ALBUM REVIEW: Lord Vicar, “The Black Powder”

By: Richard Maw

Album Type: Full Length

Date Released: 26/04/2019

Label: The Church Within Records

It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection.

“The Black Powder” CD//DD track listing:

1). Sulphur, Charcoal and Saltpetre
2). Descent
3). World Encircled
4). Levitation
5). The Temple in the Bedrock
6). Black Lines
7). Impact
8).  Nightmare
9). A Second Chance 

The Review

Lord Vicar are doom royalty, of course- comprising as they do ex-members of a couple of the most influential and greatest doom bands of all time. With an opening track timing at 17mins 16secs in the form of “Sulphur, Charcoal and Saltpetre” the band have opted for an explosive (!) start. Quiet acoustics give way to the murkiest ground out riffage after a couple of minutes and Chritus familiar vocal kicks in. Elsewhere there are tracks which run over 10mins and 8mins, so expect true doom.

Naturally, “Gates of Flesh” was similarly expansive in places, as was “Fear No Pain” and so on. This is what the band do. However, this time around the tracks on offer seem darker than ever. “Descent” takes the vibe even further downward, with Kimi's guitars stirring the blackest pitch in an already dark cauldron. It's an unsettling and in-no-way-uplifting listen. The band reference their own work and one member's previous band's work in the lyrics and everything from the double tracked vocal to the tempo shifts are sublime. This is doom perfection.

There are no rays of sun to be found in “World Encircled” either. The downtrodden feel is relentless and it's a reminder that doom is not really about occult stylings, sludge or 70's biker films at all. It's about crushing misery and despair. Saint Vitus know it, Trouble know it, Sabbath, The Gates of Slumber... they all know it too. Lord Vicar are standing on the shoulders of such giants and also standing alongside them as a modern archetype of what doom should be.

There are grooves here and there, too- it's not just a one paced pity-party. Indeed, the tracks are dynamic and organic in that they take their own path and meander through solo breaks, time changes and some very deft rhythm section interplay.

With 9 tracks on offer, this is a lot to take in on one sitting- think The Gates of Slumber's “Suffer No Guilt” opus and how hard to follow it can be until you fully assimilate it. Just like all the best records, though, the album reveals itself with repeated listens (in my case broken up into commutes both to and from work). “Levitation” plays on its title by being positively upbeat in sound compared to other tracks- but still maintains the crucial down factor throughout. More true doom follows in the form of “The Temple in the Bedrock”, this time with an up-tempo start that'll get even the most downcast head banging. It comes complete with a very down-tempo middle section, but the structure and arrangements are absolutely on point- it comes back around on itself and marks itself out as an all out rager right in the middle of the record. Excellent.

“Black Lines” brings some straightforward heaviness delivered expertly. The pace is not glacial, so this is another head-nodder that brings a 70's Sabbath feel to the album. It's deftly handled and another high point elevating the middle of the record to essential listening. Impact is lunk-headed bludgeon riffola which is again guaranteed to get your head banging and even your toe tapping. It's elemental stuff and all the more forceful for it.

Things cannot stay up forever, though, so “Nightmare” brings acoustic sadness and a militaristic middle to the record. A haunting diversion that bridges the previous rockers with the closing epic of “A Second Chance”. The band return to the bleak sound of the opening third of the album here- to great effect. It's bleak, depressing and quite beautiful in its own way.

As noted earlier, it's hard to review a record of this size and scope as it takes in so much and covers so much ground. The quality of the album will shine through on first listen, but the depths of the album can only be explored with repeated dedicated listening. It's a doom epic and a throwback to the very best records of the genre. Truly, this is a masterpiece of doom metal and a worthy addition to any doom fans collection. With that, I can only close by saying that this comes highly recommended and that you will get out what you put in. Incredible.

