INTERVIEW: "Nine Eternities In Doom" - An Interview with Trevor Church from Beastmaker.

By: Steve Wilson

Fresno California’s Beastmaker delivered one of the standout stoner/doom albums of 2016 with their debut “Lusus Naturae”. Their second album is out soon, to be followed by an extensive tour. Steve Wilson spoke to their founding member, singer/guitarist Trevor Church about his musical influences and plans for the band’s future. 

SL: You’ve just recorded a new album. What can fans expect when it’s released?

Horror and Doom. There is some Hitchcock inspiration and we’ve got some guest musicians on this album namely Johanna from Lucifer and Nate from Salem’s Pot. We wanted to continue where we left off on our debut writing dark riffs and lyrics of terror. I put some time into writing my guitars solos on this one. Our debut it was just improv solos. So, there are some subtle changes. Most importantly it’s heavy and filled with horror!

SL: Your debut album was released last year (“Lusus Naturae” - out on Rise Above Records). I’ve been lucky enough to hear an early version of the new one. It sounds a little more polished than its predecessor. Have you gone with the same studio, or do you like to try somewhere new each time you record?

We have built a studio at my house and that is where we do everything. Andy does all the mixing and mastering. I write all the music and engineer the record. We have an incredible dynamic together. We both pride ourselves in going through the learning curves and coming out on top. Coming from a place like Fresno there really aren’t any places I’d take Beastmaker to record an album. It’s costly to travel to record an album and we have no time limit. We can work as long as we feel we need too, getting the best result we can.

SL: “Lusus Naturae” and the accompanying 7” vinyl (“You Must Sin”) have artwork by Branca Studio. They have also designed merch for the band. How did you get together with them?

Branca Studio contacted me a little after the release of our demo. It really has been an amazing partnership. Sometimes in life things just click. It was fate that we crossed paths. I think he is the best graphic artist in the business. I don’t even have to give him direction. He just knows what’s up! You can’t buy that kind of friendship man. 

SL: You recently toured the UK and Europe in support of the first record. How did you find it? Was there anything you’d do differently on the next tour? 

Well, I would prefer to not break down multiple times in a rental next time around. We absolutely love touring the UK and Europe. The fans are amazing over there and it just makes it so worth the energy it takes to get on a plane. Hopefully this next time we have a driver. John and I drove and it was pretty interesting. Really it was an adventure. I got off the plane and next thing you know I’m driving on the other side of the friggin road going through roundabouts. We love that kind of thing though.

SL: Beastmaker are strongly influenced by horror movies, particularly those of Italian director Mario Bava (check out ‘Mask of Satan’ from the debut album). What are your favourites? Are there any obscure ones that have inspired Beastmaker songs that we should search out?  

I don’t know about obscure but the biggest influence when it comes to songwriting is “Tombs of the Blind Dead”. That is the epitome of what I’m trying to create musically. I like a lot of different movies from the 50’s to the 90’s. I like to create my own stories though as well.

SL: Moving on to musical influences now - what did you listen to growing up? What goes into the Beastmaker sound beyond the obvious Black Sabbath influence?

I can’t speak for my band mates on this but for me it all began with skateboarding. My cousin Michael was 5 years older and listening to punk/metal. I was like 6 years old when I started listening to bands like The Misfits, Metallica, Iron Maiden, Black Sabbath, Motley Crue, Dead Kennedys, The Exploited, Sex Pistols, etc…Witchfinder General, and Danzig are really big influences for me musically. I feel connected to what they do and I try to recreate it with my own twist.

SL: For those that don’t know, you come from a musical family. Your dad, Bill Church, played bass in legendary ‘70’s rock band Montrose alongside Sammy Hagar, who would later replace David Lee Roth in Van Halen. Not too shabby! While this must have influenced you growing up, would you say that it has helped you as a musician (in terms of how to start a band and keep it going), or did it not make much difference?

