INTERVIEW: Dead Quiet frontman Kevin Keegan discusses "Grand Rites"

By: Mark Ambrose

Dead Quiet, a Vancouver quartet featuring members of 3 Inches of Blood, Barn Burner, and Anciients, has been steadily amassing a solid collection of doomy stoner rock bangers since 2014.  However, this year’s sophomore effort, “Grand Rites”, is nearly a debut of its own, as it’s the first to feature all members of the live lineup – and the cohesion shows.  As THE SLUDGELORD’S own Mark Tremblay said in his album review, “Grand Rites” is “one of the best Canadian Metal Records of the year”.  Guitarist, vocalist and founding member Kevin Keegan took a few moments to answer some questions via e-mail, sharing some insights about the road to “Grand Rites”, the hopes for performing in the future, and some of his personal favorite records this year.

In his review for our site, Mark Tremblay said the band sounds more “fully formed” than on the self-titled debut.  Can you talk about how you guys have developed since 2015’s “Dead Quiet”, and what steps you took to prepare to record “Grand Rites”?

Kevin: The main factor was having the right members. We had a little bit of trial and error with the line up when we first formed; the debut record only features Dana and myself, the band that we have now came after the recording. With “Grand Rites” we had the line up we had always dreamed of. When Brock came aboard we knew we had something special and then it got even better with Mike and Justin. As far as preparing to record it was just a lot of rehearsing. We spent a lot of time ironing out the arrangements and then having some fun with additional instrumentation when we got to the studio.

The artwork on your records has a particularly striking, throwback appeal.  Can you tell us a little about the artist/concept/design process was like for this record?

Kevin: Cody Fennell, the artist who did both our records, has always been a close friend and my go to guy when it comes to band artwork. We worked together on all the Barn Burner records as well as countless t-shirt designs. The way we work has always been I’ll have a direction or a full concept and he will put pen to paper and make it happen. I trust in him completely so what he churns out never disappoints. Conceptually, I wanted to stick with this theme of fantastical shapes amidst a landscape of ruin. The notion of this beacon of something mysterious yet hopeful surrounded by bleak deprivation was always in mind with both records. Thematically, this theme runs through the music as well.

There are elements of prog, stoner metal, classic soul-infused rock, and even some thrash running through the album.  What are some of the influences you distinctly drew from when writing the album?

Kevin: It’s hard to pinpoint exact influences. I’ve kind of been listening to the same stuff for a long time. I’d say it’s definitely a lot of classic rock and proto metal as well as some newer doom and hardcore. Some of the other guys listen to a ton of old pop music and funk too so that creeps its way in.

Canada seems to have a more eclectic or maybe more visible heavy music output in recent years.  How has Vancouver or B.C. shaped your development?  What is the scene there?  How does it differ from, say, Toronto or Montreal?

Kevin: To me Canada has always had a prolific heavy music scene. Vancouver itself introduced me to live bands that I still draw influence from to this day. Growing up watching Vancouver and Seattle bands was how I gauged how I was going to perform and write songs. The scene here now is an overwhelming abundance of great bands. The individuals making music here are very talented and for a fellow Vancouver musicians it keeps me on my toes. Montreal has a great music scene as well but for whatever reason it’s never had the sheer volume of bands and players that Vancouver does. As for Toronto, I’m not sure what’s going on there, doesn’t seem like they’ve had a very cohesive scene in a long time. Don’t get me wrong though, there are some killer bands from Toronto that I absolutely love.

What are the current plans for touring in support of the record?  Any particular bands you’re looking forward to playing with?

Kevin: We can’t wait to hit the road with this new record, no tour plans as of yet though, still waiting on the opportunities to present themselves. As for bands, I think most of the bands we’d love to play with are slightly out of our league but hey, a guy can dream!

What are some dream locations or festivals you’d like to play in the coming year?

Kevin: We really want to get to Europe, that’s our priority right now. Playing Roadburn or Hellfest would be absolutely amazing but really what we want is just get on the road and play in general.