“The Black Powder” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Purple Hill Witch - "Celestial Cemetery"

By: Mark Ambrose

Album Type: Full Length

Date Released: 10/11/2017

Label: The Church Within Records

From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is pure retro-metal worship.  The pervasive garage metal swagger elevates some pretty raw material and proves that they have the chops to be a really excellent outlier in the doom metal underground

“Celestial Cemetery” CD//DD//LP track listing

1. Ghouls in Leather

2. Harbinger of Death

3. Celestial Cemetery

4. Around the Universe

5. Menticide

6. The First Encounter

7. Burnt Offering

The Review:

From the Deep Purple-indebted organ intro, to the bluesy pentatonic riffing, there’s no doubt that the latest LP from Norway’s Purple Hill Witch is going to be pure retro-metal worship.  Thankfully, their enthusiasm and chops go a long way, and some inspired moments carry a record that could slip into pure nostalgia.   The pervasive garage metal swagger elevates some pretty raw material and makes me believe this power trio has yet to release their breakthrough record.

       

Opening track “Ghouls in Leather” is definitely the best cut on “Celestial Cemetery”, bouncing easily between first wave proto-doom and NWOBHM riffing meets punky metal hooks.  Guitarist Ingvaldsen’s vocals are strong and when he offers some variations (sometimes sounding like a young King Diamond) or the occasional falsetto punctuation, you catch him developing his own, more distinct cadence.  His guitar work, meanwhile, is distinct enough to be the star attraction –heavy on the balls rather than pyrotechnics.  He gets some sweet tone that sounds loose enough to be mistaken for some early garage rock, or a Blue Cheer outtake.  “Harbinger of Death”, in particular, highlights Purple Hill Witch’s ear for a killer riff, even if the refrain pales in comparison.  The title track, the appropriately spaced out, reverby “Celestial Cemetery”, has Ingvaldsen’s best vocal delivery, but highlights the relatively low bass levels.  It’s a shame that I can’t hear more of Andreas Schafferer’s interesting work, even if I can FEEL it when the volume is cranked enough.  “Around the Universe” is a good track bolstered by a really thrilling, Steppenwolf-style solo.  Kvam’s subtly jazzy kit-work is a nice touch, too.

The final two tracks, “The First Encounter” and “Burnt Offering”, while they have their moments, also highlight the limitations of the record.  The bass continues to be too low in the mix, while little guitar flourishes occasionally seep through the left channel at a level just quiet enough to be maddening.  The harmonica closing of “Burnt Offering” is a cool idea with an execution too minimal to really rock.  By this point I really wished there was a return to the gloomy organ music of “Ghouls in Leather” – with a solid anchor to the dueling guitar and harmonica, the song would be that much heavier, and more memorable.  While these criticisms may be quibbling, Purple Hill Witch set the bar high for themselves.  They’ve proven they have the chops to be a really excellent outlier in the doom metal underground, on par with spaced out weirdos like Captain Beyond or Italy’s Black Hole.  If they can capture and sustain the energy of the first half of ”Celestial Cemetery”, they’ll be in for one hell of a record.

“Celestial Cemetery” is available here

Band info: facebook

ALBUM REVIEW: Lord Vicar - "Gates of Flesh"

By: Richard Maw

Album Type: Full Length
Date Released: 17/6/2016
Label: The Church Within Records

For anyone wanting quality traditional doom, the purchase of this album is a no brainer. Lord Vicar represents the very best in the genre and this album is a focused and fulfilling listen.

“Gates of Flesh” CD track listing:

1). Birth of Wine
2). The Green Man
3). A Shadow of Myself
4). Breaking the Circle
5). Accidents
6). A Woman out of Snow
7). Leper, Leper

The Review:

Doom, done properly, is the greatest. Lord Vicar, known for doing doom properly do not disappoint here. Kimi Karki brings some seriously great guitar riffs and sounds to the table- always adhering to the Iommi blueprint (and of course the lineage of doom players that came afterwards). Expect swinging grooves, more psychedelic and gentle sections and some rather mournful vocals from Christian Linderson (supergroup!).