My Dad is an amazing musician, so not to be inspired by him wouldn't make much sense. I had musical instruments all over the house my whole life. Originally my folks wanted me to be a drummer. I have many drummers in my family actually. My Mom’s cousin is Denny Carmassi also of Montrose and Heart to name a few. But, I didn’t like drums much and that’s when guitars started coming around.

Once again my Cousin Michael played guitar and taught me quite a bit. I can’t remember a time in my life where playing music didn’t exist. My cousin’s Brandon and Daniel were also musicians and we learned from each other. I actually really avoided my Dad’s music in my teenage years. I was really embarrassed of “I Can’t Drive 55”.

I was listening to a lot of different music in those days, mainly punk rock and Sammy Hagar to me was a mainstream thing. I always loved the Montrose record though. “Rock Candy” was the first song my Dad taught me to play on guitar. We went camping and I remember saying “hey shows me rock candy” and boom, ‘You Must Sin’ was created. Maybe some people will hear the influence.

SL: Last question! Thanks for taking the time to do this interview. What are your plans for Beastmaker in the coming year?

We’ve got our new album coming out in spring. The rest will unfold. We will be hitting the road for sure. With some new things for our live show.

Band info: facebook | bandcamp

The Sludgelord 'Sour 16' For August 2015

By: Aaron Pickford

As the haze of sunshine finally appears to be descending for the last time and with it the end of summer, let us not despair and instead rejoice as we usher in another feast of music for your listening pleasure, a veritable smorgasbord of riffs, this can only mean one thing? The Sludgelord’s ‘Sour 16’.  Welcome, all lovers of the riff, you know the deal by now, however for those of you that do not, let us recap.  Each month, you the reader are unwittingly compiling a list of the top 16 records of the month, covering all genres of metal, but predominately the best the doom, sludge, stoner-psychedelic genres have to offer.  It is not a chart, in which reviewers or contributors extol their opinion about their favourite music, but simply, the ‘Sour 16’ are the records you guys (readers) have been most interested in over the last month and checking out on this page.

So here is the The Sludgelord’s ‘Sour 16’ for August 2015, the 16 records you’re most looking forward too or are currently checking out.  Dig in, spread the word and perhaps revisit some records you may have overlooked.  The results are compiled based on page views alone and calibrated into the list below. So without further ado, enjoy the ‘Sour 16’. Roll up, kick back, chug a beer and Hail the riff! All review/band links can be accessed by clicking on the artwork. (Total views at the time of publication are highlighted in red)

16). Eschaton – ‘Sentinel Apocalypse’ (312)

For anyone with an interest in death metal from Revocation to Morbid Angel to Immolation to Death, then this album should definitely be checked out. I enjoyed it hugely and recommend it highly.

15). Nightfell – ‘Darkness Evermore’ (320)

“Rebirth” sees the band playing with different melodic black metal elements… which make for a wonderful musical counterweight to the resonant doom n’ death rumbling of the album’s general comfort zone.

14). Fight Amp – ‘Constantly Off’ (348)

‘In short, I’ve been missing out. I’m really happy to have had a reason to sit down with a band I already thought I knew and find out there’s still so much more to them. I can only highly recommend ‘Constantly Off’, and after this I’m off to check out all the stuff I’ve missed.’

13). Lucifer ‘Lucifer I’ (352)

‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’

12). = Myrkur  - ‘M’ & Gnaw Their Tongues – ‘Abyss of Longing Throats’ (354)

At this juncture, Myrkur has proven to be capable of material that is truly special, with the sort of vivid musical imagination welcome in any genre, metal being no exception. What’s most exciting is what an even deeper exploration of this kind of folkish black metal, rich with creativity might yield a couple of years from now.

‘Gnaw Their Tongues has opened up a portal into hell and is dragging you with him. Fear the worst. Expect to suffer. If you make it out alive, expect some severe emotional trauma.’

