Satyress - Dark Fortunes (Album Review)

Album Type : Full Length

Date Released : 8/4/2014

Label : Self Release

 ‘Dark Fortunes’, track listing:

1). Possession 05:19

2). Esta Noche 05:25

3). Soma 03:51

4). Dark Fortunes 05:20

5). Spread Thin 04:29

6). Archaic Passage 05:44

Bio :

Psych-infused, melodic doom metallers Satyress formed in the brutal Portland winter of 2012. Within a realm known for its lack of sun and tall timber, inhabitants form chants in response to misted dark clouds. Together, the spawn of LSD&D and a singer known as the Dead Bird of Night Dreams set in motion a trial which would test the vocal range and maternal power of the four-headed Chimara to the utmost. Through witchery ritual and carnal riffs Satyress conjures up the force of rock's potent spirit.

This tetrad now features drummer Yorck Franken, bassist, Alex Fast  guitarist Billy Nitetooth, and lead singer Jamie LaRose. The unearthly craft of their rituals has yielded the band's first offering: Dark Fortunes

The album was recorded and mixed at Opal Studios in Portland, Oregon with Kevin Hahn in the summer of 2013, with mastering manifested at Audioseige with Brad Boatright. The eldritch cover artwork and layout come courtesy of artist Calvin Cushman and Jason Roberts.

The Band :

Alex Fast | Bass

Yorck Franken | Drums

Billy Nitetooth | Guitars

Jamie LaRose | Vocals

Review :

A ‘Satyr’ is a man goat hybrid, therefore a ‘Satyress’ from what I can gather is the female version, and the chosen band name for newcomers to the fast becoming overcrowded doom/stoner/psychedelic scene Satyress. Independently releasing their debut album ‘Dark Fortunes’, their quintessential Sabbath soaked riffs and catchy hooks have secured them credible attention and a promising future. 

Led by female vocalist Jamie LaRose, Satyress demonstrate just like (to name a few) Witch Mountain and Windhand, how the genre can massively benefit from a female vocalist. There’s something about harsh crushing guitar riffs played alongside a bold mesmerizing female vocal that creates such a desirable fusion. 

The Witch Mountain comparison is unavoidable, both also hailing from Portland Oregon, however Satyress manage to stand out amongst the female fronted doom paradigm.   

‘Dark Fortunes’ reinforced a valuable lesson and that is the importance of a second listen. Almost cast aside until a second time round revelation presented itself, when my uncertainty over the vocals diminished and the catchy chorus’ shone through. Opening track Possession is an enchanting affair, drenched in occult lyrical themes which pervade the entire album. Punchy distorted riffs and an emphatic chorus collide to make an album highlight contender, along with next track Esta Noche which oozes seduction with blues infused doom riffs and enthralling vocal hooks. Soma and Dark Fortunes perpetuate the occult theme and hypnotic psychedelia, all underpinned by LaRose’s distinctive vocal capabilities.

Staying true to the doom/stoner formula throughout, ‘Dark Fortunes’ isn’t anything ground breaking, nevertheless Satyress emerge triumphant with a solid debut release, demonstrating undoubted promise for their future endeavours. Dark, mysterious, spellbinding, this album leaves you no choice but to succumb to their hypnotic charm.     

Words by : Heather Blewett

You can get it here

For more information :

http://satyress.bandcamp.com/

https://www.facebook.com/Satyress

Coffinworm - IV.I.VIII (Album Review)

Album Type : Full Length

Date Released : 18/3/2014

Label : Profound Lore

IV.I.VIII, album track listing :

1). Sympathectomy 07:12

2). Instant Death Syndrome 05:00

3). Black Tears 07:27

4). Lust vs. Vengeance 05:49

5). Of Eating Disorders and Restraining Orders 07:44

6). A Death Sentence Called Life 06:28

Bio :

Indianapolis, Indiana's most notorious blackened doom metal abomination COFFINWORM made quite a reputation upon their emergence in the underground in 2009 with their Great Bringer Of Night demo. The ensuing unleashing of their 2010 debut LP When All Became None made a huge impression amongst blackened doom circles and coincided with a burst of the band’s devastating live shows (which included a run at SXSW upon the album’s release) as the band kept quite active on the live circuit (which also included an appearance at The Power Of The Riff’s East Coast event) consistently during the course of When All Became None’s discourse.
 

Now, come March 18, 2014, Profound Lore Records will unleash COFFINWORM's greatest transgression yet: IV.I.VIII.
 

Four years after the release of When All Became None, COFFINWORM return with an album that not only levels its predecessor, but a vicious statement of intent which producer/engineer Sanford Parker (Corrections House, Twilight, Yakuza, Wovenhand, Lord Mantis etc.) claims as one of the most insane and craziest albums he’s ever been a part of

Review :

Another week is upon us and with that being said another review to coincide with it.  On the speakers today (and a good part of the past week) is Indianapolis, IN based COFFINWORM with their most recent release “IV.I.VIII”(Profound Lore).

Forbes rates Indianapolis IN as one of the best cities in the U.S. Clearly Forbes didn’t walk into a venue Coffinworm was playing during that assessment; the filth would have sent them back to NYC with their tails tucked firmly between their sissy legs.  To describe this record as anything less that pure grime & doom would be an atrocious mistake.

