHUS Studio Logotipos e imagotipos: Ivan Lara y Denisse Alvidrez

[jaimecuetomusic]

Grabado en Chihuahua, México. 

"Amor no eterno" es el segundo tema del álbum La Tradición del Inocente. El álbum contiene un total de 9 canciones. La canción trata de una ruptura amorosa debido a la distancia entre dos amantes, donde solamente uno de ellos era el que luchaba por mantener la llama encendida. 

Producido por: Jaime Cueto 

Producción adicional: Camell Kelly 

Mezcla y master: Cristobal Moreno 

Voz: Melissa Villarreal 

Bateria: Camell Kelly 

Bajo: Yoshio Guzmán 

Guitarra: Alfredo González 

Sax: Mario Montes 

Piano: Jaime Cueto 

Grabado en Raíces Casa Productora Mezclado y masterizado en DHUS Studio 

Logotipos e imagotipos: Ivan Lara y Denisse Alvidrez

[doomedandstoned]

Haunted Premiere Grave Sophomore Record

~Doomed & Stoned Debuts~

Cover Art: Deborah Sheedy

Two years have passed since HAUNTED released their self-titled debut on Twin Earth Records. Now, the Sicilian doomers return with perhaps their most moving album to date, certainly their most grim and esoteric.

'Dayburner' (2018) is the kind of record that will resonate with both those who feel deeply and those who are altogether numb -- such is the power of doom to shake up our insides and jostle them all around. In an interview with Doomed & Stoned, Haunted spoke of how naturally doom comes to them as a band and this is certainly something I picked up on while listening to Dayburner. In a word, the songs have an effortless sense of flow, though never losing the feeling of earthiness that makes Haunted so accessible, so relatable.

"When we started to develop the songwriting process of Dayburner, singer Cristina Chimirri reflects, "We wanted to talk about the unexplored passage between the beginning and the end. Without necessarily imposing fixed points, but tracing a material circle and an anti-material, ascensional progression."

The album's title actually turns out to be key in understanding the rhyme and reason behind its vision. Bassist Frank Tudisco explains, "Dayburner is actually the representation of a day -- not properly a day as we commonly know it, but something that becomes immediately night right after the first flashes of the sun. The light of this sun is too weak and can’t afford to challenge the strength of the darkness. Only thanks to minimal differences in tonal contrasts we are able to distinguish the sun from the moon. We can actually say that all the proper attributes of the day miserably fail here."

I heartily concur. Songs like "Waterdawn" and "No Connection With Dust" exude an overwhelming sense of murkiness. The feeling of gray clouds surrounding us is pervasive as we venture from "Morning Sun" to "Lunar Grave," becoming progressively more dense and dreamlike as the record progresses. Yet, all told, this is an extraordinarily beautiful album, as the title track most fittingly demonstrates. The contrast of light and dark works effectively as the high-low contrast of Chimirri's siren vox juxtapose with Francesco Bauso and Francesco Orlando's damning riff play (especially noteworthy in "Vespertine"). The rhythm section stands out strongly on Dayburner, as well -- the joint effort of bassist Frank Tudisco and an exceptional new drummer, Dario Casabona.

The new album was record by Carlo Longo at NuevArte Studio in Catania and mastered right here in my own backyard of Portland, Oregon at Audiosiege Engineering by Brad Boatright, a name you Doomers & Stoners will doubtless be familiar with from previous projects like Sleep and Yob, among many others.

Dayburner releases June 8th on CD via Twin Earth Records and on cassette tape via Graven Earth Records. Later this fall, we can look forward to a limited edition vinyl release on DHU Records. In the meanwhile, don't miss your chance to get a hold of one of the greats, available for pre-order on CD and digital formats here and via cassette here.

And now, Doomed & Stoned proudly presents the debut of Dayburner. I think you'll find the new record extraordinarily engrossing from start to finish -- an atmospheric gem that sweeps us up into the mysterious corridors of mooncast shadow and, eventually, utter darkness.

Give ear...

Dayburner by Haunted

A Very Haunted Interview

By Billy Goate

Tell us, how did it all start for you?

Francesco Bauso: The band's birth goes back to a midnight walk in the woods on the slopes of Mount Etna, when Frank Tudisco and I started to talk about this. The original idea has resulted in a series of events that involved all the members of our line-up.

What is it that attracts you to the doom metal sound?

Cristina Chimirri: The black shades, the horror spectre, and the possibility of dilating time. Doom metal sound provides the "right" outlet for our creative and emotional ability.

