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doomedandstoned · 6 years ago

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YOBOMANIA!

The beloved Oregon doomers return home from their journey across states and overseas

~ Review & Photographs by Stephanie Savenkoff | Films by Shelby Kray ~

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I arrived at Portland's historic Star Theater on December 9th to a stellar line up. Although friends in the music scene raved about Yob's live performances, the circumstances had never been favorable for me to catch a show. This was the last gig of the year for the hard-driving Oregon band, the finish to a month-long West Coast jaunt with Thrones and Khôrada, following Yob's exhaustive tour of Europe. I wasn't alone in my anticipation for this show. In fact, you'd hardly know it was a Sunday night in the heart of winter, as the concert hall was bustling with fans eager to welcome back the hometown heroes.

☼

THRONES

Slated to open this epic evening was Thrones, an experimental ambient-doom solo project of Joe Preston, whose long resume includes playing in Earth, Melvins, and High on Fire (to name just a few). He has been a strong artistic influence on so many Northwest acts and is regarded as an important figure in the scene. No surprise, then, that he played to a packed house.

Unfortunately, Thrones experienced some technical difficulties and the show to be cut prematurely short. As Joe's set depends on his backing track and pedals, if they are not working properly his performance suffers and thus he felt that he just couldn’t continue. The audience expressed their love and appreciation of him, just the same. I respected his decision to preserve the quality of his work, both for himself and his fans.

Sundries by Thrones

☀

KHôRADA

Khôrada took the stage next. Their album Salt came out last June, but we witnessed their third time performing it on stage together. Aaron John Gregory, formerly of Giant Squid, performed vocals and guitar along with Aesop Dekker on drums and Jason Walton on bass, both formerly from Agalloch.

Khôrada definitely performed with passion. The songs were relevant and immediate in their content. The music had sadness, pain and despair, all the hallmarks of Doom. Heavy, intense rhythms and riffs combined with poetic, storytelling lyrics created an evocative experience.

Their first song of the night, "Seasons of Salt," spoke to consumerism, the reality of the resulting climate change and the collapse of society as we know it. Their second song, "Water Rights," illuminated the raping of native lands for the oil pipeline.

“They know of your snake that burrows just beneath their lake afraid its steel skin will crack turning their water black with its venom and lack of regulation.”

The third song in the set, "Edeste," is another song about over consumption. It evoked images of a large snake enveloping its prey and asserting that Nature will conquer us before we can destroy her.

"Glacial Gold" speaks of finding something of value after tragedy and devastation. "Wave State" seems like a song written for and to a child, warning about the changes that are coming, that the earth will shrug us off and reclaim its dominance.

“I’ll try my best to explain how we are the mites we are the mange to be cleansed and washed away crops and culture civility and song Golden nation state battered by the waves swallowed and gone.”

The last song of Khôrada’s set was "Ossify." It spoke of the lack of bones left behind for future generations to find answers to happened to us, long after we have passed on from memory.

“It’s hard to fossilize that which has no spine they will dig through our plastic cocoons they will have to theorize how we died.”

Salt by KHôRADA

☸

YOB

Yob. Such a little word for such a giant of a band and its immense sound. While researching for this piece, I discovered that “yob” is actually a real word whose definition is: “a rude, noisy, aggressive young man.” With his punk roots, I can see how that word might have resembled Mike Scheidt in his youth. Today, the Yob frontman has evolved into an elder statesman of doom. More than that, he has grown into a kind of modern day Western world Shaman, his spirituality infusing and informing every work.

As I mentioned from the outset, this was my first live experience with Yob and, suffice it to say, I was absolutely blown to pieces. For only a three-piece band, Mike Scheidt (guitar, vox), Aaron Rieseberg (bass), and Travis Foster (drums) filled the space impressively with an impenetrable wall of sound.

I remember reading a review of Yob's 'Our Raw Heart' (2018), which stated that heaviness was used by the band as a tool, not an end product. I believe that is true. The music is very heavy but it is the vehicle that takes you places, not the destination. There was a depth of emotion and a gravity to their sound. The heaviness had a deep resonation. Words like “epic” and “crushing” are words frequently used to describe Yob’s music, too, though these adjectives seemed hardly capable of capturing the transcendent nature of Yob's sound.

I would also say that Yob's sound has a certain delicacy to it. They weave that delicacy together with crashing thunder and a cacophony of sound into something beautiful. They build in space and the notes breathe. There is a musicality with the heaviness and there was an intense beauty that I was unprepared for.

Yob opened their set with "Ablaze" which came out of the gate firing on all cylinders. It was a powerful intro that was very tight, with all of the members contributing equally and powerfully. Mike’s amazing, soaring vibrato and deep, guttural growls were positively thrilling. "The Screen" came next, which was heavy to the max. This anthemic song filled me with surging energy as the bass line marched ahead in a steady trudge that pulled me forward.

"Our Raw Heart," truly the heart of the album, was perfection. The song title fits the music perfectly. The album feels triumphant and Yob truly did put their raw heart out there. I doubt I am alone in feeling connected to the music. They express real emotion and everything feels true and meaningful. This time there is a gentle intro, soft, sweet and light, then it deepens and intensifies. The poetic lyrics reflect the experience that led to and shaped the album.

“Leaving nothing left behind breathing through my dark inside the raw within Ayni sent reverence for what has been given in this shared life, the raw within.”

Yob also performed "Ball of Molten Lead," "The Lie That Is Sin," and "Breathing from The Shallows" in their set. They were all great pieces and I enjoyed them, each one a unique gem to be treasured.

Mike had two broken guitar strings right before the last couple of songs and he saved the day by replacing them right on stage and faster than I would have dreamed possible. I am beyond grateful that I he did so because otherwise I would have missed out on their epic closing song, "Marrow."

"Marrow" had a stillness, a quietness and a gravity that pulled me in. It started with a trance inducing guitar picking rhythm which went on for a while, lulling me into a peaceful nod and sway. I found my mind wandering, slipping over thoughts of things going on in my life, like water over river rocks on its way downstream.

Then the bass and drums joined in and deepened the sound and expanded the feeling. The crashing crescendo a couple of minutes in pulled me out of the lull and shocked me with its intensity and power. My focus returned to the music again and to Mike’s voice that pierced through the wall of sound they created together that filled the space around us.

The music was unifying and I felt like the audience was connected. That is something I have never experienced before. It amplified my response and I found myself moved to tears. Though the lyrics aren’t overtly sad I felt an ache and a despair as I listened and I felt the grief of losses in my life that I hadn’t faced. I try to be tough and strong when facing adversity and loss and the music broke me open and let me feel everything I had been pushing away. Instead of making me sad it actually felt healing and made me feel whole. It broke down my walls, but it made me feel stronger, not weaker for it.

It felt like Yob poured everything they had onto that stage, opening up and giving it all to us. After the show I discovered that I was not alone in my response. Many people felt that connection and were moved deeply. Trying to articulate the experience is like trying to describe a rainbow to someone who can’t see. How do you fully describe the beauty, the emotion and the passion? The only way to truly understand the magic that is Yob is to experience them live yourself.

Our Raw Heart by YOB

#D&S Concert Review #Yob #Khôrada #Thrones #Joe Preston #Mike Scheidt #Aaron Rieseberg #Travis Foster #Portland #Oregon #Star Theater #Doom #Sludge #Metal #Transcendental Metal #Photography #Stephanie Savenkoff #Doom Metal #Doomed & Stoned

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doomedandstoned · 5 years ago

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MEETING GRIM EARTH

~Words, Photos, and Film by Stephanie Savenkoff~

I had the pleasure of sitting down with the aptly named death-doom quartet GRIM EARTH earlier this year, to sleuth them out and share my findings with the readers of Doomed & Stoned. As is often the case with bands in the Olympian underground, each of member of the Grim Earth crew belonged formerly to any number of other bands. Craig Moore, founder, lead guitarist, and vocalist of Grim Earth, held the same roles in his band Big Bad along with guitarist Jordan Rogers, who also plays in death-grind band Bone Sickness.

Drummer Seth Barlow was formerly with Wikken and Chofa. Rounding out this ferocious four-piece is Elmer Saez on bass, who was once part of a Tacoma hardcore band called Bad Influence. Jordan confided that Grim Earth is the coolest band he's ever been a part of and that everybody loves Craig. Their collective experiences combine to form the supergroup that is Grim Earth and they are primed and ready for lift-off with their gruesome debut, 'Smoke Bloody Nugs' (2019).

Smoke Bloody Nugs by Grim Earth

How'd they find one another? It was a matter of lucky timing. Big Bad and Wikken played a number of shows together and both dissolved around the same time. Craig, Jordan, and Seth pulled together and played for a while as a group called Badlands, Elmer joining when they morphed into Grim Earth. I was curious as to where the band name came from and upon asking, Jordan said he was inspired by the band Sadistic Intent and their album Ancient Black Earth. He threw out some names to the group that he felt embodied the feeling of the music. "Grim Earth" was one of them, and they all agreed that it was a good fit.

The three main musical influences behind Grim Earth’s sound are Eyehategod, Electric Wizard, and Autopsy. Their aim is to create a thick, nasty tone that “pisses off the right people.” When asked what their dream tour partner would be, they said they'd love to play with Eyehategod, but on a more tangible level would also appreciate touring with Witch Ripper, a local band from Seattle. That being said, Grim Earth plans to do a West Coast tour sometime this summer.

Craig does most of the musical and lyrical writing for the songs. The riffs come first, with contributions from the other members, and Craig follows with the lyrics. He'll write lines a few at a time as things come to him. Ideas for song lyrics will pop into his head and he will jot them down to incorporate later. Sometimes they have songs fully done that just need the right words and Craig will wait for them to come to him, rather than forcing the writing process. One notable exception to Craig writing lyrics for a song is "Hard Pressed," for which the band sat down and wrote lyrics together.

Grim Earth recorded and mixed Smoke Bloody Nugs themselves. They wanted a raw sound that resembled a live performance as closely as possible, so there wasn’t a lot of post-production and mastering done. Grim Earth is a mix of stoner and sludge, but Jordan -- coming from a super-fast grindcore background -- injects some of that death metal hustle into places, which creates a tone that’s different from your average doom band.

Their signature sound is achieved through Craig’s hollow body guitar screaming through his Sunn amp head and a collection of fuzz pedals, including a Big Muff and Boss DS1. Elmer’s bass shakes the walls, being pushed by a Beta Bass Sunn head and Big Muff with the treble turned down low. Jordan uses his Seymour Duncan’s, a Crate GX130C, and 4x12 Orange cab to really bring the crunch. Seth pounds relentlessly and mercilessly on his four-piece Gretsch kit and Dream cymbals, bringing the thunder and fury.

Rimba Ranu (aka Rimbaraw), an Indonesian artist, created the album art. After seeing the artwork he created for LáGoon and Ethereal Sea, the Grim Earth guys really connected with it and reached out to Rimbaraw. They gave him a rough draft of their idea, supplying characters, scenery and images they wanted to include which were inspired by a death metal album they all like, Scream Bloody Gore by Death. That inspired their album title, as well.

Grim Earth On The Road

June 1st -- High Water Mark Lounge (Portland, OR) with Meterse and Frequency Killer

June 16th -- Darrell's Ttavern (Shoreline, WA) with Greenriver Thrillers, Summoned By Giants, and Kings of Cavalier

June 24th -- Airport Tavern (Tacoma, WA) with Yatra and Swampheavy

June 28th -- Cryptatropa Bar (Olympia, WA) with Phantom Hig and C Average

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#D&S Interviews #Grim Earth #Olympia #Washington #Doom #Death Doom #Sludge #Metal #Photography #Stephanie Savenkoff #Doomed & Stoned

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doomedandstoned · 4 years ago

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A//TAR Perform “Arcana” Live at Ceremony of Sludge

~Doomed & Stoned Debuts~

By Billy Goate

It was the last live performance I attended in 2020, before orders were given by the Governor of Oregon to shelter in place. I'd heard about the novel coronavirus outbreak and the still mysterious disease it caused, COVID-19, but was crossing my fingers it hadn't spread too far into Portland yet. This was, after all, the annual Ceremony of Sludge! A tradition for nine years and counting, organized by Witch Mountain's Justin Brown. It brought together some of the most impressive new and long-standing heavy underground acts that the Pacific Northwest had to offer.