Finally, in Mark Tremblay’s review he singled Grand Rites out as one of the best Canadian metal releases of the year.  With that in mind, and the year drawing to a close, what have been some of your personal favorites for 2017?

Kevin: I’d say Mutoid Man’s latest record, “War Moans” is up there as #1. Other than that it’s the latest Converge, Power Trip, and the yet to be released debut record from Montreal’s The Sick Things.

The End

Band info: bandcamp || facebook

TOP 16 ALBUMS: THE SOUR 16 (November 2017)

As we enter the countdown to Christmas and with a mere 17 days to go it is time to present 16 of the best albums from September, it is time for your SOUR 16. 

You know the drill by now, each month you the reader are unwittingly compiling a list of the top16 records of the month, covering all genres of metal.  Is it not a chart, in which reviewers or contributors extol their opinion about their favourite music.  To put it simply, THE SOUR 16 are the records that have been trending the most at SLUDGELORD HQ.

The results are compiled based on the amount of page views the reviews have received and are then calibrated into the list below.  All reviews can be viewed by clicking the artwork and we have included album streams wherever possible. (Total views since their publication are highlighted in the red)

16). Sect – “No Cure for Death” (823)

Sect have set the standard for hardcore music and what it should aspire to in 2017. If you’re looking to heavy music with a message, look no further than “No Cure for Death”.

15). Slabdragger & Wren - “Mothers Of The Beef And The Magic Of Invention” [Split] (874)

Both bands deliver the best kind of cover version; one that takes the source material and imbues it with their own unique spirit to create something new and exciting.  An essential purchase for any fans of the UK heavy underground and maybe it’ll turn some old Zappa and Beefheart heads towards the sludgier side of life too

14). Cannibal Corpse - "Red Before Black" (938)

Once again, Cannibal Corpse have crushed all in their wake and returned as conquering anti-heroes of the death metal genre.  Cannibal Corpse remain the death metal band by which many other death metal bands are judged and remain my go-to band of choice if I want to listen to something extreme, violent, uncompromising and also oddly, inexplicably, insanely listenable.

13). Hooded Priest - "The Hour Be None" (959)

This is doom metal that will appeal to anyone with a sense of theatre and anyone who wants to bang their head as well; there is some great metal on offer here. Huge and sprawling in its ambition, “The Hour Be None” is a doom tour de force and I recommend it highly.

12). Amenra - "Mass VI" (1054)

Amenra’s music is real and comes across as brutally honest. The formula (sonic + emotional heft) = (a heavy album) is one that’s been done many times before, but what Amenra does that sets them apart from the pack is the diligence they use when drinking from the well of inspiration. Amenra makes their listener feel and live with them. This keeps Amenra in touch with why they started making music in the first place. It’s this artistic integrity that helps make “Mass VI” what it is. 

11). Pale Horseman - "The Fourth Seal" (1084)

Pale Horseman offers a special sort of heft to their music, with mesmerizing guitars convulsing, vocals crunching  and the drums creating a war beat that is stifling in weight.

10). Fister & CHRCH – “Fister/CHRCH” (Split LP) (1120)

Over the course of nearly forty minutes, CHRCH and Fister, employing different sonic palettes and lineups, craft a perfect split for the moment: unholy, polluted, funereal and dismal – a requiem for humanity’s end times that is as beautiful as it is ugly.

9). Manilla Road - "To Kill A King" (1205)

In summary, To Kill A King is a superb and epic metal album, forged from the finest steel.

8). Dead Quiet – “Grand Rites” (1255)

All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

7). Purple Hill Witch - "Celestial Cemetery" (1256)

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

6). Clouds Taste Satanic - "The Glitter of Infinite Hell" (1381)

Clouds Taste Satanic’s blend of doom, stoner and sludge chords, capacious basslines and drums set an imposing climate that sets them  apart from their peers. Each cut here feels distilled down to the pitched greatness of its many influences. Guitars simmer like the hunt during a horror movie and by the albums conclusion, chances are your mind will be thoroughly mashed.