Francesco Bauso: Basically, within the band there are distinct personalities with very different tastes and backgrounds. If we refer to the doom metal genre, in particular, some of us are pretty fascinated by contemporary bands and consequently a more modern sound and way of understanding this genre nowadays. In the same way, there are others who remains more attached to the past and to the great classics and who have even an incredibly introverted and not always tangible approach to the medium. Nevertheless, this is a genre that unites us all and allows us to compose quite naturally. I don’t want to say that it’s extremely easy to put all the pieces together, but today more than ever, I realize that Haunted's music comes from this variety of thoughts. We all listen to a huge amount of different music and we have probably found in doom the so-called "keystone," which is a way to filter our influences through that kind of heaviness.

"The new songs are heavier, darker, more introspective than ever."

Was the second record easier to compose than the first?

Cristina Chimirri: If by "easier" you mean "more conscious," then I can say the composition and realization of the second album truly was. We all pointed in the same direction, projecting into a common vision.

How would you compare the two albums, stylistically?

Francesco Bauso: I think that Dayburner is a slightly more mindful a record than the previous one, but in the same way also extremely spontaneous. I can’t say if the compositional process of this album has been easier than the first one, but this time we were all focused on the same goal and willing to create in some ways more mature music than in the past. Thanks to the addition of a new personality within the band, the entry of Dario as drummer and arranger, we were able to let us be driven by our feelings and moods. The new songs are heavier, darker, and above all more introspective than ever. In the album there are two tracks that we had already in the pipeline for some time and that could have appeared in the first full-length, but deliberately we preferred to leave them in the lap and bring them together in a context more suited to their nature, which turned out to be this new record.

Finally, can you walk us through each track on the new album and relate the significance or the story behind each?

Cristina Chimirri: It is a non-journey, a day that is repeated endlessly. “Mourning Sun” marks the starting point and the ineluctable truth of the non-return: everything is inside and outside of itself at the same time and in the same space. “Waterdawn” is the dawn and the call to origin, to the Mother Goddess. “Dayburner” represents the ascent, the procession to a different dimension and the last glimpse of the abyss, to what has been and definitively sanctioned the initial transition of change.

“Communion” is the first gate and takes us to “Orphic”, the invitation to search for this otherness by working the destruction of the material realm. “Vespertine” closes eyes to the traveler, who is finally ready to descend into the dusk, because he has found the Night inside of himself. The second gate is “No Connection With Dust” and that leaves us to the last track, “Lunar Grave”, of which I limit myself to this excerpt from a verse: "Sky is beyond this mirror that blinds my mind...I rejoin what I am."

Follow The Band.

Get Their Music.

[doomedandstoned]

Two Rebels Meet at State Lines, Plot Mad Music Making

~Interview by Dan Simone~

On the cusp of a New Year charged with possibilities, Doomed & Stoned carved out some time to visit with Houston doom powerhouse DOOMSTRESS and Cleveland’s SPARROWMILK. Both bands have recently turned loose a split on DHU Records . It's been about three years since Stephanie V. Cantu conducted her in-depth interview with Doomstress Alexis and there have been plenty of exciting developments in the meantime. Our own Dan Simone of Black Spirit Crown leads this spirited conversation with Doomstress and her bandmate Brandon Johnson, who are joined by Sparrowmilk drummer Tomasz Scull, bassist Erin Lung, and guitarist Joe Fortunatos. In this sit down, the bands talk about the pressures of working against the clock to meet vinyl manufacturing timelines, what it's like to work with Kent Stump from Wo Fat in the recording studio, and the importance of having a positive and robust network in the heavy music scene. (Editor)

Doomstress/Sparrowmilk Split by Dark Hedonistic Union Records

Having just months ago released our compilations, 'Doomed & Stoned in Ohio' and 'Doomed & Stoned in Texas,' it seemed like an excellent time to catch up with you all. I understand you recently put out a split. There are a lot of connections between the two bands, is that right?

Doomstress: Yes there are.

Tom: Absolutely! I mean, we’ve all been involved in music for a long time. I’ve been playing with Erin and Joe for quite some time and Joe and I were able to do some touring with Doomstress.

Joe: In 2016?

Doomstress: Yes, August of 2016 was the first outing for Doomstress.

Tom: A lot of that came about because Alexis is my sister, and we have been involved in music forever and I think this was just a cool thing. She asked if I’d be interested in playing on some tunes and we could do some recording here [at Supernatural Kvlt Sounds Studio in Ohio]. It just kind of steamrolled from there.

Doomstress: It was a little over a year before that when Project Armageddon toured and Sparrowmilk played with us in Kent.

Tom: Yeah, we played at Stone Tavern.