It’s a filthy display of aggression from the opening track “Sympathectomy” forward.  The album has a massive amount more clarity than the proceeding releases such as “When All Became None” which sounds very lo-fi and dirty in its own right.  IV.I.VIII takes that concept and puts it on 10.

With the single release “Black Tears” you get a taste of just how much the band has grown.  A slow doom gallop into a wall of noise and driving momentum.  The vocal work touches on elements of brutal lows met by almost black metal highs.

This is an unforgiving and relentless effort any fan of doom/death should plant firmly in their ear holes! Noise FILTH DOOM & DIRT what more can you ask for?  Coffinworm delivered on this release don’t sleep on it!

Words by :  Stephen T. Barton

You can get it here

For more information :

http://coffinworm.net

https://www.facebook.com/coffinworm

http://coffinworm.bigcartel.com

http://twitter.com/coffinworm

http://www.youtube.com/coffinwormofficial

http://www.profoundlorerecords.com/

https://www.facebook.com/profoundlorerecords

http://www.twitter.com/profound_lore

Uzala - Tales of Blood & Fire (Album Review)

Album Type :  Full Length

Date Released : 15/10/2013

Label :  King Of The Monsters

Tales of Blood & Fire, album track listing :

1). Seven Veils 07:05

2). Dark Days 12:11
3). Burned 08:46
4). Countess 11:18
5). Tenement of the Lost 04:18

Bio :

Boise distorted doom shamans UZALA have returned with their sophomore album, and are heavier than ever!

Recorded at Witch Ape Studio with the inimitable Tad Doyle this past January and mixed/mastered at Soli Studio by Mell Dettmer (SUNNO))), Boris, Earth, Wolves in the Throne Room, WOLVSERPENT), 'Tales of Blood & Fire' will be released through King of the Monsters on October 15, 2013. A limited edition cassette version of the album will be soon available from Gypsy Blood Records.

The album features five gloriously heavy, beautifully deranged tracks of sludgy, psychedelic, fuzzbombed doom worship, and comes graced with ethereal cover art by the hypertalented Tony R. (blackmindseye.org).

UZALA recently completed an extensive US tour with YOB vocalist Mike Scheidt, appearing alongside heavyweights like Sabbath Assembly, Mount Salem, Hammers of Misfortune, Eagle Twin, and more - including a stop at Autumn Screams Doom Festival II  in Baltimore. Their live show earned glowing reviews like this one, from the mighty Obelisk: "Uzala‘s grooves were immersive on the immediate, and the periodic onslaughts of noise that came with Remains‘ solos only added to the overarching gnarl of their doom. They were, as so few bands are, an example of the difference a great drummer can make, as Chuck Watkins (also of Graves at Sea) alternately propelled and lumbered songs like “Burned” and “Dark Days,” the band hitting their own Vitus moment in the noisier wash of the former. Highlight moments came later into their set though, as the extended “Countess” proffered choice tempo shifts and a particularly right on performance from Nutt on vocals to go with the slowly unfolding riffs, and the subdued later stretches of “Tenement of the Lost” closed their set..."

Review :

Uzala are a doom band with some psych tinges that splits their home between Portland and Boise. Featuring some classic amp manipulations and worship, as well as some sweet female vocals in the form of primary vocalist Darcy Nutt, their latest release is the ominously titled 'Tales of Blood & Fire'. It's crammed with down tempo desperation and an unhealthy obsession with the darker side of life. So pretty much a great slab of doom, then.

Starting out with 'Seven Veils', the melancholy is an instant factor, with the longing and slight touches of guitar that give way to a tasty, sluggish doom riff. Nutt's vocals are like pouring sugar on said slug, something creepy covered in something sweet. She's possessed of a sorrowful, clear and haunting set of pipes that only lends even more to the band's (and indeed this track's) powerful presence. It's a cut that's covered in fuzz and moss, left for aeons to grow ancient. Really, really good slice of doom.

'Burned' is a far more evil affair, instantly more heavy. Nutt's vocals are once again at odds with the feel of the music going on around her, which only seeks to ramp up the notion of remorseful events taking place - it's like she doesn't belong there, but you're glad somehow that she is. The entire band really let's rip at around the 3 minute mark; both guitars really kick it up a notch before retreating into a slithering and forlorn pace again. More good doom, done right.

The 5 track record closes with 'Tenement of the Lost', which to this listener channels the spirit of early Candlemass (at their peak - that'll cause divisions!). There are maybe some hints of classic 70s or occult rock littered throughout too, showcasing the wide influences that Uzala borrow from. This is probably my favourite cut from the album too; it's a well placed piece with some righteous solos that'll get that head nodding. Great way to close out proceedings.

Like Demon Lung's 'The Hundredth Name' from earlier this year, 'Tales of Blood & Fire' is more splendid US doom featuring prominent female vocals. When backed up by the truly classic riffs that the genre can inspire, they go hand in hand perfectly. Uzala are a wonderful thing to listen to, they sound like they occupy the night, but they sure as hell don't go quietly into it.

Words by :  Matt Fitton

You can buy it here
 

For more information :

https://www.facebook.com/pages/UZALA/108093595875096

http://uzala.bandcamp.com/