Everyone was in good spirits. No one had yet heard about the notion of social distancing, wearing masks, or taking that occasional sip from your buddy's beer. For one brief night, we could let our hair down (well, some of us who still have hair to boast of) and have a good time, as naive as that may sound in retrospect.

Four incredible bands took the stage on that March 6th eve at the World Famous Kenton Club, where I've shot many a show. On this Friday evening, I decided to leave the Canon at home and just let myself enjoy the music first hand, as so often my experience of live performances is through the lens (which I rarely peel my eyes from).

Today, Doomed & Stoned is premiering footage from that very night, revealing the song "Arcana" from A//TAR (or Alltar, should you prefer). If you haven't encountered them before, their sludgy-doom and post-metal stylings, with touches of atmospheric mysticism and Near-Eastern sound, establish the five-member outfit as truly one of a kind.

You'll recognize some of the members from other bands around town: Hound The Wolves, Tigers on Opium, Sixous, to name a few. The Portland scene tends to cross-pollinate a lot, which I suppose accounts for the creativity behind Alltar's unique sound.

I asked Frontman Juan Carlos Caceres about how these remarkable doom fantasias (and "Arcana," in particular) spring to life:

We have a pretty set in stone approach to writing our music. The musicians will compose riffs and string them together into a loose arrangement. However in this band, one of the creative choices we make is that Tim will title the arrangement. Once the music has a flow or is sounding like a song, they will pass it along to me and I will take that “title” and use it as the inspiration for the lyrical content and story of the song.

From there I’ll come in with arrangement ideas and help produce the song into its final arrangement by adding vocals/synths, and ultimately shaping how the song plays out from anything like needing things to be repeated for a certain length, to adding other sections that help the music sound like a song and not a string of riffs.

This can make for a long process to the end result, however with “Arcana” it actually came together very quickly. If I recall correctly it was two rehearsals. The song originated from a riff Colin brought to the table and the band spent a rehearsal coming up with some parts. They emailed it to me along with the title “Arcana”. I was deeply intrigued by this title and the fact that the word means secrets/mysteries. I quickly dove into writing the lyrics and had a full working version ready to go for the next rehearsal.

Deep in our genetic makeup, are the stories of centuries, the stories of evolution, the stories of failure, and the stories of progress. I gravitated quickly to this thought process and used the concept “Arcana” to tell the story of a message hidden deep within us, that guides us, whispers to us, but we are only aware of it through intuition and practice.

As to the meaning of "Arcana" and the influences driving the four songs on the setlist for the forthcoming album, 'Live At Ceremony of Sludge IX' (2021), Juan adds:

One of my favorite books is 'The Origin of Consciousness in the Breakdown of the Bicameral Mind' by Julian Jaynes. He proposed that the human brain existed in a bicameral state until about 3000 years ago. The theory is widely disputed but nonetheless I find the concept of our growth of consciousness fascinating.

There are hints of this in the lyrics, along with hints of evolving further into our next state of being. I really like to use phrases that portray a strong visual imagery that the listener can perhaps interpret in several ways. With this song, I wanted the listener to be curious whether we are in the past, present, or future.

Are we conscious automata? Are we free willed? Are we guided by things planted deep in our subconscious and genetic make up? Unlocking the mysteries of our consciousness and our DNA to propel ourselves into the next cycle of life, is what this song is about.

Performance Stills by Stephanie Savenkoff

Deep thoughts indeed to guide this deep cut from an album that will surely leave its mark upon you. "Arcana" is rich with esoteric atmosphere, enhanced by thoughtful instrumental details, brimming with attitude, carried by transcendent vocals that stir the heart with its cryptic creed.

Out February 12th, Alltar's Live From Ceremony of Sludge IX can be gotten on compact disc, as well as in digital format (pre-order here).

Give ear...

A//tar - Arcana

Lyrics

Messenger Show yourself Deep your roots plant themselves Further than time itself Unfolding

Whispering in my ear Only things I can hear Forever unknowing Unfolding

Library Circuitry Loops caught infinity Only you only me

Unfolding Unfolding Unfolding Unfolding

Mystery hidden deep in the sea Buried underwater effigy There is a message carved onto it Only one human can know of it Only one human can know of it

Open ocean Part ways for us all Open ocean Part ways for us all

All knowing Arcana Genetic permanence

DNA AND palindrome Mirrors speak in parables Offering miracles Unfolding

Splice open chromosomes Rewire what we know Binary in revolt Unfolding

46 deep in me 46 let me be Shadow step out of me

Unfolding Unfolding Unfolding Unfolding

Mystery hidden deep in the sea Buried underwater effigy There is a message carved onto it Only one human can know of it Only one human can know of it

Open ocean Part ways for us all Open ocean Part ways for us all

All knowing Arcana We are genetic permanence

All knowing Arcana

Some Buzz

Bring your pain, your loss, and your love and place it on the Alltar, as we honor those that came before us. Emerging from the Pacific Northwest region, Portland’s Alltar set out a two-fold reminder: one, of the potency behind a doom, sludge, and post-metal blend; and two, of just how good live music will be once it returns. After the successful release of their début Hallowed, the quintet’s next move is to release a live record commemorating a stunning set at Ceremony of Sludge in their hometown, which saw a stacked bill including Usnea and Brume shake The World Famous Kenton Club back in March.

“Ceremony of Sluuuuudge, baby!” comes booming through the speakers from vocalist Juan Carlos Caceres, whose amiable attitude contrasts with both the Ozzy-like wailing and harsher screaming - both of which hitting impressive peaks on “War Altar”. The lyrics draw from a wide range of topics; in the bands’ words, “the triumphs and tribulations of human-kind. From the technical and artistic birth of society’s achievements in art and technology, as well as the rise of power, war, destruction, and the control of humanity.”

Live at Ceremony of Sludge by Alltar

One unusual feature of this release is just how damn good the mix is for such a young band in a festival format. Aside from the vocals soaring and shrieking, the drums pop and crash, the bass rumbles with menace, and the cavernous rhythm guitars are hypnotic. The five work seamlessly to stir the genre-melding pot, the contents of which contain pinches of Neurosis’ Souls at Zero, Amenra’s Mass series, latter-day Elder, and Cult of Luna.

The record itself is akin to a beast that awakens - it starts with smooth guitar lines interwoven with Moog synthesizers on “Arcana”, while by the time “Cantillate” rolls around, there’s an unfolding crescendo of crunch. And then, just as the audience recovers from the devastating closer, a simple “thank you, we’re Alltar, Glasghote is up next!” It’s over in a short space of time, but that’s the beauty of live albums - there’s always the replay button.

Alltar is:

Nate Wright - drums (Hound the Wolves, Tigers On Opium)

Tim Burke - guitars, samples (ex-Boneworm, Hound the Wolves, Electric Ring, ex-Skull Island)

Colin Hill - guitars, samples

Juan Carlos Caceres - vocals, Moog synthesizers (Tigers On Opium, ex-Sioux, Hound the Wolves, The Hungry Ghost)

Casey Braunger - bass (He is Me)

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#D&S Debuts #Alltar #A//tar #Portland #Oregon #doom #atmospheric doom #metal #Ceremony of Sludge #music video #Stephanie Savenkoff #photography #D&S Reviews #D&S Interviews #Doomed and Stoned

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doomedandstoned · 7 years ago

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Doomed & Stoned

High Summer Fest

SCRAPBOOK

♒ Friday & Saturday, August 4th & 5th, 2017 Ash Street Saloon | Portland, Oregon ♒

Photos by Stephanie Savenkoff

Films by Billy Goate

DAY I

SARAMA

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WOUNDED GIANT

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YEAR OF THE COBRA

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DISENCHANTER

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DAY II

MAMMOTH SALMON

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TEEPEE CREEPER

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KLAW

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ANCIENT WARLOCKS

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#D&S Concert Review #Doomed & Stoned High Summer Fest #Festival #Ash Street Saloon #Portland #Oregon #Disenchanter #Year of the Cobra #Sarama #Wounded Giant #Teepee Creeper #Ancient Warlocks #KLAW #Mammoth Salmon #Stephanie Savenkoff #Photography #Doomed & Stoned

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doomedandstoned · 7 years ago

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MELVINS!

Live 'n' Loud in Portland

Stephanie Savenkoff: Review & Photos

Shelby Kray: Live Concert Footage

Tom Hazelmyer: Linocuts

On July 12th, 2017, Doomed & Stoned dispatched me to photograph MELVINS at Hawthorne Theater in Portland, Oregon. It was my first time seeing them live and they exceeded any expectations I had. The crowd was primed and ready after hearing opening act, Brooklyn "dream sludge" duo Spotlights and with the Melvins set all ready to go, there was only a short wait. The crowd erupted when they hit the stage and I cheered when King Buzzo's white, bouncy mop came into view. I rejoiced at the sight of that multi-colored, metallic-threaded muumuu and those shoes!

The Seattle iconoclasts opened with a cover of "Sacrifice" by Flipper. After the first few notes, the energy level climbed even higher as people responded enthusiastically to the familiar song. Many sang along and bodies moved to the driving beat. After that, it was a tapestry of angst and fury, punk and grunge and hard-hitting sounds of heavy guitar and heavier drums. I had no idea what Buzz was singing about, but I found I didn’t care. It is the feeling and the energy that grabbed me and shook me, refusing to let go until the last notes faded away.

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Buzz Osborne didn’t engage with the audience, other than to stand at the very edge of the stage just behind the rail a few times. I am not normally in front at shows and this time I was right there, right at his feet. When Buzz would lean over his guitar his head almost touched mine! He shredded with his eyes closed most of the time and would occasionally smile a little secret smile that made you wonder what he was thinking. He marched and stomped around that stage, owning it from start to finish.

Steve McDonald amused me with his fur vest and stage play -- pretending to trip and fall without ever doing so and throwing some kicks (always my favorite), as well as playing from his knees. At one point, he lifted his guitar up to his chin and proceeded to play it as if it was a violin without a bow. His animated face kept you watching to see what he would do next.

Dale Crover was all but invisible behind his drum kit, but he was a force of nature back there and thunderous with those sticks. He had a Sylvester The Cat plush toy sitting on one of the drums and I am amazed he managed to stay there for the whole set with all that banging!

I was there to take pictures, but there were times when I lowered my camera, hung onto the stage rail, and let the music take me, bucking me like a wild bronco. Both “It’s Shoved” and “The Bit” had a rhythmic push-and-pull that I couldn’t help but move to. Buzz wailed with a spooky, mournful tone reminiscent of Adam Alexander of Die Like Gentlemen and sometimes had an angry growl like Wallace Charman, front man of PDX rockers Pillowfight. Near the end Buzz held out his guitar, as if an offering to the God of Sludge. If that explains his genius and amazing creations, then consider me a disciple.

Meanwhile, Dale teased us all with a crescendoing drum groove in the final moments of the last song and then left us all hanging, standing up and not delivering that phrase ending downbeat. Always leave ‘em wanting more! That was exactly the case. People were shocked and sad when the house lights came on and they realized there would be no encore. The Melvins truly left everyone wanting more and I, for one, am looking forward to their next visit to P-Town.