I am drawn to any track/album/imagery- and even public house- that has anything to do with “The Green Man”, so track two was a given for me. It is a fuzz drenched groove that leads the track off and the airy production carries the riffs along nicely. “A Shadow of Myself” is a rather sombre affair- no surprises there- but is also primarily a bass solo that is an excellent listen. Now that may be a surprise!

“Breaking the Circle” boasts a hypnotic riff that defines the term doom metal- just massive- and echoes The Gates of Slumber's final recorded work; all paranoid lyrics and fatalistic atmosphere. “Accidents” represents the “loping groove” side of Sabbathian doom which goes into a snails pace and then into swinging tempo pace. Truthfully, this track felt to me like a bit of a filler- but that is only because the three sections are so distinct. I also hasten to add that each section is great... it just didn't feel like a song. “A Woman Out of Snow” is a very different proposition- gentle acoustics and a mournful vocal sets up an album highlight. It's different, but believe me when I say that it is still very doomy. When the band kick in, the groove is fantastic and the minor key harmony is a killer.

“Leper, Leper” is the album's epic closing statement. Downtrodden doom, clocking in at over ten minutes in length, the track lets the band spread their wings and really lock into the groove. For anyone wanting quality traditional doom, the purchase of this album is a no brainer. Lord Vicar represents the very best in the genre and this album is a focused and fulfilling listen.

“Gates of Flesh” is available here

Band info: facebook

RIYL: Reverend Bizarre, Count Raven, Saint Vitus, Black Sabbath

Purple Hill Witch - S/T (Album Review)

Album Type: Full Length

Date Released: 27/7/2014

Label: The Church Within Records

‘Purple Witch Hill’ CD track listing:

1). Queen of the Hill (07:56)
2). Astral Booze (06:39)
3). Final Procession (07:44
4). Karmanjaka(05:02)
5). The Landing (04:38)
6). Aldebaranian Voyage (Into the Sun) (03:33)
7). Purple Hill Witch (11:11)

Bio:

Purple Witch Hill is a doom metal trio from Oslo Norway. They formed in 2010 and released a demo called Doomstone Blues in 2011, an EP called Alchemy in 2013, and their first full length album, Purple Hill Witch, in 2014.

Purple Hill Witch is:

Andreas Schafferer | Bass

Oyvind Kvam | Drums

Kristian Ingvaldsen | Vocals, Guitars 

Review:

You would think that sometime the world would slow down it’s production of these trippy, fuzzed out doom albums, but I really don’t think that the doom machine is showing signs of stopping anytime soon. As long as bands like Purple Hill Witch keep popping up, there really isn’t any reason for the world’s doom metal production to slow down, either. With the amount of doom metal that is out in the world already, I have enough to occupy me for the rest of my life, despite the fact that it makes up at least 75% of what I listen to on a daily basis. However, every time I go on bandcamp to look at new music, there is a constant supply of new doom albums that are continuing to perfect the art of blending the vintage sounds of Sabbath, Pentagram, Vitus, all those guys, with their own style.

Purple Witch Hill is definitely one of those bands. It can be hard for bands in the Stoner/Doom genre to distinguish themselves, since it can be very easy to fall into a fairly generic sound, but PWH gives just enough variety to keep you listening, but still keeps one consistent sound throughout the album, which is always good. As a listener, you can tell that these songs are all meant to go together – there aren’t any duds, these aren’t just the first 7 songs they wrote and decided to toss onto the album.  In my own humble opinion, and there are countless exceptions to this rule but I still think it holds some kind of validity, a power trio is the setup that allows for the most creativity in doom, and I would use Purple Witch Hill as an example of this any day of the week.

The band can come together and rock hard all together for the main riffs of a song, but can jam out and do their own thing during solos or longer instrumental breaks. If you really pay attention to the bass in the song ‘Final Procession’, it is clear that Andreas Schafferer really knows when to follow the guitar, when to follow the drums, and when to break off and give us some nice little bass lick behind everything else. This is a quality I also attribute to Geezer Butler, so you can clearly see the influence there.