10). Six Feet Under – ‘Crypt of the Devil’ (357)

‘This is as pure a strain of death metal as you are ever likely to find: crushing, sawing guitar riots? Check.  Throat-expanding guttural vocals?  Check.  Lurid, obscene song titles, including ‘Broken Bottle Rape’ and ‘Compulsion to Brutalize’?  Check mate.  If it’s classic death metal grooves you’re after, look no further.’

09). Limb – ‘Terminal’ (371)

All in all, Terminal builds on what Limb have already achieved and is ultimately better than their top notch debut. The tracks on Terminal are well crafted, and the whole piece is tighter throughout. Absolutely no time is wasted on the album with every note being completely integral to the success of the album

08). Locrian – ‘Infinite Dissolution’ (400)

‘Standout track ‘An Index of Air’ leans into emptiness with a rattling drone, an almost imperceptibly off-time drum pulsing the intro before expanding out into tidal-waves of anguished convulsions blended with blissed out droning black that Deafheaven would burn gasoline-soaked churches to attain.’

07). Carousel – ‘2113’ (420)

‘2113’ is a blur of dynamic, late night booze fuelled journeys filled with timeless hooks and immensely powerful solos. A band that knows how to capture your attention; they filter the music of their childhood heroes add a contemporary twist and their unique flair and create magic. They build on their concrete foundation of strong vocals and catchy choruses, wrap up some tight backing and present a very pleasing album complete with a jazzy little bow.

06) Hivelords – ‘Tapered Limbs of a Human Star’ (424)

'Cavern Apothecary' was a glimpse into the potential this band had at that point. On ‘Tapered Limbs of a Human Star’, they've smashed through the glass ceiling and surpassed the promise they showed. The fact that they're signed to Anthropic Records is both a blessing and a curse; it makes those who know about the band seem like part of a secret club and preserves their cult status. However, had this been released on a label like Relapse, Profound Lore or Candlelight, everyone would be losing their shit and proclaiming this as the best album they've heard this year. It’s simply stunning.’

05). DoctoR DooM – ‘The Seed We Have Sown’ (534)

‘It's a monstrous sound, reminding me of a club scene in many a Bond film, but replace lounge piano or jazz with a much more upbeat rock band. This is Everyman Rock. And they love to stay around with their songs, so look forward to an album full of 4+ minute slabs that will take you along sonic highways of old.’

04). Ahab – ‘The Boat of Glen Carrig’ (551)

‘It's hard to sum the record up, such is the scope and depth on offer within the record, but suffice it to say this: it will feature in year end lists, it will grow on you and is definitely one of the more unusual and ambitious releases of the year. This is fine stuff, but then again coming from Napalm Records, does anyone expect anything less?! Dark, atmospheric and powerful. A fantastic record.’

03). Pentagram - ‘Curious Volume’ (710)

Overall, for my money, Curious Volume is a better album than Last Rites- more focused, more inspired and it crackles with life, it really does. It is the best album from Pentagram in a long while and for that we should all rejoice. Legendary for a reason!

02). The Sword – ‘High Country’ (1377)

The length of the album, at 15 tracks, does make getting acquainted with this record a slow process, but in the end you’ll discover there aren’t any dips in form. ‘High Country’ is rich in consistency and across its span, Cronise, Shutt and co. dispel any fears you may have about this release all the while oozing a slick professionalism. They’ve been at this song writing malarkey for a while now, they’re hardened pros and this stands testament to their brilliant legacy.’

01). Ghost – ‘Meliora’ (5382)

‘Today, Ghost still manage to shock and surprise us in a society where we’ve seen and heard it all before. People are fascinated, fixated even with finding out their true identities. Their music is more powerful than it ever has been too. ‘Meloria’ is a spellbinding listen and one which will see them elevated to greater plains of existence. It affects you, leaves you shaken. They can make you laugh or cry without so much of a flick of the wrist and, although the music we love is basking in something of a purple period right now, a band as potent as this is still a rarity.’