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#D&S Concert Review #Melvins #the Melvins #Seattle #Washington #Sludge #Metal #Grunge #Stephanie Savenkoff #Shelby Kray #Photography #Live #Concert #Hawthorne Theater #Portland #Oregon #Doomed & Stoned

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doomedandstoned · 7 years ago

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Mammoth Salmon’s Uncompromising Vision of Northwest Heavy

~Words by Billy Goate | Pics by Stephanie Savenkoff~

Nigh unto three years ago, I witnessed MAMMOTH SALMON perform during the Portland Metal Winter Olympics, a kind of battle of the bands organized by Nate Carson from Witch Mountain, with a panel of judges that included folks from Relapse Records. After they played, I remember one of the judges giving what I'm sure they thought was a helpful bit of feedback: "You're good. Really good. If you want to jump into the broader eye of the metal public, though, you need to change your name."

Suffice it to say, this person wasn't from Oregon or they'd understand just how integral salmon to the history, economy, and character of the state. Salmon are as iconic as the redwood is to Stanford University or the apple to Washington. Perhaps those aren't even fitting comparisons, as the upstream journey of the salmon represents the struggle to overcome odds and reach the impossible. Salmon are underdogs. With that thought in mind, it's no wonder Mammoth Salmon hasn't followed up on that well-intentioned, but ill-informed advice.

This weekend, the Portland doomers rumbling Ash Street for Day II of Doomed & Stoned High Summer Fest. Just weeks ago, Paul Dudziak (guitar, vox), Matt Howl (bass), and Chad Walters (drums) dropped a new record on us called 'Magnetic Fields of Radiant Light' (2017). Having witnessed the guys play "Mortals" last year in their opener for Mars Red Sky, I was looking forward to hearing the song properly recorded. Justin Phelps did the honors, laying tracks down at The Hallowed Halls in Portland, where a lot of fine recordings have happened over the years (including last year's SUMA record).

Loving Paul Dudziak's ongoing experimentation with guitar effects and atonal riffs in the same song, something he began delving into with 'Last Vestige of Humanity' (2015). Of course, his vocals are savage as ever (always the main attraction of Mammoth Salmon for me). Matt Howl conjures another level of downtuned hell to Magnetic Fields and Chad Walter provides a sturdy rhythmic backbone to every track, though I really would like to see him cut loose more in future records.

The release stays faithful to Mammoth Salmon's uncompromising vision of "heavy" -- though too short a ride for me. Then again, I might just be spoiled. I decided to track down Paul and the boys prior to the big show and get the scoop on the record, the band's roots, and future plans.

Magnetic Fields of Radiant Light by MAMMOTH SALMON

What's the story behind the new record?

Our initial plan for the new record was to record each song with a different producer. But after we recorded one song with Justin Phelps at The Hallowed Halls, we said, you're our guy. Make us sound like our live show. And he did. This is our second full-length record and first with the rhythm section of Matt and Chad. We recorded the last two albums with Adam Pike, front of house engineer for Red Fang, who was fantastic to work with. We wanted to record in a different studio but weren't sure who to go to. My friend Buddy, who works at 2nd Ave. Records, introduced me to Justin and after recording Apotheosis with him in an eight-hour day in November of last year, we decided that he was the guy that we were going to work with. He was booked up until February of this year so we had time to continue to develop the songs that we were planning to record.

Were these songs composed during the ‘Last Vestige of Humanity' (2015) period or an intentional effort to write songs as a new unit? The contribution from Matt, in particular, is stands out in songs like "Apotheosis," which is more bass-heavy than I'm used to with Salmon.

These songs were composed after the rhythm section of Last Vestige of Humanity left the group. The songs were all worked on together as a group. "The heavy emphasis on the bass in Apotheosis was all Paul's idea! And who am I to say no to more bass?"

If it's not entirely too tedious, I'd love a track-by-track walk through. Anything about the songs, really. Anecdotes about composing, practicing, or recording them are welcome, as is any insight into the meaning or inspiration of the songs.

Maelstrom of Discontent

Magnetic Fields of Radiant Light by MAMMOTH SALMON

The first song that was written for the album was "Maelstrom of Discontent." The political atmosphere was clearly changing and this song reflects those sentiments. People seem more disconnected than ever and it's palpable all around the world. There seems to be so much unrest and resentment these days. Matt provided the main riffs for 2 songs on the new album: "Mortals" and "Black Moon Ritual." Paul provided additional riffs and structuring for each song. Chad's steady beats and dynamic fills bring it all together.

Mortals

Magnetic Fields of Radiant Light by MAMMOTH SALMON

"Mortals" was written after Paul had major surgery, one week after his 40th birthday. It was a heavy reminder of our mortality as humans on this earth.

Black Moon Ritual

Magnetic Fields of Radiant Light by MAMMOTH SALMON

"Black Moon Ritual" was the final song composed for the album. We were going for a different feel with this one and trying different things. It was cool to experiment with multiple layers in the studio with this one. The breakdown in the middle of this song is always fun to play live.

Apotheosis

Magnetic Fields of Radiant Light by MAMMOTH SALMON

"Apotheosis" came together almost immediately and it was obvious that we had a strong album opener. A friend called it "a real barn burner," whatever that means.

Magnetic Fields of Radiant Light

Magnetic Fields of Radiant Light by MAMMOTH SALMON

"Magnetic Fields of Radiant Light" originally appeared on the first demo from 2012 that has been out of print for several years now. I composed that song when I first moved to Portland in a converted garage in a house I was renting at the time. I decided that this line-up could breathe new life into the song because it was too good to let it fade away. It is a reflection on the 10+ years that I lived in Humboldt County, California.

Deep inside the place I know The only sound is the river flow Sunlight shines through ancient trees Distracting me from my disease

Hazy fog shrouds the bay Delusions are all hidden away Darkness comes and fills the night Ominous sense of fear and fright

Looking for what's not there Living like a devil may care Blinding brightness from the glare Feeling all the empty stares

Ultraviolet waves in space Fluctuating then replaced Infrared visions of night Magnetic fields of radiant light

Paul, you seem to enjoy tinkering with guitar effects a lot. What's going on with that?

I'm always experimenting with different sounds. It's important to me to convey the right mood in every song we play. Sometimes the right combination of effects can really bring the songs together in terms of overall feel and expression. We obviously go for a darker sound and good tone is especially important to me. I have worked for years to dial in every effect that I use with the Marshall amp, Gibson guitar combination that I prefer. Everything is well thought out. I enjoy trying different effects pedals, but am careful to not let them be the entire focal point of our music -- only utilized to add color and texture to the songs.

What's the vision for Salmon moving forward, guys? What do you each hope to bring to the table and where do you think the project will go next?

The band is now five years old. I remember starting out in a garage in 2012 and not having too many expectations. I just wanted to play shows with my new friends at local dive bars. It's fantastic to say that we are still doing the same thing today. It was incredible to have Devil's Child Records release the debut LP on vinyl last summer! That was a real boost for the band which gave us some good momentum.

We played three festivals soon afterward: Northwest Heavy Fest in Seattle (opening for Mos Generator), Crucial Fest in SLC with Ape Machine, and Erosion Fest in Missoula, Montana opening for Acid King.

We are hoping to release Magnetic Fields of Radiant Light on vinyl with label support. We also hope to tour more heavily next year and eventually tour Europe. It would be incredible to play some of the stoner rock/doom metal festivals that they have.

We all bring unique elements to the band and it is a true democracy where everyone has a say in all aspects of composing, performing, and recording. We hope to keep writing dynamic songs with great riffs for many years to come.

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doomedandstoned · 4 years ago

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The Heavy Best of 2020 (Editor’s Choice)

~By Billy Goate~

The Year In Review

No doubt, there were a lot of discouraging happenings to start the '20s. It was hardly a return to the roaring twenties of a hundred years before that so many envisioned, full of raucous partying and a band playing every club. With the advent of a fiendish little bug called novel coronavirus (aka COVID-19), everything changed for everybody within a matter of weeks. Then came the long, slow months of layoff and lockdown.

From the vantage point of this same time last January, it would have been hard to imagine we would, by year's end, experience a global pandemic rivaled only by Spanish Flu, followed by shelter-in-place orders, closed businesses, lost jobs, and a North American death toll in the hundreds of thousands. Then there was the long, hot summer of socio-political unrest, followed by those blazing West Coast wildfires, which spewed toxic air into my neighborhood for weeks. Yet, the heavy underground soldiered on.

Doomed & Stoned in Hellas by Doomed & Stoned

Doomed & Stoned in New York by Doomed & Stoned

Doomed & Stoned in Wales by Doomed & Stoned

Despite cancelled festivals and shuttered venues, musicians around the globe produced some of the finest music of the new decade. Rare collaborations only dreamed of in happier times came together and bands started streaming online -- in garages, practice spaces, even closets (looking at you, Randy Blythe) -- to the delight of fans everywhere.

Doomed & Stoned was there to document it all with in-depth reviews, a new Doomed & Stoned Presents series on YouTube, the ongoing scene-by-scene compilation series, and our weekly podcast The Doomed & Stoned Show. In case you're wondering, this was our most listened to episode from Season 6:

The Doomed & Stoned Show - End Of Forever (S6E40)

To all of you who stood with us with encouragement and support over the past 12 months, thank you! We couldn't have done it without you. I want to express my deepest gratitude to each and every member of the Doomed & Stoned team, including those who contributed last year: Willem Verhappen, Shawn Gibson, Randy J Byrd, Tom Hanno, Mel Lie, Jacob Mazlum, Calvin Lampert, Svempa Alveving, Jamie LaRose, Adam Mundwarf, Stephanie Savenkoff, Sally Townsend, Drew Nez, Chris Schanz, and the infamous Reek of STOOM!

Big ups to those diligent, thoughtful curators of our now 7-year running 35-volume compilation series, Mr. Tom Jordan for spearheading the hugely successful Doomed & Stoned in Wisconsin live stream, and to my podcasting co-host Mr. John Gist (who brought us a compilation of his own). You all made a very difficult year much more endurable through your efforts!

Last, but not least, I want to acknowledge my longtime Doomed and Stoned Latinoamérica editor Roman Tamayo (who currated the historic compilation of stoner-psychedelic music in Mexico, covering more than five decades) and his team for their tireless efforts to document the Latin American scene -- from groundbreaking original content on our Spanish language website and weekly radio show, to numerous compilations and an active social media presence.

Doomed & Stoned Latin American Duos by Doomed & Stoned

Doomed & Stoned in The Netherlands by Doomed & Stoned

Doomed & Stoned in The Netherlands, Part 2 by Doomed & Stoned

Last week, we published the Doomed & Stoned staff picks, and now our retrospective on the weird and wild year that was concluded with the Editor's Choice of The Heavy Best Records from 2020! Scroll down for the 25 most "doomed" records and the 25 most "stoned" records (check out the honorable mentions here). I hope you will discover plenty of downtuned licks, wicked riffs, rocked-up rhythms, and groovy vibes to give you the high that only good music can as the New Year unfolds!

\DoomOn/

The Most DOOMED Records of 2020!

1. Dopelord - Sign of the Devil

Sign Of The Devil by Dopelord

Nihilism has never felt so warm and fuzzy! DOPELORD return for their fourth album in ten years. Showing us they're not short of compelling ideas, the Lublin quartet deliver some of their deepest material to date in Sign of the Devil. What it may have lacked stoner hymns like "Preacher Electrick" and "Children of the Haze," Dopelord more than made up for by gifting us the solemn "Witching Hour Bell," the devilishly downtuned "Hail Satan,", the doleful "Doom Bastards," and the de facto anthem of 2020, "World Beneath Us."

2. Various Artists - Alice in Chains: Dirt (redux)

Dirt (Redux) by Various Artists

The brilliance of this line-up cannot be overstated. Magnetic Eye's new Redux Records label picked the right roster to recount a generation-defining record, Alice in Chains’ 'Dirt' (1993). There are plenty of standout tracks, namely Forming The Void's swampy "Junkhead," Howling Giant's massive rendition of "Rooster," High Priest's lush and worshipful "Rain When I Die," and the immersive, multi-layered Khemmis interpretation of "Down in a Hole." Give ear...