Doomstress: Brandon and I, after that show, were like “Hey, we should get Tom to drum for us for something!” and then a year later, you were drumming for us on this record and touring.

Joe: Weren’t you trying to get away from Project Armageddon into a new project? Like you were going to unveil Doomstress? It was in the planning stages for a while, wasn’t it?

Doomstress: Yes it was. I had it in the planning stages for a number of years and just over the last year or so, before I actually started the recording process with Doomstress. I was spending the time getting all of the pieces put together, to get things moving and get my game plan going. Then everything just kind of came together at one time. I couldn’t anticipate how it ended up, which has been awesome, and I thought that this would be a really cool thing to do. Do something a little different than we’d been doing, work with some different people, work with my brother, and yeah, here we are!

Right on!

Tom: It’s been super fun. That, to me, has been the really cool part.

Working with your sister?

Tom: Yeah! And growing up with music, coming up together, listening to music together, and then both playing but living in different places, we would collaborate on some things. I don’t know, like on Christmas Day we’d set up some drums and an acoustic guitar and whatever. [laughs] Other than that, just some jamming during visits and that was always super fun. This was really a great opportunity for us to capitalize on that fun, really.

Doomstress: Try to do something more lasting with it.

Right on, so let me ask you guys this: between the two of you, Tom and Alexis, who got into heavy music first?

Doomstress: That would be Tom.

Tom: Well, that’s because I’m the oldest. [laughs]

Olde Metal.

Tom: But, see now, this is an interesting part, because I have a little one up on her, you know? Because Alexis has had a bunch of interviews and all that kind of stuff. I’ve read a shitload of them, talking about how she got into heavy music through me, and it makes me laugh a little. I’m like, "Yeah, because she ransacked my fuckin’ records when I wasn’t home!"

Joe: Some nefarious dealings were uncovered! [laughs]

Doomstress: But you know what? My brother’s on vinyl now, so it’s all come full circle. I ransacked his records, so now I’m like, “Hey, come on, let’s do a record together!”

Tom: Right.

Now you’ll each have your own side, so you don’t have to worry about it, Tom.

Joe: Well, that’s actually a good point to bring up about the split right now. You know, we wouldn’t even have been involved unless Alexis had suggested it to Robert [Black] over at DHU Records. He didn’t know about Sparrowmilk, he only knew about Doomstress, and they were going to do that 7” together.

Doomstress: Right.

Joe: So the vinyl wouldn’t have even come about -- not only between brother and sister, but between the two bands -- because, like I said, Robert didn’t even know about Sparrowmilk yet. So we want to thank Alexis, for sure, for introducing us to Robert, and Robert for being totally on board, which I think is totally kick-ass!

Tom & Erin: Thank You!

So now, specific to the vinyl. Joe, you played guitar on both tracks, is that correct?

Joe: I played rhythm guitar on “Bitter Plea,” which is the new song that’s also on Second Rite.

Supernatural Kvlt Sounds - The Second Rite" (CD) by Doomstress

That’s the new Doomstress album.

Joe: Correct. During that tour, this was kind of home base, because Tom and I both live near here, so they [Alexis and Brandon] just asked me, “Why don’t you lay down the tracks, since you’ve been playing them live for the last two weeks?” So that’s how that recording came about.

Tom: Yeah, and I thought it was really cool that that worked out that way, too.

So, Tom, you did some of the recording for the new Doomstress LP and you recorded the songs on the split?

Tom: Yeah.

Joe: Tom has recorded all of the Doomstress songs so far and played drums on all of them.

So Erin, I understand that you did some of the art for the split?

Erin: I did the art for the Sparrowmilk side of the split.

Right on, so was there any kind of collaboration, from an art direction standpoint, between the two bands?

Erin: We thought about it. It had been mentioned early on, but then we realized we just needed to get art done. [all laugh] Sometimes you just have to create art, you know? Get the artwork done. Because Alexis had first said that it would be cool to have some color, or thematic element, that would tie the sides together if you opened it up and it was like a full spread open album cover, where there would be some kind of artistic thread between the two pieces.

Doomstress: Right

Joe: Was it originally going to be a gatefold?

Erin: We thought about it, but then we realized we just had to get it all together and fucking get it presented to the label, so that in the most professional sense it’s just ready to go as a product.

Joe: Yeah, and this stuff has been turned in for a year.

Yeah?

Erin: Yeah, there’s a timeline. Get all of your shit together quick, you know what I mean? Not that it was rushed or anything, for certain, but for the sake of expediency I was like, "Ok let's do it, let's just get the whole package together."

Doomstress: Because it does take so long to get vinyl out.