Kristian Ingvaldsen, the guitarist and vocalist, brings that same element of Sabbath worship to the table, but somehow holds down the role of Ozzy and Tony. This is a guy who consistently lays down badass riffs for a full 48 minute album without a single boring moment, his only break being a few well-placed, well-written solos. Check out the track ‘The Landing’ for what is probably his most Sabbath-influenced song (although they all really do channel the Sabbath very nicely), from its slow, epic riff starting the song off, to his slow, deliberate solo, to the faster breakdown, very reminiscent of the breakdown in ‘Hand of Doom’, to his Ozzy-esque vocals.

All-in-all, this is a great album for someone who doesn’t like their metal to deviate too far from Ozzy era Sabbath, but still likes the nice fuzzy sound of Electric Wizard or other more modern stoner/doom.

Words by: Alex D.

You can pick up a copy here

For more information:

https://www.facebook.com/PurpleHillWitch

Aeonsgate - Pentalpha (Album Review)

Album Type: Full Length

Date Released: 24/10/2014

Label: The Church Within Records

‘Pentalpha’  track listing:

1). ‘Pentalpha’ 59:53

Bio:

Aeonsgate is a Doom project and it may become a cult . This first record called "Pentalpha" is a one hour long song that tells a sad, romantic and very heavy -doomy story of someone's first minutes of death.

Aeonsgate is the brainchild of Jondix (guitar player and founder of Great Coven, EIght Hands for Kali and Ätman-Acron). This time he is surrounded by amazing musicians. Mats Leven ( Krux, Malmsteen, Therion, Candlemass,...) is the singer and his agonic and beautiful voice makes the song as sad and dark as you can get. Joseph Diaz is the mysterious bass player who played before with the likes of Graham Bonnet, Bobby Martin,...) And finally Marco Minneman (Kreator, Necrophagist, Steven Wilson,...) on drums playing in a trance inducing sabbathic progressive way strange in this musical genre. This doom opera song mixes 70's, neoclassical and oriental elements and will be remembered as 2014 Doom's ultimate epitome . A lot of doom cliches and full of surprises, this record will change you forever...

The Band:

Mats Leven | vocals
Jondix | guitars
Joseph Diaz | bass and keyboard
Marco Minneman | drums

Review:

Well, this is unusual! One hour, one track and a lot of doom.  The Church Within Records is a German label of renowned quantity and this record is no exception to that reputation. It was recorded all over the world (Stockholm, LA etc) and boasts a cast of well known (but not household name) metal musicians. The presence of Marco Minneman (Kreator) is misleading- this is not thrash or even close. Mats Leven (Candlemass) handles vocals with admirable atmosphere. The record starts with synth, then violin brings a kind of classical feel, there is voiceover, sound effects... it's got the lot. The drums appear as stilted rhythms at first but progress on to become more insistent as the track goes on. The guitars are eerie and solid as the theme of the album unfolds.

It sounds to me, to be ruminating on mortality and specifically death itself and the thereafter. There are some magnificent riffs and soaring vocals around the eight minute mark and the track really takes off. It has a hypnotic insistence to the momentum and presses on with grandeur. A solo comes at the twenty minute mark after Leven has sung his heart out for the previous 12 minutes or so.

There is a definite feel of classic Rainbow or Dio in there- this is epic, grandiose stuff, po-faced and bringing lofty concerns. The track breaks down after twenty five minutes or so and sets things up for the next phase/movement. Synth rears up again- in the excellent way it did on 70's albums- and the track is off on another tangent. More guitar soloing follows and things continue to build up until the opening refrain returns at the 40 minute mark. Ambitious stuff- worthy of Dio or even Maiden in their prime.

There are central hooks that are returned to, here and there, as well as the evolving nature of the instrumentation. Solos abound through the hour long work, too, while the rhythm section holds things together with admirable stoicism throughout. The final solo is a treat to hear- it is epic in scope and length. The classical motif returns with five minutes to go, running water is sampled and the synth refrain comes back. With that, the hour long journey is at an end.

