Graveyard - 'Innocence & Decadence' (Album Review)

By: Erik Sugg

Album Review: Full Length

Date Released: 25/09/2015

Label: Nuclear Blast

All in all, “Innocence and Decadence” could be viewed as a polarizing record. Graveyard may lose fans, or they could very well gain them. They’ll probably always have older fans pissing and moaning over “the good old days,” but it’s also likely that, regardless of the extreme reactions people may have against this album, Graveyard will remain one of the most top notch bands around today.

‘Innocence & Decadence’ CD//DD//LP track listing:

1. Magnetic Shunk (3:02)

2. The Apple And The Tree (3:04)

3. Exit 97 (3:50)

4. Never Theirs To Sell (2:15)

5. Can't Walk Out (5:43)

6. Too Much Is Not Enough (4:37)

7. From A Hole In The Wall (3:47)

8. Cause & Defect (3:47)

9. Hard Headed (3:12)

10. Far Too Close (4:43)

11. Stay For A Song (4:35)

Graveyard is:

Joakim Nilsson | guitar, vocals

Jonatan LaRocca-Ramm | guitar

Truls Mörck | bass

Axel Sjöberg | drums

The Review:

It is an understatement to refer to Graveyard as a crossover band here in the year 2015. Ever since the band’s mid ‘2000s inception from the ashes of Norrsken, (a group who also brought us the legendary Witchcraft,) Graveyard has sailed far beyond the trappings of genre and subculture to become festival favorites, major tour headliners, and they are often the answer to the dreaded question, “Who is your favorite band around today?” They are the classic rock band that metal fans enjoy. They are the doom metal band that pop fans enjoy. They are the murder ballad song smiths that jazz and blues fans enjoy. They are the destination band for small town fans looking for a rock and roll road trip. Basically, Graveyard is a band with an enviable career who received all of their accolades the old fashioned way. They work hard while maintaining a sense of fun. They display stellar musicianship without overindulging their talents. They behave professionally without displaying prudishness. And more than anything, they possess an uncanny ability to write really great fucking songs.

The band wasted no time blasting through the starting gates with their fantastic 2007 debut, but for many, the pinnacle of Graveyard’s trajectory was their 2011 sophomore release, “Hisingen Blues,” a song-per-song thrill ride of evil melodies, bitchin’ riffs, catchy choruses, and an unstoppable swing. 2012’s “Light’s Out” was well received, but often criticized for seeming “rushed” and not sounding as inspired as their previous output, (the band also had some issues during this period with longtime bassist, Rikard Edlund, who has since been replaced with the group’s original guitarist, Truls Mörck.) Regardless of the grumblings over “Light’s Out”, Graveyard continued touring and playing major festivals, and they increased the solidarity of their fan base all along the way. For the three year period between “Light’s Out” and the newest offering, “Innocence and Decadence,” fan chatter ebbed and flowed from the curious, to the presumptuous, to the flat out accusatory. “Will Graveyard drop the ball? Will the new album have more rockers and less ballads? Will it be as good as ‘Hisingen Blues,’ or better?” So far, the overall response seems to be positive, but there are some head-scratching moments for long time fans. Still, when it comes to a band like Graveyard, who have continued to increase in popularity even after being in the game for nearly a decade, there’s really only one thing they can do when faced with these commonly-seen, mid-career loyalty-shifts amongst followers. They must push themselves forward, making no compromises for anyone but themselves, and ignore the bickering expectations of the masses. To my ears, it sounds like this is precisely what Graveyard has done.

Album opener, “Magnetic Shunk,” is an instant classic for the band. This tune was heard in live sets before the record’s release, raising many a brow amongst their old school followers. Those lucky enough to get the preview wondered if this doom/boogie masterpiece would signal a return to all the precious quirks that made “Hisingen Blues” such a standout record. Well, yes and no. The record is not short on groovy rockers, but as “Light’s Out” proved, you really can’t rest on your laurels with Graveyard. Take for example, “The Apple & the Tree,” which was chosen as the video single a few weeks before the release date. Man, did that song confuse people. Not only does it not sound like the Graveyard of old, it also doesn’t sound like anything else on the record. It could almost be a Dire Straits song with its snappy jazz chords and its pristine guitar tones. However, the strong chorus and the lyrical content referencing bygone eras and predetermined fates are fine representations of everything that makes Graveyard the band they are.