Joe: So the timeline was long and Robert over at DHU wasn't even sure at the time when he was going to be able to get it in to manufacturing. So the sooner he had it, the sooner he could slot it in. And then he had all of the other stuff going on, the 7” on top of this, so to even get the release date we have now, we had to get it in fairly quick when we found out we were doing it.

Erin: Joe and I have both done other artwork for Alexis and for Doomstress -- flyer design and videos and all kinds of stuff. And she hires other great artists for logo work and stuff.

Doomstress: I employ Sparrowmilk! [all laugh]

Joe: We’re like the retained art department. Between all of us, Tom records and plays on it, I’ve played and toured with them, Erin’s done flyers and t-shirt design, and I’ve done a couple of the videos.

Tom: There’s been all kinds of collaboration prior, really, to the formation of either of these projects.

This split album, is it kind of a natural progression or an evolution of this collaboration?

Tom: I think so.

Doomstress: We’ve always had a good connection between all of us and this just helped deepen it.

Joe: It’s almost like an art collective, in a way, because we all do so many things.

Erin: Absolutely!

Joe: Everybody has these talents and we just call on whatever that person does and if somebody has the time and someone else needs a thing -- "Hey, Tom, we're gonna record?" "Yes" "Hey, Joe, we need a video?" "Yes." "Hey, Erin, can you do a shirt?" "Yes." -- if we can do it, we do it.

Erin: The Alexis and Doomstress network is pretty kick ass, as far as the people they’ve gotten to work with and go and tour with them.

Joe: Yeah, they have people down in Houston who they bring on tour. They have a couple different drummers and another guitarist, who kicks ass.

Doomstress: Right, Matt [Taylor] does a lot of leads for us now since, when was that Brandon?

Brandon: The April tour.

Doomstress: Our April tour when we toured with Disenchanter we started giving him some more lead duties and now we’re going in to the studio this Friday, in Dallas with Kent from Wo Fat, to do guitar solos and vocals for the full-length, so Matt will be coming with us to get him on the record with a couple of solos.

Joe: Matt’s in the family now! But we can’t understate the importance of Kent Stump from Wo Fat at this point, either, because he’s been mastering all of this stuff. He mastered the Doomstress songs, he mastered the Sparrowmilk songs on the split, and he mastered [Sparrowmilk’s] album.

Articles of Separation by Sparrowmilk

Which just came out recently.

Joe: Yeah, the Sparrowmilk album came out in March, but Kent has mastered all of the Doomstress stuff. So that’s Kent Stump’s role in this entire whole thing, and obviously Wo Fat is an amazing band. I’m not sure if he owns it or is part of it, but it’s Crystal Clear Sound in Dallas, Alexis?

Doomstress: Yes, he and Michael, his drummer from Wo Fat, they own and run it.

Joe: It’s a full service studio, a beautiful place.

Brandon: It’s actually the oldest recording studio in Dallas.

Doomstress: When Mothership was mixing their first album, I sat in for a little of that at the studio. I happened to be there, that was really cool. So I’m really looking forward to doing some recording with him now and then, with any luck, we might be able to get him to throw a little something down on one of the songs for us.

That would be rad. So I’m wondering if there is any more co-planning going forward? Do you guys have any projects that you’re thinking about doing together?

Doomstress: Hopefully we’ll get to play together again. We did that this past May, we played Louisville together. I think it was a Metal Mondays night.

Erin: Yeah, we were us going to go down and see the show.

Doomstress: So they came on down, and we were just like, "Hey, use our cabinets and our drums, just bring y’all's essentials." That was pretty awesome. It was like a little mini-reunion.

Tom: Yeah, I had just mentioned to Joe and Erin that I was going to go down there and then I mentioned it to Lexi, and she said let’s have a party. So she checked with the club and got it sorted, because we were going to do some gear sharing, and then it was just a road trip.

Erin: And like you said, we just had a party.

Well, thanks guys. Anyone have anything else to add?

Doomstress: We just released our CD on No Slip Records. It was really cool to work with another Robert -- Robert Pilson over there at NoSlip Records, out of Georgia. We got to meet him in October when we toured through Atlanta. Speaking of touring, we’ll have a tour announcement coming up in February. Mostly southern states, but we will be playing Descendants of Crom 2 up in Pittsburgh in September, and that will put us up in the Cleveland area, so we’ll be working out tour plans for that pretty soon.

That sounds great! Well thanks for your time.

Doomstress: Thanks for having us, man, good talking to you!

Follow Doomstress and Sparrowmilk

Listen To Doomstress and Sparrowmilk

Get Their Split on Dark Hedonistic Union Records