This is doom, that is for sure, and it is doom of epic breadth and depth. For me, it harked back right to the start of the genre- Sabbath, Rainbow, Dio et al. The track has a gothic feel in places, lots of imagery around scripture and death is there in the lyrics and it is dramatic without being overdone.

This really could be one of the most unusual and best doom releases of the year. The difference between this and something like “Dopesmoker” is like chalk and cheese, but this is a very worthy entry into the canon of lengthy doom tracks. You have to get through it in one sitting to get the full benefit, but cutting it in half around the 25 minute mark works well. Ambitious stuff that succeeds. There is not much higher praise than that!

Words by: Richard Maw

You can pick up a copy here

For more information:

http://aeonsgate.bandcamp.com/

Serpent Venom - Of Things Seen and Unseen (Album Review)

Album Type: Full Length

Date Released: 27/6/2014

Label: The Church Within Records

Serpent Venom – “Of Things Seen and Unseen” CD track listing:

1. The Penance You Pay
2. Sorrow's Bastard
3. Death Throes at Dawn
4. The Lords Of Life
5. I Awake
6. Let Them Starve
7. Pilgrims of The Sun
8. Burning Free

Bio:

The 2014 release of the album 'Of Things Seen & Unseen' marks a new beginning for Serpent Venom.

Conceived in 2008, Serpent Venom, hailing from London and Hertfordshire, brought their brand of 70's tinged, traditional heavy doom to a wide audience across the UK, receiving high praise for debut album 'Carnal Altar' and their live shows. Upon the departure of Pete Fox, Serpent Venom enlisted guitarist Roland Scriver, (Sloth, End of Level Boss) and toured hard across the British Isles and Europe. With a ferocious live presence and thunderous volume, the band continued to cement their reputation as a live act playing with the likes of Trouble, Pentagram, Conan, Black Magician, Goatess and Bast, all whilst honing the riffs for the second album.

'Of Things Seen & Unseen' was recorded at Skyhammer Studio in October 2013 with Chris Fielding (Electric Wizard, Conan, Capricorns, Taint, Coltsblood, Bast) at the helm. It is the first recording to feature guitarist Roland Scriver and marks a song writing approach that came straight out of the jam room and involved the whole band.

The CD will be out in two different version: Standard high quality 8 pages CD-Wallet + Hardcoverbook in slipcase with paintings to each song!

The Band:

Garry Ricketts | Vocals
Paul Sutherland | Drums
Roland Scriver | Lead Guitar
Nick Davies | Bass

Review:

First impressions are ones you can never undo. Good job then that London four piece Serpent Venom's “Of Things Seen and Unseen” starts with a crackling, bass heavy riff so fuzzy you can feel hairs growing out of your speakers. It's a riff and indeed a band on the whole that have emerged from the bong water of Sabbath Worship. This is a band more content with smoking the wheel rather than reinventing it and whoever said that was a bad thing?

Yet, with the sheer density of bands over the years founding their musical philosophies upon the 'tune low, play slow' mantra - something that has only intensified with the arrival of the internet - it takes more than a good riff or two to stand out from the pack. There is something soulful and relatable about this band. They've left the entire Sludgelord team rapt in their hazy atmospherics. Atmospherics I might add, that conjure up visions of stoners in a smoky bedroom, posters of Sabbath, Cream and Zeppelin masking the wall.

Stoner rock has never been about egos and image. Stoner rock is music by stoners, for stoners and that's it. Just your average Joes playing above average music.

Pummelling you with a droning bombast on “The Penance You Pay” and tripping you out with discordant, messy but deeply impassioned solos on “Death Throes at Dawn” - where the imperfections are indeed the perfections - the early movements on the album set the tone, set the enthralled fixation.