3. Pallbearer - Forgotten Days

Forgotten Days by Pallbearer

Will you hate me if I confide that I've never been more than a passing PALLBEARER listener? "Sacrilege!" I hear many of the readership say. If there's still hope for my redemption, it will surely be found in Forgotten Days, which displays some of the Little Rock band's most powerful and accessible songs to date. Less plodding, this time, with a slight boost in tempo and a metric ton of power may have had something to do with it. Also, there's something very earnest and searching about "The Quicksand of Existing" and the titular Forgotten Days" that make them very easy to identify with. "Well, welcome to the club!" I can hear many fans scoffing. Go ahead, this time I deserve the chiding.

4. REZN - Chaotic Divine

Chaotic Divine by REZN

Here is a record that surely rewards repeated spins. It's REZN's this album and their most ambitious to date. This time the doom is accompanied by a swirl of keyboards, periodically visited by one bitchin' sax, and harmonized verses that recall the ensorcelled singing of Uncle Acid and the deadbeats. Chaotic Divine's "Inner Architecture" is certainly among the most entrancing of 2020.

5. Green Druid - At The Maw of Ruin

At the Maw of Ruin by Green Druid

On episode 30 of The Doomed & Stoned Show, we brought you the first single from the hotly anticipated second album by Denver's GREEN DRUID, which was then months away. I scribbled a few notes together before airing "The Forest Dark, writing: "Darkest imaginable midsection, a slow grind of muck, mire, and human rage." Needless to say the rest of the record followed suit! I feel "A Throne Abandoned" is especially apropos for our times.

6. Sorcerer - Lamenting The Innocent

Lamenting of the Innocent by Sorcerer

Swedish epic doomers SORCERERr have long been a staple of the European festival circuit. Though the band has been active since '89, most of their recorded material has eluded me...until now. If you can't get enough of Candlemass, you owe it to yourself to hop on Lamenting The Innocent. Songs like "Lamenting The Innocent" is about as close as you'll get to the heroic early days of epic doom's origins. Fantastic, glittering guitarwork from Kristian Niemann and Peter Hallgren, and one could not conjure a finer frontman than Anders Engberg.

7. Purification - Perfect Doctrine

Perfect Doctrine by Purification

PURIFICATION really brings the feels, with their epic doom meets occult rock two-fer. Hey, when you've got the inspiration, go with the flow, I say, and the Portland band did, releasing an album in the summer and winter. This is, of course, the enigmatic Rainbo of Troll fame. If doom ruled the world, he'd certainly be one of its most charismatic idols. By the bye, I wrote a dandy review of Perfect Doctrine while completely stoned. That is all. Doom on.

8. Abysslooker - Burden

Burden by Abysslooker

Burden was released back in April and seems to have whisked away from most of our radars. ABYSSLOOKER frontman Aleksei "Demoria" Leontev is the real highlight here. His vocal performance comes across as maniacal and unhinged, making you want to listen for the spectacle, if nothing us. But then, it's easy to get emotionally swept away with the forlorn post-metal textures. The acoustic guitar is quite effective, contrasted with those beefy doom metal chords. Then Demoria does his work. You can really sense the heart he's putting into the lyrics, executed with suffering emotional intensity. His singing style varies -- first sludgey, then powerful and clean, with a pitch and tone reminiscent of Corey Taylor). An unusual, but engrossing and genuinely moving album with thoughtfully written songs.

9. Hymn - Breach Us

Breach Us by Hymn

Huge fan of HYMN since their debut album dropped in '17. With two members hailing from the ultra heavy "Sâver" and formerly of the late, great Tombstones you just can't go wrong. Their second album Breach Us crafts a sound as powerful and driven as a Black Cobra or Gojira, and as cold and crunchy as a snow cone at below freezing temperatures in Oslo. The sound is just gargantuan at every turn and the guitar is tuned so damned low. Every time Ole Rokseth unleashes the vehement fury of those pipes, I imagine he and drummer Markus Støle in a blizzard at night (see: "Can I Carry You"), raging against the Norse god of winter or some shit. Hell, now that I think of it, they may be in his service.

10. Stonebirds - Collapse And Fail

Collapse and Fail by STONEBIRDS

With a name like STONEBIRDS, I was easily caught off guard, expecting peace and flower power when fire breathing damnation were waiting for me, instead. Seriously, Fañch Le Corre is a beast on vocals and his clever riff-making is constantly engaging our jaded ears. This, coupled with the mad drumming and rumbling bassplay of this progressive sludge outfit, were more than capable of conquering my short attention span. Ripple Music sure knows how to pick 'em. Collapse And Fail is a thrill ride and a half!

11. Cirith Ungol - Forever Black

Forever Black by Cirith Ungol

Admittedly, I was way late to the trve metal party, only discovering the Ventura greats a few years ago -- CIRITH UNGOL have been a thing since 1977. Suffice it to say, I think their approach to doom is downright wicked and adore their first four albums. After almost 30 years' absence from the recording studio, Tim Baker has lost none of his ferocious bark, the guitars summon a riff storm of fury to match, backed by an indefatigable rhythm section. I reviewed Forever Black in June, swearing I held my breath through the back-to-back attack of those first four numbers. Fire!

12. Acid Mammoth - Doom Sessions Vol. 2

1782/Acid Mammoth - Doom Sessions Vol.2 by Acid Mammoth

I bookmarked this album early in the year and have revisited it often since. It has certainly stood up to the scrutiny of time and competition in a subgenre that is every bit as robust today as it was five, ten, fifteen years ago. Despite the occasional pessimism of those who cry, "Doom is dead!" ACID MAMMOTH is a hard beast to kill, releasing both their second longplay and a magnificent contribution to their split with 1782, so much so that these three songs eclipsed even the excellent 'Under Acid Hoof' (2020). Perhaps it was the precocity of emotional expression that impressed me so hard.

Oh, and did I mention they're coming out with yet a third LP? 'Caravan' (2021) has already been announced and is scheduled for release in March. That, along with a repress of last year's album on what has emerged as one of the most exciting labels from the underground, Heavy Psych Sounds. All hail the elephantine ensemble from Athens!

13. DÖ - Black Hole Mass

Black Hole Mass by DÖ

”Mammoth” was indeed the watchword in 2020 for heavy music, Acid Mammoth having set an early precedent. Finland's DÖ, more than eager for a challenge, introduced us to the galactic in Black Hole Mass. Just three tracks (Gravity Sacrifice, Plasma Psalm, and Radiation Blessing), but enough to make any doomer feel like an experienced cosmonaut..

14. Sun Of Grey - Outerworld

OUTERWORLD by Sun of Grey

We premiered the nefarious full-length debut by SUN OF GREY just days before Hallowen. It felt like I was listening to a guy singing his heart out to a full moon at the dead of night. Gnarly vox, stern (and occasionally squirrely) guitars, and determined drumming sets the Colorado Springs newcomers immediately apart from the planetary pack.

15. Sky Pig - Hell Is Inside You

Hell is inside you by Sky Pig

The sonics on this recording are some of the best I've heard from any offering this year, just stellar. Crisp and clear, allowing ample space for the instruments to breathe and plenty of resonance for those gargantuan guitar riffs, deep, resonating bass licks, crushing percusion, and defiant vox. With Hell Is Inside You, SKY PIG has not merely fine-tuned their approach to doom, they have become doom (destroyer of worlds!). Every note is delivered with purpose, conviction, and a depth of feeling matched in the studio by precious few.

16. Bible Black Tyrant - Encased In Iron

Encased In Iron by Bible Black Tyrant

Aaron D.C. Edge is a master of songcraft. He can take a simple riff and build it out just right, buttressed by a dynamic rhythmic centrifuge. Now just add vocals composed of pure rage are you're in business. Encased in Iron, the second album by BIBLE BLACK TYRANT was even more fierce than the first. One of the few I ordered on vinyl this year, via Argonauta Records.

17. Vessel of Light - Last Ride

Vessel Of Light Last Ride by Vessel of Light

Sinister overtones and dark, trippy vibes from VESSEL OF LIGHT, who gifted doomers (and metal fans at large) with a real keeper. Tom Hanno, in his October review of Last Ride just came out and said it: "They don’t sound like the majority of watered down stoner-doom bands, and thank the gods for that!" Commanding vocals from Ancient VVisdom's Nathon Opposition, Dan Lorenzo's damning guitar riffs, and a crackerjack rhythm section comprised of former Overkill drummer Ron Lipnick and Hades bassist Jimmy Schulman will have you headbaning with your horns flying high!

18. Cruthu - Athrú Crutha

Athrú Crutha by Cruthu

Proving that groovy doom and folklore play so nicely together. Everytime I hear "The Outsider" something stirs up my imagination and emotions like a pied piper, to an ethereal place not unlike what's depicted on the cover of CRUTHU's last album, The Angle Of Eternity (which was on my Heavy Best of 2017 list). There's something about Ryan Evans' husky voice, paired with Dan McCormick's poetic guitar leads, that is unique among contemporary doom artists. Not too many bands are this invested in epic storytelling, either. It's time for Cruthu's star to rise!

19. The Crooked Whispers - Satanic Melodies

Satanic Melodies by The Crooked Whispers

What a great back-to-basics acid horror occult doom record this turned out to be! It practically glows in the dark (and is best listened to in low light settings). THE CROOKED WHISPERS is creative fusion of members from LáGoon, Hour of 13, Luciferica and Fulanno who connected during the forced down-time of the spring months. Their eponymous debut is an impressive, robust album full of warped singing and potent dream sequences, with plenty of moments in spent in the uncanny valley, nay in the very lap of evil, Acid Witch meets Electric Wizard by way of David Lynch and Stanley Kubrick.

20. Jointhugger - I Am No One

I Am No One by Jointhugger

With a name like JOINTHUGGER, I'm sure your stereotypes about stoner-doom have already been triggered. It would be a grave error to pass by these Norwegians, though. Their debut LP had been simmering in the cauldron for some time until cooked to perfection, demonstrating some amazing musicianship and chemistry with its stellar riffs and brutal, fuzzed-out bass 'n' beats. Doomed & Stoned was pleased to bring you an advance listen to the album, reviewed by yours truly back in May.

21. Hellhookah - The Curse

The Curse by Hellhookah

Doomed & Stoned and HELLHOOKAH have a long relationship, going back to the early days of the blog when the Lithuanian duo dropped the celebrated freshmen romp, 'Endless Serpents' (2015). Since then, the duo had been hammering out seven powerful new songs, which we premiered for you in mid-April. I believe you'll find the track "Greed and Power" particularly prescient.

22. Mammoth Cave Burial - Death's Vexillarius

Death's Vexillarius by MammothCaveBurial

Another belated discovery. This Kentucky project has been on point for every one of their 2020 releases. The doom is so well conjured, from the forelorn 15 minute single "SummerLungs" to their self-titled to the foreboding chug of "Black Math" off their eponymous record. And Death's Vexillarius is nothing short of a doomer's delight with its methodical riffing and raspy, harsh vox. I feel the same affinity for MAMMOTH CAVE BURIAL as I did for the late, great HeavyDeath. Hopefully a mention here will get them even more love in the heavy underground, as MCB's output doesn't seem to be widely known.

23. False Gods - No Symmetry...Only Disillusion

No Symmetry...Only Disillusion by FALSE GODS

Last year, we unearthed a whole slew of bands from The Empire State in our Doomed and Stoned in New York compilation. Among them FALSE GODS who brought us one this hell-raising stomper on Seeing Red Records. Reviewed in October, I described this Crowbar-meets-Godflesh feast as a "dense, dynamic, and devastating gut punch that puts the definitive punctuation on a year gone mad." Case in point: "Lords of Emptiness".