Tracks like “Exit 97” and album closer, “Stay for a Song,” bring the mellow moodiness of the previous record, but the album’s rockers make it a far cry from “Lights Out.” One of the midpoint tunes, “Never Theirs to Sell,” is a stellar, under-three-minute rock and roller that almost sounds like it came from the early ‘2000s, (back when groups like The Hellacopters and The Hives were kicking out the jams.) “Can’t Walk Out” and “From a Hole in the Wall” should satisfy the rock heads for the most part, but the four-on-the-floor rhythms minus the band’s usual off-beat timings may throw some listeners for a loop. But if those gripes do come? “Cause and Defect,” which has similar grooves to their debut, and “Hard Headed,” with its fuzz-bass intro and its hard-hitting swing, should shut them up.

One track in particular simply must be discussed due to its vast departure from anything the band has previously recorded. That would be the soulful ballad, “Too Much is Not Enough.” The words “soulful” and “ballad” are not uncommon whenever Graveyard’s music is discussed, but never have they been more apt than when referencing this tune. If the band was going for something brand new and uncompromising, something that could potentially cause a divide amongst their touchy fan base, this song is the one. “Too Much is Not Enough” is about regret, heartbreak, and deep spiritual pain. It sounds like it’d be more at home on a 1972 record by the Faces or Humble Pie rather than a 2015 “doom metal” album, (it even has “Blackberries”-esque backing vocals for christ’s sake.) This song may be a deal breaker for some, but for others, (myself included,) it is a fine offering; a standout track where the band exudes a wealth of artistic growth. For me it’s nothing but Graveyard just doing what they do, and doing it well. Chances are they’re 100% comfortable with any allegiant shifts that may recur as a result of this song.

All in all, “Innocence and Decadence” could be viewed as a polarizing record. Graveyard may lose fans, or they could very well gain them. They’ll probably always have older fans pissing and moaning over “the good old days,” but it’s also likely that, regardless of the extreme reactions people may have against this album, Graveyard will remain one of the most top notch bands around today. That goes for the metal scene, the doom scene, the rock scene, etc.  Hell. That goes for the music scene in general.

‘Innocence & Decadence’ is available here

Band info: facebook

'Book Of Wyrms: Chapter One': A Conversaton with Sarah Moore Lindsey

By: Erik Sugg

Looking for a good, unsigned band who brings the heavy while also soothing your mind, body and soul? Richmond, Virginia’s Book of Wyrms may be the band for you. They describe their sound as “appalachian stoner rock” and “space metal.” Those tags alone may be enough to draw listeners into their heady realm of astral dreaming, but the band also claims a diverse set of interests ranging from the occult, to cheap beer, to Curtis Mayfield. Who wouldn’t want to hang out with these guys?

After listening to their three song, Garrett Morris-engineered demo, which consists of the hard-charging “Nightbong,” the eerie, Sleep-esque “Sourwolf,” and ends with the slow burning “King Mildew,” I knew instantly that Book of Wyrms wasn’t going to be just another stoner rock band who gets lost in an endless cloud of smoke. This is a group of young people who know how to work their volume and instrumentation, while leaving plenty of space for their fantastic vocals and melodies. I spoke to with the band’s singer, Sarah Moore Lindsay, to learn a little more about them.

SL): So Sarah, you guys are a relatively new band. A lot of us may not know a whole lot about you yet. Mind giving us a brief run-through of how Book of Wyrms came together as a band?

Sarah: Our story actually begins with my answering a Craigslist ad (in spring 2014) which was looking for a Stevie Nicks-like vocalist. I sang with Sematary for a few months before I got the boot, which hit me hard as it was the first band I’d been fired from. So my bassist husband, Jay Lindsey, said, “You don’t need those guys to do what you want to do. You found what makes you happy. I’ll play with you.” So he started writing a few heavy riffs and I came up with lyrics. We asked our buddy Chris DeHaven to play drums, and then we’ve gone through a few guitarists since the beginning. We’re stoked with the current line-up of our two guitarists, Ainsley Coudriet and Kyle Lewis. Those guys have been playing together for years so they have an incredible rapport already.

SL): The group is based out of Richmond, VA., a great town that I used to call my home as well. These days Richmond has quite the reputation for being a metal mecca. Would you agree there’s a lot of creative energy happening with heavy bands in Richmond these days?