Garry Ricketts' vocals veer away from the aggression many of their counterparts tend to opt for. Instead, the soul and delicacy in his voice floats in the mix like a Sycamore Seed in an autumnal wind. These are songs sung with conviction and meaning and is exactly why this band has found the Sludgelord so enamoured with them. Think heartfelt, silky tones of Cream and Graveyard.

With Chris Fielding taking production duties, a man whose back catalogue includes work with Electric Wizard and Conan, their overall sound is absolutely spot on. Smokey yet smooth, it gives the songs a tremendous impetuous that sees them reach the next level.

“I Awake”, although brief, sees the band baring their soul through nothing but acoustic guitars. Stripped back and raw you feel you can see into the very core of this band's slowly beating heart.

But the pace doesn't always reverberate at a funeral march. The powerful “Let Them Starve” for instance - which sees Ricketts at his best - bursts into life for the final stages, dragging you along for the ride.

Closing on the two longest tracks in “Pilgrims of the Sun” (9:23) and “Burning Free” (7:45), they have you utterly transfixed. 2Of Things Unseen…” is most definitely not an album that withers and fades in the final chapters. Rather, it crescendos in devastating fashion.

Within their gargling grooves and ear wrenching noise (in the best possible way), they have you cut out from the rest of the world. Listening to this record is a spell-binding experience as every good stoner album should be. But it is so much more than another album to spark a joint to. It has, aptly, a snake like charm: vicious and deadly, but when their venomous tones flow through your veins you can’t help but crack a smile.  

Words: Phil Weller

You can get it here

For more information:

https://www.facebook.com/pages/Serpent-Venom/109942092371705

Interview with Oliver Richling of The Church Within Records

Within the doom metal scene there are few labels more dependable for quality music than The Church Within Records.  The very name of the label is synonymous with quality, given that it is the name of the final and arguably the best record by The Obsessed.  Founded by Oliver Richling, The Church Within Records released their first record back in 2006 and have been producing quality release ever since, right through to their most recent release by Blackfinger, featuring legendary Ex – Trouble vocalist Eric Wagner.  Other personal favourites of mine in recent times have been Green Vapour by Lord of the Grave (Vinyl Release, please) and the S/T release in 2013 by Beelzefuzz.

Fast forward to March 2014, and with the Blackfinger release finally in the can, I spoke with Oliver Richling to get the lowdown on his label and what we can expect from this brilliant underground label for the remainder of 2014.  Hope you dig it!! 

First Release, '06

(SL) What can fans look forward to from your label in 2014? How is your schedule shaping up? Any exclusives you can tell us about?

Oliver Richling) Ok in April there will be the Beelzefuzz Vinyl + a record store day version. During the summer the band will record their second album and hopefully it will be out on Church Within Records autumn / winter. Shortly after the vinyl, I will put out the new Serpent Venom album. Right now we are working at the last details of a special package and the debut of Purple Hill Witch. Then Lord Vicar will record their third album also summer time,  so also autumn / Winter release and there will be a special thing coming at the end of the year of the band, but that really so special I can talk about right now. Then I have the last Gates of Slumber vinyl coming and The Obsessed – Live at The Wax Museum. We did overwork this bootleg and it will be the first official release of this record. There are more records coming, but it is too early to talk about it.

(SL) For those people who are not familiar with your label, could you tell us a little about yourself, your label and why you decided to start The Church Within Records?

OR) Well I was part of the doom scene since the early 90^th. So at this time I made already some contact with bands of people. The good old tape trading scene! Then I was writing articles and taking live photos for some magazines + putting out my own fanzine. Around 9-10 years ago I started the Doom-Dealer Shop. I simply ordered more tapes or hard to get CDs/ vinyl directly from bands around the world and sold those through the shop and naturally the first bands asked me to put out their records and so I started The Church Within Records.

(SL) You’re a music fan first and foremost, right?   Given that music seems to be so disposal at times, do you place more importance on offering a great package to your customers, given the emergence of digital age.  What is the ethos behind what you’re trying to do with the label? 