24. Curse The Son - Excruciation

Excruciation by Curse the Son

Excruciation is a landmark entry for Connecticut band CURSE THE SON, who've been operating since 2007. On the brink of the album's summer release via Ripple Music, I observed: "Whether vibrant or grim, Ron Vanacore’s wicked vocal approach gives each song on Excruciation a distinct identifying mark, along with the devastating low-end his guitar delivers – reinforced by the punishing rhythm section of Brendan Keefe (bass) and Rob Ives (drums)."

25. Saturnalia Temple - Gravity

Gravity by SATURNALIA TEMPLE

Didn't realize how much I'd missed the sound of SATURNALIA TEMPLE until I heard the title track off Gravity. It's the vocals are so fiendish and gritty, echoing over an earthy bed of pagan melody and percussive marching, stinging guitar solos breaking out here and there. And things just get weirder from there, as though we'd injested some hallucinatory drug which bends our perception of reality, reaches its feverish height, then fizzles out with a surreal strain of noise.

Doomed & Stoned's Top 25 Doom Metal Records of 2020

The Most STONED Records of 2020!

1. Ruff Majik - The Devil's Cattle

The Devil's Cattle by Ruff Majik

There was a lot to love from a lot of bands trafficking in stoner rock last year, but none impressed me like RUFF MAJIK. For Acid Cattle, the trio ballooned into a quintet, bringing on board additional fire power on guitar and allowing for some vocal trade-offs. The change was evident in the QOTSA-esque first single, "Who Keeps Score". But don't worry, the South African band lost none of that essential Joni Holiday nasty.

Call it sludge n' roll, call it outlaw stoner-blues, call it whatever, The Devil's Cattle is an essential sound for the times, bringing a truckload of fuzz, dirty blues, punky attitude, grimy breakdowns, and wicked vox. The songwriting puts it in a class all its one, depicting tooth and nail situations with bad guys you don't wanna cross and plots of revenge to even the score. To quote "Swine Tooth Grin":

...I hope my momma understands. I didn't mean to hurt no man. I didn't mean to lay him out on the land. So bless this body full of holes and may the Lord have mercy on this soul.

2. Foot - The Balance of Nature Shifted

The Balance of Nature Shifted by Foot

In April, I wrote: "This album may yet engulf all others that have come before it this year, as Melbourne's FOOT present their stunning third album, 'The Balance of Nature Shifted' (2020). With savvy vocal harmonies and driving desert rock rhythms, it's a must-hear." Infectious, is the word I think most appropriate for numbers like "Despair on Hope Street", which involves the listener right away with those terrific vocal harmonies, reminiscent of Alice in Chains.

3. Lord Loud - Timid Beast

Timid Beast by Lord Loud

Stoner-garage fuzz-makers LORD LOUD teased out songs from Timid Beast early into the year -- an unusual PR move, as their album would not launch until September. But with every leak, the Los Angeles duo ensured we were hooked and in it for the long haul. I stand by what I said in April: "The guitar and drum chemistry witnessed throughout this recording is absolutely on-point, whether we’re talking the charging opener 'Dirty Seeds,' the cranking leads of 'The River,' or that beautiful bomb track 'Labyrinth.' Chris Allison’s vocal delivery contrasts quite effectively with the ferocity of the riffs and frenetic rhythms."

4. Lowrider - Reflections

Refractions by Lowrider

One of the most recognizable names in stoner metal is back! I searched the archives and it appears Doomed & Stoned's first mention of LOWRIDER came in October of 2013, during our daily Wake N' Bake show. Their first material since 2000's Ode To Io, these crafty Swedes secretly engineered a set of songs that would wow us over and over again come 2020. Reflections started the year strong on the Doom Charts in February, and finished number one in the rankings by year's end, with "Red River" as its enduring gem.

5. Witchskull - A Driftwood Cross

Everything WITCHSKULL have done is so damn good. A Driftwood Cross, the Oz band's third album (second with Rise Above Records), serves up superb bass and drum work, well-honed guitar solos, and songcraft that's authentic as hell. Marcus De Pasquale's vocal style is arguably comparable to Maynard Jame Keenan. In fact, if you're a Tool fan, songs like "This Silent Place" and Black Cathedrals may just be your gateway into the world of stoner-doom!

6. Elephant Tree - Habits

Habits by Elephant Tree

Seemingly out of nowhere, London's ELEPHANT TREE has risen to be one of the most beloved bands in the scene. April saw us all caught up in the brilliant "Sails", and Habits just got better and better and better from there. Many wondered if it could top their classic second album, and while the jury's still out on that, it most definitely matched it on every level. Adam Mundwarf sized it all up for Doomed & Stoned readers: "Elephant Tree expertly blend influences of Sleep, Pink Floyd, and many other classic English rock bands we have listened to all our lives in an extremely welcoming cocktail of modern rock."

7. Mountain Tamer - Psychosis Ritual

Psychosis Ritual by Mountain Tamer

They've long been one of my favorite acts since first encountering them at Beers in Hell Fest. In September, MOUNTAIN TAMER, Cali's wizards of weird, perfected a third album of acid doom and heavy psych, released by Heavy Psych Sounds. I had plenty of time to soak in Psychosis Ritual before the official release, and exclaimed back in June: "I had the strangest experience today. Looked up the definition of 'badass' and every dictionary contained just six letters: MTNTMR."

8. Rosy Finch - Scarlet

Scarlet by Rosy Finch

Grungy, sassy, and carnal, with a boss performance by ROSY FINCH frontwoman Mireia Porto (whose vocals go from fierce to scarey in an instant), Scarlet is potent fuel for a grunge rock revival! The dark tone of the guitar makes those mean riffs all the more exciting. The rhythm section is absolutely aggressive, yet on point, as well. Raging!

9. Vinnum Sabbathi - Of Dimensions & Theories

of Dimensions & Theories by Vinnum Sabbathi

We've been following VINNUM SABBATHI even before we published our feature-length story on the Mexico City band. Ten years jamming strong through times of plenty and scarcity, the instrumental stoner-doom outfit brought us another epic more inspired by science than science fiction, as they continue their never-ending quest to explore outer space. In February, we premerie "In Search of M Theory" and the band released their second LP the following month, later bringing it all to life for our streaming series, Doomed & Stoned Presents.

10. Ghost Frog - Astral Arcade

Astral Arcade by Ghost Frog

Dropped under the twilight of 2020's waning days, Astral Arcade by GHOST FROG seems to sum up a year fraught with confusion, danger, and all around strangeness. Self-described as "a (cyber)space rock opera about extraterrestrial life, the universe and video games," the Portland rockers' latest is a wild mix of genres, including stoner, punk, space, prog, doom, and shoegaze, all converging in freakish harmony, with high energy and bouncy garage rhythms. It's the band I most want to see perform live if and when venues open up again. For the wary, ”Kill Screen” makes a great introduction.

11. Rickshaw Billie’s Burger Patrol - Burger Babes...FROM OUTER SPACE!

Burger Babes...FROM OUTER SPACE! by Rickshaw Billie's Burger Patrol

With a name like RICKSHAW BILLIE'S BURGER PATROL, you know the inevitable comparisons with food are coming. In December Drew Nez described the Austin band's acid garage sound in terms of "a habanero mayo that tastes sweet at first bite, then comes creeping back with a vengeance as the distorted vocals hit your gut a moment later." Buurrrp.

12. Mollo Rilla - Viva el Camino

Viva El Camino by Mollo Rilla

The October surprise, as far as we were concerned, was the prog rock single "Rage The Day" from Clevland's MOLLO RILLA It was but one highlight from an album that had rock opera potential stamped all over it. In my review, I tried to parcel Viva El Camino apart: "We’re treated to a fusion of styles, from good ol’ fashioned American Rockabilly to Surf and Metal – each skillfully layered and accented by nods to Latin, Eastern, and Greek traditional music." It's at this point where I paused to say, "Stop what you're doing and listen to Mollo Rilla, a band that's really got me rethinking the boundaries between rock, metal, and...well, everything.

13. Bonehawk - Iron Mountain

Iron Mountain by BoneHawk

Nostalgic for the good times? Come climb Iron Mountain, where a band called BONEHAWK is waiting to show you a thing or two. There, you will behold kick ass jams, executed with equal parts joy and aplomb, deep roots in seventies stoner and southern rock. If you peer ever closer still, you'll probably see ol' CCR and Thin Lizzy smiling, nodding their heads to the beat. At least I was, when Bonehawk rang in the New Year with songs from the record, their first since 2014's monumental 'Albino Rhino' (2014).

14. Turtle Skull - Monoliths

Monoliths by Turtle Skull

Australia's stoner rock scene has been growing like mad cats, which prompted our first survey of the continent's wealth, Doomed & Stoned in Australia. 2020 gave us stellar spins not only from the likes of Foot, Kitchen Witch, King Gizzard & The Lizard Wizard, and others, it saw the return of Sydney "flower doom band" TURTLE SKULL. One need but audit their single "Rabbit" to realize we're dealing with a hare of a different sort, one "taking inspiration from Black Sabbath, Pink Floyd and Crosby Stills Nash & Young." My appreciation for Monoliths grows every time I hear it, " taking joyous compositions and steering them headfirst into a realm of fuzz and fury" (Art As Catharsis).

15. Kryptograf - Kyrptograf

Kryptograf by Kryptograf

A new name to practically everyone, KRYPTOGRAF steadily solidified their place on the Doom Charts and almost every reviewer's best of list. Sometimes a band just owns and hones their craft so ideally, that a writer kind of feels at a loss for words ("this is just too good," someone remarked on Bandcamp), so I'll not be pedantic. If you like your stoner rock with a good dash of Greenleaf, a sprinkle of Black Sabbath, and a heart dab of Witchcraft, then Kryptograf certainly is your listening sweet spot.

16. Witchrider - Electrical Storm

Electrical Storm by Witchrider

Just after the lockdowns were lifted, summer wildfires (and arsons) began across the West Coast. It was in September when my parts of my county were warned that evacuation was imminent. Orange clouds dropping a rain of acrid ash rolled in for weeks, making the air the most toxic to breathe in the world for at least two weeks. Oregon felt like the Forbidden Zone. About that time, WITCHRIDER gave us the pepping little single, "You Lied" and I was practically obsessed with itk: "Hell, I've got the whole promo, but I've not been able to move past this one song! I have to say that the lead singer is the spitting image of David Arquette, who I've always thought was a pretty chill dude." The album is replete with this kind of sardonic humor, surely a comfort through those unreal times.

17. Big Oaf - Big Oaf

BIG OAF by Big Oaf

BIG OAF has a name you just gotta love, because it matches the stride of their swagger of their style. These Atlanta brothers carefully crafted and road-tested their songs before recording this ambitious debut, which I said in my November review had single-handedly restored my faith in the riff.

18. Butterfly - Doorways of Time

Doorways of Time by BUTTERFLY

In summer, along came a BUTTERFLY from Down Under, carrying a retro vibe on its wings that felt authentic and brand new -- as though we'd been transported through a wormhole to 1979. Little was known about the band at the time (and details are still sketchy, though the four-piece have an active Facebook). We introduced them to the Melbourne band on episode 18 of The Doomed & Stoned Show and Doorways of Time met with strong reception on the Doom Charts. Opening number "Desert Chase" somehow made us all feel that we could breathe again after the initial round of lockdowns.

19. Mothers of the Land - Hunting Grounds

Hunting Grounds by Mothers of the Land

I'm sorry to say, this was my first introduction to Austrian psychedelics MOTHERS OF THE LAND. They've been around since 2012 and have one other album under their belts. Today, the Viennese instrumental four-piece deliver a fantastic new album that serves as a fitting introduction to their craft for us late-comers. Think Elder meets Danava and you've got a good idea of what's in store for you on Hunting Grounds, which we both premiered to the world in June. "Each of the six tracks carries its own mood" with "an incredible singing guitar tone," I noted. "It’s easy to be filled with awe of their improvisational instinct, detailed craftsmanship, and effortless execution".