5). Converge - "The Dusk In Us" (1897)

Today, with random acts of violence, anger and pessimism dotting our timelines, maybe Converge just now seems like a soundtrack to our contemporary apocalypse

4). Godflesh - "Post Self" (2301)

It may be a disturbing, challenging last will and testament of humanity’s futurist hopes and dreams, but “Post Self” is an invigorating, complex, and honest piece of industrial metal.  Perhaps most importantly, in a genre that can be glutted with repetitive speed metal riffs and samples of shouting despots, Godflesh stands as one of the smartest bands working today.

3). Norilsk - "Le Passage des Glaciers" (2752)

French canadian doom duo Norilsk return from a two-year layoff with a surprising new album, one that gives a reengaged sound to the pair's signature style.  Norilsk manages to be bold without being alienating, and that is indeed refreshing.

2). Electric Wizard - "Wizard Bloody Wizard" (9121)

 “Wizard Bloody Wizard” transcends whatever the in-thing of the moment is, and focuses instead on musicianship, the album's all-analog approach creates a warm, vintage sound for the songs and on the whole Electric Wizard feels re-energized, whilst  remaining true to their seedy pedigree

1). Morbid Angel - "Kingdoms Disdained" (28760)

This album is a statement of intent, placing the focus on convulsive rhythm changes and dissonant, jagged riffs over accessibility.  ‘Kingdoms Disdained’ is Morbid Angel's most uncompromising album of their career and their best album in nearly twenty years, and I don’t consider that light praise.

A big thank you as always to our amazing writers, your dedication knows no boundaries and for that I am truly grateful.  Novembers 2017’s “SOUR 16” features reviews by:  Richard Maw, Ernesto Aguilar, Daniel Jackson, Mark Ambrose, Victor Van Ommen, Charlie Butler & Mark Tremblay

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Dead Quiet (Vancouver, British Columbia)

By: Mark Tremblay

Album Type: Full Length

Date Released: 03/11/2017

Label: Artoffact Records

All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

“Grand Rites” CD//DD//LP track listing:

1). Moon Curser

2). Blood Lovers

3). Corpse Revival

4). Disgraced

5). Fucking Oath

6). Dear Demon

7). Old Hopeless

8). Spiritual Abuse

9). Grand Rites

The Review:

Dead Quiet’s second full length “Grand Rites” sees the band fully forming their blend of classic rock and stoner metal. What was merely a nod on their self titled release is now fully integrated on “Grand Rites”.  For band leader Kevin Keegan, this is his best album to date. Following his progression from the early riff-sandwich that was Barn Burner all the way to the more sophisticated Dead Quiet, it has been great to see the progression in his voice. His voice has gone from being in the background on previous releases, to being the main focal point of this album. The vocal range and variety exhibited by Kevin Keegan on “Grand Rites” has come a long way since “Bangers”.

Most notably on “Grand Rites”, Dead Quiet has incorporated keyboards into their sound. The addition of former 3 Inches of Blood guitarist Justin Hagberg, the 70’s influence is now fully embraced by the band. This is apparent on the albums early tracks like the Deep Purple infused “Moon Cruiser” to the white room re-imagining of “Blood Lovers”. Elements of Creedence Clearwater Revival become apparent on “Corpse Revival” which morphs into an onslaught of Slayer oriented thrash riffs.

Perhaps what makes this album so enjoyable is its tasteful use of every element it brings to the table. The amount of acoustic instruments featured on tracks like “Dear Demon”, and “Ritual Abuse”, for example, really make its heavy elements shine through. All of the nuance and balance on this record really make it an experience that never bogs the listener down. It is for these reasons, that Dead Quiet’s “Grand Rites” is one of the best Canadian Metal records of the year.

“Grand Rites” is available here

Band info: bandcamp || facebook