OR) Yeah I am a music fan first.   I always try to put out something special. Sometimes the band just likes to have“normal” packages and sometimes they like to have a nice package. I am quite a visual person and that’s why I like to have something nice in my hands when I am listening to the music. Of course the music is the most important thing but I never downloading music.

My ethos is just to support bands as much as possible with my conditions and options

(SL) What, if any bands may have inspired you to start the label or was their a specific reason you felt you wanted to support the bands you have?

OR) The first release was the Against Nature 7”. 

The Revelation record “Never comes silence” was an important record to me and when I met John Brenner in Germany I told him that and that I wanted to work with him for a record. I still have copies here but I give a fuck. I was just happy to work with him.

(SL) Is there a specific person (s) that you looked up to in terms of modelling your label upon?

OR) Any other business persons? Fuck no!

(SL) In your experience, how easy/difficult has it been to get coverage for your releases?

OR) You mean a distribution network? Well to get a proper good distribution is hard or was hard in the past. They are not waiting for you and some companies are kicking out labels because of the bad selling.  Everything is getting better and better when you putting out more good releases. The network is getting bigger and bigger; more distribution companies in other countries /continents are interested in working with you....
Trading with other labels and mail-order is a good way to spread your releases.

(SL) What do you look for in band, in order for you to get involved in releasing their music?

OR) First if I like it. Then if I like the persons behind the bands.

(SL) Based on your own experience, what do you think is the most important thing for a new label to do in order to promote themselves and their artist (s)?

OR) Work hard and put out quality music.

(SL) What has been some of your favourite releases so far? 

OR) Oh man, I can’t answer that.

(SL) What are some of the difficulties/frustrations of running a label, because there are many other commitments such as family, work etc that perhaps restrict the amount of time you can dedicate to your label?  Not to mention the financial pressure? 

OR) The hardest part is the mix of day job and label. Sometimes you are coming home from work and just want to do nothing, but you have to send out orders or working out some new releases.

Yeah money is another thing. I mean I sometimes totally understand why labels put out cheap CD or vinyl!

(SL) How valuable are blogs and social media? What are your thoughts on changes in the industry over recent years in terms digital versus CD/Vinyl? Some label perhaps do not advocate including DD codes for example?

OR) Social Medias are a nice tool but you shouldn’t take them too importantly. I understand that the download thing is getting bigger and bigger and maybe in the future records, books are history but they said it about tapes, vinyl... and everything is coming back in waves. So like I said I am not a downloader but I accept that there are people who only download music

(SL) Given that you have a number of releases under your belt, how do you measure the success of each release, are you reliant on selling units in order to release the next one?

OR) Well sometimes I put out music, where I know before that the selling won’t be that good, but I just wanted to put out this record. I just want to be free from the pressure of the market or all these economic aspects. I am not doing the label for living so that why I am quite free to have to make money.

(SL) Some labels place a significant importance on the releases having a sense of being a collectable, with Standard and Die Hard Editions.   What do you feel is the significance of releasing such a package (s)?

OR) Something Collectable is nice. I am also a huge collector, but it should be available for all people and not only for the people who are the quickest.

(SL) If you could have released any record past or present, what would it be and why?

OR) Oh of course The Obsessed – The Church Within.  It is out now already, but that is quite good, because more people should listen to it!

(SL) Has there been any bands you wanted to work with but for whatever reason it did not happen?

OR) Yes of course, but that is Ok. Maybe some day.......

(SL) What would be your survival tips longevity?

OR) Eat your fruits and vegetables!

(SL) Indiegogo or creative no no?

OR) Indiegogo for records is quite weird. Work hard to pay your own bills!

(SL) Finally, do you have any final comments/word of wisdom you’d like to bestow upon us?

OR) Thanks Aaron for this interview!

Words and interview by : Aaron Pickford

Thanks to Oliver for taking the time to talk to us.  Check out his releases via his doom dealer store by using the links below.  Finally, support DIY!!!

For more information :

http://www.doom-dealer.de/

http://shop.doom-dealer.de/