20. Black Spirit Crown - Gravity

Gravity by Black Spirit Crown

Cleveland BLACK SPIRIT CROWN are long overdue recognition in the scene. Their song "Megaltith" would have rocked alternative radio stations before meeting their demise. We debuted & reviewed Gravity in July, singling out the band's "good instinct for singing in harmony, building up a song climatically, and giving it legs so it can express itself in fitting form."

21. Old Blood - Acid Doom

Acid Doom by OLD BLOOD

Willem Verhappen reviewed Acid Doom track-by-track for us in June, raving about their sound ("big, heavy, slow, and drenched in blues") and singer ("full-bodied and soulful voice"). Songs like "Slothgod" and "Veinscraper" mark OLD BLOOD as one of the smoooooothest acts on the planet, and I have no doubt they'd be rocking ritzy nightclubs around the world right now if they could.

22. Black Helium - The Wholly Other

The Wholly Other by Black Helium

"We’re flashing back all the way to 1995 for this one," I wrote in my review of The Wholly Other. In short order, BLACK HELIUM make a distinct mark on this hard-driving rhythmic terrain with acid vocals accented by grungy guitars. "Here is a spin for all the stoners, junkies, and freaks," I concluded (quoting Alice in Chains), "delivered by one of the most promising of the newer UK bands."

23. Black Rainbows - Cosmic Ritual Supertrip

Black Rainbows - Cosmic Ritual Supertrip

Italian stoner metal act BLACK RAINBOWS have been a staple of the scene for so long that when we see another release, it's easy to take it for granted that it's going to be a solid one. Their seventh (!) longplay was just the reprieve we needed from lockdown lethargy, gifting us with sout rockers like "Radio 666" and the doomy stomper "Universal Phase". If you're ready for a long road trip, make sure you've got Cosmic Ritual Supertrip in the mix!

24. ORGÖNE - Mos/Fet

ORGÖNE - MOS/FET by HEAVY PSYCH SOUNDS Records

I've often said I'm a sucker for a good concept album. For the sophomore Mos/Fet, ORGÖNE establishes a kind of science-fiction mythos, "mixing '70s pop culture, ancient Egypt, pan-Africanism, spatial and paranormal exploration against the backdrop of Cold War and USSR" (Heavy Psych Sounds). Reek of STOOM described the ablum in terms of "a bewildering, dazzling and bizarre array of songs, noises and shiftless innovation from this amazing French band."

25. Fostermother - Fostermother

Fostermother by Fostermother

When Steve Howe from Outlaws of the Sun got together to preview releases we were excited for the second episode of The Doomed & Stoned Show, the Austin band FOSTERMOTHER was a strong contenter right from the get-go. Like many of you, I was sold on the band from the opening track, "Destroyers", with its windy bass hitting those guttural notes and the melancholic beauty of the words. While this may seem Pallbearer territory, Fostermother is teaming with contrasts, both doomed ("Give") and stoned ("Dark Sun") -- thus making it the perfect record to end my Heavy Best of 2020 list!

Doomed & Stoned's Top 25 Stoner Rock Albums of 2020

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What were your favorite records of 2020? Leave a comment below and share your Top 5, 10, 20, 25, whatever list! As 2021 unwraps, we want you to join us on a quest to find the best in heavy underground music. Give Doomed & Stoned a follow on Facebook, Twitter, and Instagram for daily updates and subscribe to our weekly podcast for our choice cuts from the latest doom metal and stoner rock spins!

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doomedandstoned · 4 years ago

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Devilish Acid Doomers LáGoon Reveal The “Father of Death”

~Doomed & Stoned Debuts~

Review by Billy Goate, with Stephanie Savenkoff

Some days you just need a good swift kick in the pants to get the week going. Portland acid doomers LAGOON got you covered with 'Father of Death' (2020). It's the band's second album so far this year, marking an especially prolific period for the Portland band. Hell, we just got through reviewing and debuting 'Maa Kali Trip' (2020) back in March. Indeed, the band reminds us, "There aren’t rules to this shit, despite what anyone may tell you. We figure, release the music as you make it. Two full lengths in 3 months, why not?" You won't hear any objections coming from this end, fellas.

The new spin also witnesses LáGoon’s core transformation from duo to trio, something which has obvious ramifications for their sound. Featured on this effort is bassest Ignacio De Tommaso of Luciferica, and Argentinian band we heaved profuse praise upon during a recent episode of The Doomed & Stoned Show. "Same skate rat doom sound," LaGoon assures fans, "just in louder form."

The bass is the first thing that hits us with a wallop straight away in the title track. When I learned that Doomed & Stoned's tireless Portland photographer Stephanie Savenkoff was likewise immersing herself in the new LáGoon album, I asked if I could share her notes. "Great fuzzy beginning," she observes. "Repetitive and trancey." The song appears to be about a godlike figure who holds the power of death in his long, boney hands. Singer Anthony Gaglia personifies him with appropriate dramatics. "Love that sneer!" Stephanie adds "Reminds me of Billy Corgan."

"Resuscitation" by contrast is "stripped down" with a "peaceful opening. Simple but moving." Were I to match the music with a narrative, it would be of someone awakening from a near-death experience -- or simply from blacking out, as I once did in a local grocery store (took down a whole shelf of Gatorade with me, too). Waking up from that otherwise peaceful step out of consciousness was a blurry, surreal ordeal. Soon, the unreality of it all came flooding back and I struggled to make sense of the events leading up to it. I imagine this is doubly so in the case of an NDE. Thus, we move from the serene to the stormy as the patient is resuscitated. Stephanie notes its "surfy center, energizing," and hints at Spanish rhythms with one final word: "Bandito!"

A "simple, mellow riff" begins "Bloodied Mouth," then "builds and intensifies," Stephanie suggests, offering us a "cool spark at the end." I can't help loving that Brady Maurer rhythm. His drumming makes this fundamental rock 'n' roll, the kind you wanna really twist to -- LaGoon's trademark menacing twist, that is.

Speaking of all things sinister, "Broken Oath," is "creepy and funereal" Stephanie says, an atmosphere conjured in no small part by guest keyboardist Adam Scott of Thunderbird Divine, who makes effective use of the Mellotron. We also hear, I believe, two sets of vocals, which I'm fairly certain is Ignacio De Tommaso's or one of his compadres.

"Soft, sweet, gentle, intense, beautiful, dark." Those were the words that converged with Stephanie's stream of consciousness for "Stab & Cut." Lyrically, it feels full of alienation and the need to protect oneself from the many enemies of happiness, some of which are more insistent than others in taking away our roadmap. Thankfully, there's still that trusty van to get us over the winds and dips of the road ahead.

As we might expect from an album conceived in quarantine, parts were recorded separately by various members of the band during lockdown, then mixed and mastered by Anthony himself. I'd say he did a damn fine job of it, with the usual low-fi ethic in play.

And now, Doomed & Stoned is pleased to bring you the title track from Father of Death, which emerges June 19th and can be pre-ordered here.

Give ear...

An Interview with LáGoon Frontman Anthony Gaglia

By Billy Goate

LáGoon is now, what, four, five years old?

Just approaching 4 years!

Hellll yeah.

It’s been a good run!

What was the last show you played before the Great Lockdown of 2020?

Took me a second to remember it’s been so long! Our last gig was March 6th alongside fellow PNWers Grim Earth, Sorcia, and Ravine!

Right on. I think Stephanie Savenkoff may have been there to snap some pics that night.

She was, indeed; always great to see her at our shows!

You've got some big things happening this month, right?

We do! Our last album, MAA KALI TRIP, has finally made its way out of the record plant (pusher back due to Covid) so this Friday it will be available for purchase, and then the Friday after that we’ll be releasing our new album Father of Death!

Listening to that opening track on ‘Father of Death’ (2020) you can tell something is different. The bass just jumps out at you with bold ferocity! You’ve got a new member? Please introduce us.

Hell yeah! The man behind that thunderous tone on the record is Ignacio De Tommaso of the band Luciferica. Ignacio and I have been collaborating on some music for the past few months, so when it came time to lay down bass on the record he was the perfect man for the job!

What was it like to jam with a third person after being a duo for so long?

Refreshing! At first being in a two piece was great because I had just left a 5 piece band, and that was a headache. But after being the two of us for a while, it feels great to have someone else on board so I can play some solos and overall broaden what I can get away with playing!

Do you feel any urgency to expand your number in real life when the bars and concert halls open up again along the West Coast?

Definitely. I want to start playing these new songs in their entirety as soon as things open up. I really feel like this album is the new sound of LáGoon, and I’d hate to step backwards for live shows.

How would you describe LaGoon’s core sound and approach to heavy music?

It’s hard for me to describe, but I think the most important piece of LáGoon’s sound is that we’re really not concerned with fitting under one particular label. We all listen to a variety of music, and I think that comes through in the music. Our biggest concern is keeping things fun and fresh for us, and we’ve just been blessed that some people seem to really dig it!

What styles of music would you say you draw the most inspiration from?

Those are constantly changing, but going into this album I was listening to a lot of 90s bands like Sonic Youth, The Pixies, The Melvins, and The Butthole Surfers. Which are bands I come back to time and time again. There’s something about the music that was made in the late '80s to early '90s that has a ‘I don’t give a fuck’ rawness to it. Anything that sounds like it was labored over isn’t the vibe for me.

Is it just me or do I feel a kind of chill surfer vibe thing going on, too? It's probably just me.

You’re not wrong! I think that comes from the type of people we are, or the amount of weed I consume haha. It’s pretty hard to get any of us upset, and so I think that there’s definitely elements of that in our music.

Right on. How have the last 3-4 months of shutdown and lockdown affected you and the people around you?

It was pretty hectic at first. I haven’t been working since the shutdown, so financially it’s definitely been a struggle. My mom and sister are both nurses as well so it’s been pretty scary to hear about all the madness in their hospitals. Overall, I’m happy to be living in the city and state I’m living in. Everyone I know has taken it seriously and that’s refreshing!

That's awesome to hear. Well, on a positive note, maybe take a few moments to tell us about the new album and walk us through all five tracks?

Would love to! This album largely came about because of all the free time I’ve had over the quarantine. As we mentioned before this is our first album as a three piece. I made that decision going into the album, so most of the tracks feature guitar solos and other elements we couldn’t pull off as a two piece.

FATHER OF DEATH

"Father of Death" is the first track on the record and the title track for the album. It sets the pace for the album with a driving tempo and the introduction of the bass as part of our sound. The song is about the grim reaper, a character that regularly surfaced in LáGoon songs.

RESUSCITATION

"Resuscitation" is the song that is just that for this band. It’s the first song of ours that couldn’t be played without the bass, and brings a new life and sound to the band. It’s also one of our longest songs and has multiple tempo changes.

BROKEN OATH

"Broken Oath" features another friend and label mate of ours Adam Scott of the band Thunderbird Divine on keys and melotron. This is one of the heavier songs on the album, and tells the story of a man cheating on his wife with a prostitute.

BLOODIED MOUTH

"Bloodied Mouth" is the most danceable of the album. This song was written at the beginning of the COVID crisis when everything first shut down. I felt a little beat down, and this song is what came out.

STAB & CUT

"Stab & Cut" is probably the furthest from any of the other songs we’ve written. I wrote it as an acoustic guitar song years ago and had forgotten about it. For some reason I played it on my electric guitar one day while I was recording other songs for the album and it brought new life to it.

That’s all of 'em!

Cool, thanks for sharing that! What instruments and gear are you working with these days?

I’ve had the same Orange CR120 head and Marshall 4x12 since the formation of the band! For a short period I was playing split through that and a bass amp, but now that we’re a three piece I’m back down to the Orange through the 4x12 and I have one distortion pedal that I more or less just use as boost. We’re lucky enough to have a deal with Baxter guitars so that’s all I play and we’re hoping to get a Baxter bass on stage soon!