This list features reviews by, Chris Bull, Philip Weller, Kat Hilton, Hunter Young, Richard Maw, James Harris, Dominic Walsh, Chris Markwell, Daniel Jackson, Erik Sugg & Greg Sheriff

Lucifer - 'Lucifer I' (Album Review)

By: Erik Sugg

Album Type: Full Length

Date Released: 25/05/2015

Label: Rise Above Records

‘All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow.’

‘Lucifer I’ CD//DD//LP track listing:

01. Abracadbra
02. Purple Pyramid
03. Izrael
04. Sabbath
05. White Mountain
06. Morning Star
07. Total Eclipse
08. A Grave For Each One of Us

Lucifer is (On Record):

Dino Gollnick | Bass

Gaz Jennings | Guitars, songwriting

Andrew Prestridge | Drums

Johanna Sadonis | Vocals, keys, sampling, songwriting

The Review

Occult Rock. This term has been used a lot in recent years. It’s a sub genre tag that seems to provide an astonishing number of reactions from people. For some, it’s pretty sexy. It immediately triggers the imagination, letting the listener know they’re about to engage in some dark delights. For others, it’s pretty tired. It’s perceived as lazy and overused, and is quickly becoming passé. Some hate the mere mention of it. Still, the undeniable truth is the metal/hard rock world has been obsessed with the ancient wisdom of old for as long as electricity provided amplification for guitars. Music and the dark arts have been closely associated since long before our current day phenomenons, like Ghost, Uncle Acid and the Deadbeats, and Blood Ceremony, (and yes, even longer than everyone’s favorite groups from the ‘60s and ‘70s, like Black Widow, Coven, or this little old band called Black Sabbath. Claude Debussy anyone?) Regardless of the naysayers who complain about the over-and/or-misuse of the occult rock label, one thing we can be sure of is that we surely won’t be seeing a decline in these bands who give us that perfect blend of darkness, melody, and aesthetic. And if you’re really fortunate? You’ll come across a band that is wise enough and good enough to give you something that will render any and all genre terms completely unnecessary. That’s where a band like Lucifer enters the picture.

Lucifer is the recent incarnation of Gaz Jennings of doom legends, Cathedral, and Johanna Sadonis, of the short lived, but widely celebrated, The Oath. That collaboration alone was a drool-inducing affair for traditional doom enthusiasts. The Internet went ablaze when they dropped their promo video for “Izrael” in the early summer. The tune kicks in with a “make-ya-strut”-groove featuring Gaz’s trademark harmonies and Johanna’s flawless nightmare-lullaby vocal line. All of the imagery is there as well. Black hearse. Black cat. Kaleidoscope visions of masked figures in black. What’s not to love? I know this record has been on the market for a few months now, but given the band is currently touring my country and providing me with an opportunity to hear their fantastic music live, I wanted to share some thoughts on their strong debut, simply titled, “Lucifer I.”

What struck me most upon my initial listen was how the album began with some hard-chargers rather than the slow, lurching rhythms you’re prone to see in bands who take the “ritualistic” route. This record wastes no time in delivering some upbeat riffing and fist-banging tempos. In fact, the album openers, “Abracadabra,” “Purple Pyramid,” as well as the aforementioned “Izrael,” would not be out of place on the first few Judas Priest records. My personal favorite, “Sabbath,” follows soon after. This one, with its excellent descending riff and Johanna’s wonderful vocal melody, is reminiscent of Candlemass at their greatest. Tunes like “White Mountain” and “Total Eclipse,” which range from slick harmonies to eerie, textured chords, really showcase Gaz’s skill and versatility as a guitarist, reminding us why people still talk about him after all these years. Actually, the album closer, “A Grave For Each of Us,” with its Iommi-esque “Spiral Architect”-vibe and great dynamics, may even be a career highlight for the man.