First Coronavirus, then Lockdown, Recession, and Social Unrest. Any predictions on what the second half of 2020 holds in store?

I have no idea, but what I hope for is serious social reform at the federal level, a new fuckin’ president, and the return of live music. I may be asking for too much though. (laughs)

Sounds like you're just itching to get back on stage again and belt out these new tunes for a real live audience!

Absolutely! My wife is getting sick of hearing me play by myself! (laughs)

Right on, man. Well we hope to see you soon, so we'll keep our fingers crossed for a bright close to the year. Thanks so much for chatting with Doomed & Stoned!

Hell yeah, man! We appreciate your continued support. See ya out there. Stay healthy, and stay heavy!

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doomedandstoned · 5 years ago

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Premieres & You

~Bacon's Blog~

Deafheaven photographed by Stephanie Savenkoff

So, I frequently get asked about what the best way is to promote an upcoming single. This is always a tricky one since there are a ton of different contexts this could manifest in. However, one thing that stands as a sort of overarching rule is the importance of getting a good premier placement. There are a lot of rules as to how to get a proper premier placement, so I wanted to break it down for you guys so there could be a sort of definitive guide. This is coming form my experience not just working to promote bands and getting premiers done on sites like this one, but also through being a journalist who has written those premier placements. In other words, I know a whole helluva lot about this -- especially in the metal space. I want this to stand as a guide both for independent bands trying to get premiers but also people who are trying to understand how to best coordinate with their PR agent.

4. Target Sites That Make Sense For You

This is a huge one I see bands messing up all the time. You need to understand what the market looks like around you. So, if you are a groove metal band with five hundred likes on Facebook, I don’t care how good you think you are, you probably shouldn’t be hassling Pitchfork for a premier. Furthermore, if it’s your first time getting PR and trying to really push your band then the odds are you are not going to get a premier placement on one of the bigger sites. At the end of the day though it’s fine because the more niche sites that are more likely to do a premier from a new band are also the sites who have readers who are more likely to check out a premier from a new band. My advice is basically that you should come up with a list of sites and then pitch them one at a time. You don’t want to accidentally get two spots willing to premier you. Turning a site down after you pitch to them is never a good look.

3. Ask For Reasonable Dates

So, this one is twofold. First you should be asking for a premier at least a month out from when you are trying to release your single. This gives journalists and editors plenty of time to schedule the premier into their calendar. On top of that you want to offer people a range of dates. This is because frequently posting calendars get filled up and it takes time to organize properly. Beyond that, sometimes huge stories break out of the blue and mess up posting schedules for days at a time. It’s important to offer a little bit of flexibility so that it’s easier for journalists to say yes. Remember, it’s a question of supply and demand. There are only so many premiers that can be done in a given week and you probably aren’t the biggest band asking. So you need to instead be the easiest to work with band asking.

2. Don’t Expect the World

When your premier actually does drop don’t expect the world, especially if you are a smaller band. Sure bigger acts can coordinate premiers on different publications across time zones, but your band probably can’t. On top of that, yes, when bigger bands get premiers there’s a whole write up and brouhaha. If you only get a few sentences don’t freak out. Why? Well, it’s simple. When people are checking out premiers for bands they don’t really know then the are skimming the article more than anything else. They aren’t pulling apart a massive text or every detail; they want to see if the band is a genre they like and then click play to see if the song rips or not. Beyond that, especially as a newer band there isn’t much more to ask for.

1. Share The Hell Out Of It!

This is the final key – you need to share the hell out of your premier. The big sites expect a certain degree of professionalism from the bands they are working with. If you don’t share the post then they are going to think you’re an asshole. It’s the same for reviews or other press coverage. Remember that sites like this one need clicks in order to survive. They need hosting fees and to pay their journalists. So make sure that everyone sees your premier. Don’t be afraid to share it multiple times. Don’t be afraid to share it not just on al your bands platforms but also all your personal platforms. These are all key things you need to embrace if you want people to give a modicum of a shit about what you are doing. So many bands drop the ball on this, but if you show that you are stoked on getting it out there to your fans and your fans are making a point of commenting on the site about how much they love the track – well, fuck – you’ll be positioning yourself very nicely for the future.

Long story short, premiers can be a really good way to get attention towards your band. In many ways they act as a sort of free advertisement. Yet so often bands fuck up this potentially huge opportunity and it’s just frustrating to see. Remember that sites need content, and though they are flooded with it, they are going to want to work with bands who make it easy to work with them. If you can follow these basic rules then you are going to have cool premier partners for days. Just remember, make sure you are targeting reasonable sites and make sure you are targeting them far enough out. Then don’t expect every premier to be huge, but do expect to share the hell out of them. Once you start to do that things will fall nicely into place.

Matt Bacon (IG: mattbacon666) with Dropout Media is a consultant, A&R man, and journalist specializing in the world of heavy metal. Matt also co-hosts the Dumb & Dumbest podcast with Curtis Dewar of Dewar PR.

#Bacon's Blog #Matt Bacon #Dropout Media #advice #Doomed & Stoned

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doomedandstoned · 6 years ago

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Portland’s TROLL Unveil First Sounds from Astounding New LP ‘Legend Master’

~By Billy Goate~

Photos by Stephanie Savenkoff

I can tell you how excited I am to share this new music with you by Portland, Oregon's TROLL. I've been a big believer in this band from before they had a singer, describing them as Rip City's answer to Elder. I was the first to film them and have had the privilege of capturing their charismatic performances with frontman Rainbo several times since. The last time, it was after TROLL had released their very well received eponymous debut and they were airing new material. I thought it was absolutely brilliant, enthusiastically sharing one song in particular on social media, which at the time was called "Bridges of the Holy/Tunnels of the Damned." When I found out that Doomed & Stoned would be giving the formal debut of the new song, now titled "Legend Master, Book I: Proverbs of Hell," I practically flipped.

'Legend Master' (2019) is without doubt TROLL's most brilliant effort to date. John Rainbo (vox), Wayne Boucher (bass), Lou VanLanning (guitar), and Ryan Koger (drums) have simply outdone themselves with these five hefty doomers, beginning with "Flight of the Dragonship." I’ve heard the guys perform this encore several times, but never envisioned it playing the introduction. Suffice it to say, it works -- even if it will take a few spins for me to adjust to thinking of it this way.

From this impressive opener, we transition into an emotional two-parter, the album's namesake “Legend Master,” which we'll all get to hear the first chapter of today. Its expansive, rhapsodic character gives it a most epic vibe. Rainbo’s vocals bear the influence of early Candlemass and the riffs are absolutely golden. In fact, I can envision many of you spinning this record on a Sunday morning during a wake ‘n’ bake (or without, if you prefer), with your hair sprawled out on the living room floor, getting totally lost in the cinematic quality of the storytelling.

This takes us through “The Door,” where we bear witness to some of the most poetic material heard this side of Led Zeppelin's Houses of the Holy. I really love how Rainbo's vocals are layered at critical junctures in the singing. Having heard this pulled off equally well without it, I am happy to see the band taking some creative risks in studio. It’s my absolute favorite of the album and may, in fact, be the best song I’ve heard in many years. Some may feel it is the conclusion to the album, as least it has a very "ultimate" feel about it.

At last we reach "Yaulzcan Mountain," which was the only song of the album I don't remember the band auditing live (it may have been a very early version if I've heard it). There’s a very sanguine feel to the first half of the song, as the protagonist sings exaltedly of shedding this mortal coil and flying away. Then the tempo quickens and we are off to a riff-driven ascension into Elysian Fields, as the curtains close.

The word "regal" was used in the press release for the new record and I have to agree that it is a fine choice here. Though the band is unquestionably rooted still in the fuzzy, low-end stoner-doom sound of their previous album, I lost consciousness of genres altogether while listening, swept away in the grand fantasy of it all. TROLL’s instincts for songcraft continue to impress in Legend Master. In fact, each of these tracks could stand on their own instrumentally, yet the vocals take them to a new level of grandiosity altogether. Regardless of how you describe it, one thing is certain: Legend Master is in a league of its own.

If you're ready to do a deep dive into the lore behind the band's sophomore record, be sure to check out my interview with Rainbo below. Late last summer, I had the privilege of getting into a long conversation with him at a cafe in Salem, Oregon as evening waned into night. I can tell you that despite how you may perceive him from public performances, Rainbo is a god damned intellectual and exchanging words with him always opens up a dozen new rabbit trails for me to pursue later on. Troll does such an admirable job throughout the record of weaving fascinating tie-ins with legend and literature alike, while continuing to develop an imaginative new world to absorb listeners.

Troll's new album 'Legend Master' (2019) comes out on vinyl, cassette, and CD via Shadow Kingdom Records on April 12th and today, we're giving you a first listen. If you dig the single, you can get it here and pre-order the album here.

Give ear...

Solemn As the grave, Ghastly hand Behold me

Walk alone With my shade Spiral eye goddess Awake!

Through these days, beyond years I wept gold and silver tears Your face was so beautiful And your kiss (flesh), divine Come and sit By the river, once more, by the river...

Through the ages My book, it will tell It breaks my heart to know You're going to hell...

Interview with TROLL's Rainbo

How has the band grown since the first album was released? What are your relationships like, has it gotten easier to make music together? Do you sense an overall distinctive style is cementing in your compositions?

For Troll, it hasn't been easy to sustain the burst of attention that came our way unexpectedly after the release of our debut album. We had some mild hopes and expectations, but we weren't prepared both for the intensity and excitement that greeted our album and our live performances- the community embraced us with almost no external promotion aside from reviews on websites that enjoyed our work. We hadn't prepared things like merchandising, tour plans, or any of the basic sustaining functions of a band, so we tried to take what came us, but mainly we were reacting rather than being proactive.

We threw ourselves into making this second record because we knew the songs were a grander form of doom, that these compositions were more indicative of our talents and where we were headed as a band. But although we seemed to turn out the recordings fairly quickly (recording for Legend Master wrapped in October 2017, only a year after our debut was released), unforeseen delays, internal miscommunication within the band, and miscommunications between the band and our label ended up causing a totally unneeded delay in the tracks being sent to the vinyl press, essentially stalling Troll through all of 2018. Because of that delay, the band has had to find strength in our desire to create unique and powerful heavy music, and we're now well into the process of developing the music and themes for the third album, the last in the trilogy detailing the doomed no-name Troll's cycle of fate.

We are stronger together now, and more comfortable on stage, almost as if during our unforced hiatus we've been training Rocky-style for this moment of return. Our mission is pure epic doom, no punches pulled, and our goal is perfection of our progressive combination of grooves, melodies, and memorable choruses. We aren't trying to be like any other band, we want to be a heavier, more powerful Troll.

Tell us the background on the new album thematically -- what's the lyrical thread running through each song and is there a link to your previous material?

To understand Legend Master thematically it's necessary to know at least a synopsis of the debut album's story arc. Troll I lyrically follows a fairly defined origin-story narrative, introducing a malevolent wizard figure who conjures the unnamed Troll out of mushroom root in an ostensible attempt to use the Troll to thwart his enemy, a witch of some great power. The Troll gains strength but is disillusioned with his newfound powers, as he can see that neither the witch nor the wizard care about him except for his potential for violence.

Troll by Troll -U.S.

Even so, he is convinced that the destroying the witch will do some good and possibly set him free from the wizard's service. But as he is victorious over her, the form of the witch morphs into that of the wizard, who has simply been using the Troll all along to culminate a dastardly spell which occasions a great flood on Earth, destroying everything. The tyrannical wizard disappears into the aether, and Troll is forced to resort to magic to escape, calling forth a celestial Dragon and leaving the Earth to take refuge on the moon until the waters of flood recede.