All in all, “Lucifer I” is a solid release, song-per-song. It’s sure to be a hit for all the ‘70s obsessive’s and the proto-metallers, but it also has moments that are evil enough and dark enough to satisfy those who need a little more intensity beyond the black rainbow. If you’re into the occult rock thing and you enjoy your retro offerings heavy on imagery and witchy front ladies, Lucifer is the band for you. If you’re one of those folks who complains about that sort of thing? Just shut your gab and get this record anyway because it’s fucking great.

‘Lucifer I’ is available here and you can check out our recent interview with Johanna Sadonis here

Band Info: Facebook | Twitter

The Luciferian Phoenix: Johanna Sadonis Finds Life After The Oath Alongside Gary Jennings

“Death was hovering over my bed, a big cloaked figure, and he said he’d take me under his wing like a sleeping baby. I was lying in his wing and we were flying through the night. I knew I was dying. But the feeling that I had, instead of being scared, I felt comforted and protected. So that was very strange. Death is such a huge topic in your life – everyone fears it – but I woke up with a positive feeling. He was like a father figure.”

There are points in everybody's life where we wake up from a deep slumber, the feelings of an intensely realistic dream or nightmare still staining our thoughts like red wine on a wedding dress, like a blood stain in snow. For Lucifer vocalist Johanna Sadonis, the Germanic and angelic siren to this new project, that has risen like a phoenix from ashes of the unexpected demise of The Oath, this was one such dream. Even to a creative soul who admits has always had a "morbid streak," the inversion of Death as a terrifying, skin prickling entity who appears before a pair of eyes whose last remaining seconds of life are flickering away within, to a parental, guiding figure was unusual.

"It impressed upon me so much that it stuck in my brain and when you’re going through a phase where you’re required to be creative I called upon that dream and the idea of it. I felt that it was one I needed to get out of my system.  It was a very intense dream. I guess everyone has dreams in their life which they will never forget.  The lyrics in Lucifer are very spiritual but they always have one or more personal stories entwined within them. Every song is very personal which relate to things in my life that I’m dealing with, wrapped in symbols or figures that stand for those thoughts and issues," she continues.  "So on 'Anubis' – who is the Egyptian god of the dead – as much as it is about Anubis, it also stands for a certain someone in my life. My songs always have several meanings. With The Oath my lyrics were very personal as well but maybe I try not to be as over the top blunt in Lucifer."

14 months ago my fingers, inspired by the sounds then reverberating in my ears, tapped away on my keyboard. The Oath's debut album - an occult draped collaboration between Johanna and Swedish guitar player Linnéa Olsson - was killer. But shortly after its release - one encircled with hype, buzz and positivity from fans, bands and critics alike - the band announced their split. A split, I must add, that not only came as a huge surprise and a great shame, but one that has, as far as details go, been somewhat unspoken about. Just like the music they created, mystery hangs in the balance.

"I don’t wanna talk about it much, there were personal differences. It was a fiery affair and a very intense relationship on all levels which worked pretty well for song writing, but on a personal base not so much. It was devastating when The Oath split up, I didn’t want it to end, I had plans for the band."It’s been a lot of ups and downs in the year since," she adds with a reflective tone. "So after the death of The Oath I took all this energy that I had pent up and wanted to use it to create something new and turn the situation around. It was quite a year of hard work but now it’s one I’m really happy with now I have the finished Lucifer album in my hands. As much as I love The Oath and I’m really proud of that one album, Lucifer is my thing now and it’s more defined for me and it reflects what I really want to do."

So who are Lucifer? In short, Lucifer are the result of Johanna spearheading her energy and creativity into a new project which involves Cathedral riff shaman Garry Jennings. The Oath's drummer and a bassist who, had Johanna and Linnéa's incendiary relationship not gone the way it did, would have soon also have been a part of The Oath fold, complete Lucifer's line up.

Explains Johanna: "I’ve been a Cathedral fan for many years. I met Garry one time when we

were playing in London with The Oath for the Rise Above anniversary and that was a really cool conversation that we had. He told me that he loved The Oath. I had the drummer and bass player already, our drummer Andy Prestidge was the live drummer in The Oath so he was also devastated that the band was over and so was keen for a new project. Dino Gollnick, the bass player was already in talks for becoming The Oath’s bass player anyway. So then Lee Dorian [Rise Above Records] suggested I ask Garry Jennings if he was interested because he’s so creative and just has so much to give. So I had in mind that he liked what I did with The Oath and we got nerdy talking music and sharing obscure videos with each other. So it was a good relationship from the beginning. I think you can sense when you’d like to work with somebody straight away."

Despite The Oath being an Anglo-German and Swedish act, they were still able to rehearse together and let spontaneity dictate their music. With Lucifer, the practicalities of Garry Jennings living in London and Johanna being in Berlin posed logistical problems. But they were problems which they were able to work around.

"Yeah, that was very different because with The Oath we were jamming in the rehearsal room and came up with stuff on the spot but with Lucifer and with Garry Jennings being in England we had to send files to each other. I’d describe an idea for what I wanted a song and for Lucifer to sound like and he’d ask me for references. We would talk a lot about old bands and I’d mention songs for him to take reference from. He would come back with tonnes and tonnes of riffs so then we’d take those ideas and I’d say maybe ‘let’s change the bridge into something less heavy metal and a little bit more moody.’

"For me, the core of the two bands are very similar but The Oath was leaning more to the NWOBHM stuff. In Lucifer I wanted to put more emphasis on 70s heavy rock and doom. Then when we had the songs I would sit down in Berlin and work on vocal melodies and lyrics."So we had those demos and then wrote the album together before sending the files to the other guys. We only met five days prior to recording the album in Berlin and so we got to rehearse the songs together for the first time. Then the drummer and bass player would add their touches to the songs and we’d add more life to them and make them more organic before recording the album.

"I wanted to catch all emotions with this record, the light and the dark, because that’s life. But I do have a thing for the moodier stuff so I wanted less fast heavy metal action going on. I also noticed live that I like to perform the gloomier songs because I’m a very melancholy person and that feels more natural and honest to me emotionally. That’s my own musical language."I want people to be able to draw their own meanings and interpretations from them also. For me, writing lyrics is a tool to draw the line over something that lies in the past now, to evaluate a certain situation and then move on, so I don’t really want people to know their true meanings. I guess other people write a diary but I write lyrics, but it does leave room for interpretation. I think it’s boring if it’s too blunt. For me music should have that room for your own feelings. It should take you away to somewhere where you can relate to.

"Another dream I once had, was where someone was holding a barrel of a gun to the back of my head; I felt its cold metal on my skin. Then I knew someone had triggered the gun because everything went numb and deaf and all my senses shut off. I couldn’t see anymore, everything was black, I couldn’t hear anymore and all I knew was that I was lay on my back dead. The back of my head was wet, I knew that was my blood from my skull being blown off, it was horrible."

Lucifer's debut then, is an album cloaked in a misty darkness. While similarities to The Oath are strong - fans of that band will most likely welcome this record with open arms - this is a record which draws from 70s heavy rock rather than it does Judas Priest and beyond. It’s not so much that this music could be mistaken for a Led Zeppelin album however, rather, the roots can be traced back to the fertile soil of 70s heavy rock while the tree that blossomed from the earth resembles something completely different. It's more about emotive atmosphere than gritty, earth shaking riffs that get right up in your face.

The results are stunning. 14 months after The Oath's fan fare arrival, mass critical acclaim and untimely demise there is a new breeze blowing through these parts and it promises to pick up where The Oath left off and run like hell.

Words: Phil Weller

For more information:

Like: https://www.facebook.com/luciferofficial?fref=ts

Follow: https://twitter.com/LuciferBand

Photos: https://instagram.com/lucifermorningstarrising/