This is where Legend Master begins, opening with Troll being marooned on the moon for a thousand days and nights while the earth dries up. When it does, he is stricken to find that the planet seems completely dead and nothing has survived. In a fit of desperate depression, he and his dragon depart our galaxy to search deep space for any signs of coexistence, of aliens or gods. He finds nothing, but remembering that the evil wizard had mentioned something of a God at the End of The Universe, the Troll presses on into the icy blackness of total void in order to salvage something from his seemingly meaningless existence.

It is there that he finds the Watcher, The Legend Master: the thing of things, the memory and mind of all events that have ever happened, and ever will. Asked by the Troll to divulge his secrets, the Legend Master opens his hollow mouth to tell some strange tales of personal betrayal and lost loves, showing he too had once been mortal.

The Troll doesn't know that black magick hexes the Master's words as he speaks, for once the Watcher tells his tale out-loud to a listener, the listener must take his place. On the completion of his tale, the Legend Master disappears through a door leading into a vortex, freed by the completion of the spell, and Troll is pulled through the door and vortex into an lifeless interzone, to live forever with his lonely mantle as the God at the End of The Universe.

Troll is aghast, and vows to build himself an incomparable temple to his godhood, to enjoy the fruits of his limitless power. But this too becomes tiresome, and he longs to end his eternal life- which he does, committing ritual suicide while renouncing his power and burying himself in a shrine lost in the void -- but all is not yet void. The Troll's story will conclude in the third album, part III.

Legend Master by Troll

Tell us specifically about the song we are premiering and, in some detail, what it is about, how you composed it, who was involved, any tie-ins with fantasy/sci-fi lore, and anything else interesting about its recording or live performance.

The song "Legend Master, Book I: Proverbs of Hell" was built around a riff Wayne (bass) had been kicking around since 2003. The rest of the band worked out a structure and added melodies and riffs, with vocal placements being specifically sequenced to fit the album's lyrical progression. It wasn't the first song finished for this album, but it has been in our live repertoire for almost two years now.

The song thematically functions as a reverie or remembrance of a mortal episode in the Legend Master's pre-divine life, the spark of his disillusionment and search for godhood. He is trying to show the Troll that there is nothing good about being a god, especially since the wistful memories only claw at the Legend Master -- he longs to sit again by the river with his beloved one more time, but cannot.

The subtitle "Proverbs of Hell" references the collection of aphorisms of the Devil from "The Marriage of Heaven and Hell" by William Blake. Allusion is made to the poem in the lyrics, and the Troll doesn't understand that the Legend Master is hinting to his face that the Troll is the one who is doomed: being transfixed by the story, the Troll doesn't see his own transformation into a lonely god happening.

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doomedandstoned · 7 years ago

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On Eve of New EP, Portland’s DIE LIKE GENTLEMEN Leak Killer Sabbath Cover

~Doomed & Stoned Debuts~

Words by Billy Goate | Photo by Stephanie Savenkoff

I'm eternally obsessed with covers. Maybe it's just hearing songs I admire performed in endless variation that does it for me. I'm always interested in how bands treat the songs that inspired them to begin with. This is especially true with Black Sabbath covers. Some might quibble, "Why bother? Nothing beats the original." To which I offer a two-point rebuttal: (1) Why not? (2) Imitation is the sincerest form of flattery.

A good cover isn't simply done competently; it's given a convincing reinterpretation by the cover band. This isn't easy to do, especially when it's oft-trodden territory. Think of the countless "Into The Void" covers offered by everyone from Orange Goblin to Soundgarden, and every so often something special emerges: Kyuss. There may be subtle changes, or something more grand like a big-band reimagining of "The Wizard" by one Brown Sabbath -- but one thing's for sure, you've got to own it.

When I heard that Portland powerhouse DIE LIKE GENTLEMEN had recorded a cover of Sabbath's "A National Acrobat," I was more than intrigued. Knowing their unique approach to songwriting -- and how they like to ride the happy fence between hard rock and heavy metal -- I knew this would be a must-hear.

Today, Doomed & Stoned gives you your first listen to the song, one of three featured on Die Like Gentlemen's forthcoming cassette, 'Distinguished Company' (2017), out this Saturday, July 8th.

Die Like Gentlemen appeared at Doomed & Stoned's Winter Showcase earlier this year and they did not disappoint. Well, in fairness, they never do. I've filmed them on several occasions and am always impressed with their discipline and energy, two things that a band can never have enough of but so many find difficult to toggle.

Distinguished Company by Die Like Gentlemen

"The Nod" opens Distinguished Company and is the anchor of the record. "That song has been around for years put took a long time to get right," frontman Adam Alexander tells me. "It's an odd one: a glacial sludge ballad with keyless, non-repeating verses, and an acoustic song-within-a-song. It never felt right slipping it into our previous albums since it has a totally different mood (and its 10 minutes). So we recorded it, along with the two covers, at the same time we did 'The Quickening Light' (2016), with the intent to release it later. Releasing it in a limited run cassette to make it a true A-side/B-side thing felt natural."

At press time, the limited-run cassette was still available for preorder here. I can imagine these going in short order. If you're in Portland, check out Die Like Gentlemen's cassette release party at Turn, Turn, Turn this weekend!

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doomedandstoned · 8 years ago

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Doomed & Stoned Winter Showcase

~Photographs by Chris Schanz & Stephanie Savenkoff~

~Review & Films by Billy Goate~

It’s Doomed & Stoned's second time collaborating with wicked Disenchanter bassist Joey DeMartini, whose own Mad God Booking and PR put together that stellar Doomed & Stoned Summer Showcase last year. The event gave us a chance to introduce you to some of the rising stars in the Portland heavy underground. After the brutal election season and one too many cooped up snow days, it was high time for another. The evening of Friday, January 20th, gave us the reprieve we were looking for.

Though the Portland streets were restless with massive protests blocking areas around the venue (it was inauguration day and emotions were running hot), the Doomed & Stoned Winter Showcase went off without a hitch. Truly, who could have asked for a more complimentary line-up? I suppose Joey just has a knack for these things. On tap for the show at Ash Street Saloon (one of Portland’s last remaining downtown venues for heavy music): Young Hunter, Die Like Gentlemen, Disenchanter from the Portland area, with Seattle guests Ancient Warlocks and Year of the Cobra closing out the evening.

Seattle photographer Chris Schanz (famous in these parts for his mesmerizing experiments with light) braved the I-5 rush and was the first friendly face I saw. Even though he’s been a contributor to Doomed & Stoned nigh well since the beginning, and we’ve lived just six hours apart, this was my first meeting with him. Not only is he one of the best photogs in the scene at large, he’s a down to earth good fellow with a great sense of humor. He and Stephanie Savenkoff were having fun throughout the night comparing pics and sharing techniques (Stephanie documented our last showcase and, most recently, Ceremony of Sludge V).

Looking around, you might a few familiars in the crowd (Billy Anderson was on hand to see Year of the Cobra perform the new songs they’d recorded last year for ‘…In The Shadows Below’ on STB Records). Brandon Eller, frontman of Seattle’s Terrasone and Sky Penis was on hand as Liquid Light Wizard, summoning an acid washed atmosphere for the evening.

As for me? After I’d said my hellos, I cozied up in the balcony with board op Steffy Ott, who had the place sounding great! The sonority in the Ash Street hall is always superior, but she made the Doomed & Stoned Winter Showcase sound legendary. Give a listen to Ancient Warlocks set below and tell me if that’s not one of the best live mixes you’ve heard. Hunkered down and hanging high on the balcony with a ceiling full of legendary gig posters, I captured the riffage from début to fin. Alright, enough of this bloated preamble, let’s get into the sights and sounds of this dark, wet night in the beautiful Rose City...

YOUNG HUNTER

What a perfect opener! Against the backdrop of uncertainty and change, Young Hunter’s message resonated with us all.

In a thousand years will the earth still be here? Because the world is at war and we need to stay clear in the amnesia of time and the blindness of life, the sacred bundle carried must always survive

Talk about chills. Freshly sheared frontman Benjamin Blake (I barely recognized him with the new cut) and master of keys Sarah Pinnell bring a certain folk sensibility to their vocal harmonies, giving each song a feeling of earnestness. The reassuring calm contrasts quite effectively with those clean beats and crashing cymbals from drummer Grant Pierce (who reminds me a lot of Animal from The Muppets when he plays, see show opener "After Death") and the room-shaking bass play of Sam Dean (who is anything but a wallflower - look at him go!).

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The big take-away for pretty much everyone I talked to afterwards was the euphonious collaboration of Blake and Erik Wells on guitar. Erik's solo passages really sing with a Jerry Cantrell kind of tone. It was a joy to hear a set of almost entirely new songs from Young Hunter. The band is headed to Northern Cali next to put some of these gems on tape.

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DIE LIKE GENTLEMEN

It's been about a year since I'd seen Die Like Gentlemen perform, and then it was a reprise of their earlier material. Tonight, I'd have a chance to hear some of the newer content off 'The Quickening Light' (2016). Adam Alexander (vocals, guitar) is like a general shouting orders to take the hill. Shawn Boles (drums) and Sean Rodgers (bass) provide the charge-ahead rhythm, while Matt Wieber (lead guitar) keeps us guessing what weapon he'll lob next from his arsenal of riffs. Progressive sludge rock FTW!

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DISENCHANTER

This evening was special for another reason: Sabine Stangenberg was celebrating her birthday (and Joey’s was the evening prior). With the addition of a new drummer Douglas Jennings Barrett (from Missoula’s gnarly Stone Elk), it was time to celebrate! Disenchanter found the perfect way to let us share in the moment, with three meaty numbers off their LP, ‘Strange Creations’ (2015 – DHU Records). The crowd was engaged in every moment of the set, which closed with Disenchanter's signature air, “Sorceries.”

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ANCIENT WARLOCKS

Ever had a riff stuck in your head, but you could not for the life of you identify it? That was my experience recently, spending the waning hours of twilight chasing down one those itchy earworm riffs. Instantly catchy tune with an emotional hook, composed of a simple series of circling arpeggios, working through a repeating chord progression.

Barreling through Spotify, I followed a chain of “sounds like” bands, methodically sampling Dinosaur Jr., Screaming Trees, Meat Puppets, Green River, Love Battery, and eventually Joy Division. I soon crossed the line between curiosity and obsession, and braced for a deep dive into the discography of QOTSA and Truckfighters.

At last, it occurred to me that maybe this was something I'd heard at Doomed & Stoned Winter Showcase and then it clicked: "Absent Motion" (which starts at 4:15 in this set). Now this is a hit song. Thanks to Darren Chase for the truly unforgettable performance!

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The day after sharing my story, Darren took a few moments from road to respond:

These are such flattering words to read, man. Thank you. This is the kind of thing I had in mind as absolute best case scenario when we started this band. No, not a mountain of fine public praise from someone who knows what he's talking about, but creating a riff/song that somebody (anybody!) likes enough that it'll get stuck in their head. That's a connection to the heart and that is really the only thing worth pursuing in the world of music.

This song was sprouted during a very uncertain time for Ancient Warlocks. We'd had some members leave and we weren't sure we'd be able to find the right guys to keep the sound that got us to where we were. I remember bringing these riffs to Steve's and playing them, just the two of us and hoping against hope that we'd be able to get this show back on the road. And while I'm the guy who brought in the riffs that were the genesis of “Absent Motion,” I hope the world knows that I have never ever written a song by myself. If not for the tireless efforts and impeccable tastes of Steve Jones, Stu Lasswell, and Chris Mathews Jr., I'd be sitting around at home playing these riffs for nobody.

Keep those sticky riffs coming, guys!

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YEAR OF THE COBRA

The bombastic evening came to a head with a genuine show-stopper: Year of the Cobra. Jon Barrysmith (drums) brought phenomenal energy and some entertaining showmanship, too. Amy Tung Barrysmith (bass) funneled some major wah power through those rigs of doom. You could look around and tell people were feeling it (there was even a mosh pit going for a good chunk of the set -- not something you see very often in doom circles). Let's do this again soon!