Sarah: Yes, definitely. I was just referencing the Ted Talk, which Mike Bishop recently gave, which addressed the history of Richmond and how that influences things to this day, including the music scene. It’s not that all heavy bands sing about that stuff, but you’ve got some unrest going on. Richmond just has all these people who are so brilliant and passionate that it’s no wonder that the music scene is fairly dank and dark.

SL): Your sound ranges from upbeat, hard rockers to slow and low heaviness. Do you guys have a particular dynamic that you prefer, or do you just write your tunes and let the dynamics work themselves out?

Sarah: I think we like to vary our dynamics to make certain parts of the music more impactful and to keep things from getting boring. It’s pretty exciting to have those moments of pure upheaval when you come out of a quiet part. I think it’s a rush for us and the audience. 

SL): What’s up with a song title like “Nightbong?” Do we have a memorable experience from a late night stoner session, or is it your tongue planted firmly in your cheek?

Sarah: Haha, yeah that song title originally started out as a joke. One of Jay’s and my favorite activities is coming up with funny or epic band names, so it was just one that we said which sparked something in my imagination. Then it took on a whole personality, and this “nightbong” suddenly had magic powers which I thought were hilarious.  The first lines are “Green machine/It’s loaded it seems” – basically it’s a story of coming upon a magical bong which packs itself and takes you places, turning your brain inside out.

SL): Generally we all see gender as something that never really needs to be brought up in a conversation about music. However, that’s kind of difficult when there are so many gifted ladies, like yourself, singing for heavy bands these days. It’s really changed the whole landscape for metal and what metal can be. Who are some of the front ladies in this day in age that you enjoy?

Sarah: Well, I’ve got to first mention Dorthia Cottrell of Windhand, because I admire her so much but also identify with her in a lot of ways. But I also dig Alia O’Brien from Blood Ceremony, Jillian Taylor from Ruby the Hatchet, Myrkur, Chelsea Wolfe, and so many more.

SL): What’s on the horizon for Book of Wyrms?

Sarah: We have a few Richmond shows this fall, and we will be trying to hit the road to Harrisonburg, Charlottesville, Raleigh, Philly, and Baltimore in the next 6 months or so. I would really like to record again soon but we will have to see how that goes. We’ve got some baseball tees coming out soon and maybe some more surprises.

SL): Anything else you’d like to add in closing?

Sarah: Thank you for asking me these questions! I’m really lucky to be involved with something I love so much. As cheesy as it sounds, it’s never too late to go for it.

Band info: bandcamp | facebook

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

Interview: "Colossus: a Decade of Demented Debauchery"

By: Erik Sugg

As most lovers of heavy are quick to tell you, there is nothing like a band who knows when to stop dicking around and when to cut to the chase to deliver the goods. We have a near-unlimited supply of heavy metal in this day and age, but it is a rare to find bands who give you that fine balance of energy, power, and a shameless love for all things fantastical, while also maintaining a sense of precision, fun, and general badassery. Some lay it down slow and low, others pack a hard, fast punch with speedy riffs, galloping rhythms and lightning leads. North Carolina’s Colossus are certainly the latter. After a solid hard-partying decade of slaying stages alongside groups like Slough Feg, Skeleton Witch andValient Thorr, Colossus is currently celebrating their 10 year anniversary with a new video, titled “YOU DIED.” I caught up with the band’s vocalist, Sean Buchanan, and their drummer, Milton “Doza” Hawes, to discuss the good times they’ve had as a band, and their hilariously demented video, (which features possibly the best deathride through hell ever imagined.)

Sludgelord: So Colossus has been going strong for 10 years now. Congratulations! Most bands don't even make it for half of that. What's kept you all together for so long?

Sean: Honestly we just really enjoy what we do and our fans have always been super supportive of it. We also all get along really well, the days of band fights are long behind us.

Doza: I think it comes down to the fact that we have a shitload of fun together. Our music is in the spirit of fun, which is really an extension of the fun we have together as people, and those good vibes naturally branch out to our fans. We love hanging out and bullshitting, riding around between cities in the van, recording in the studio-- it's always a killer time and none of us want it to stop!

Sludgelord: Your new video is a rocking tune, is really well made, and is damn funny. Humor seems to be a big part of what Colossus is all about. What would you say is the most hilarious memory for you guys as a band?

Sean: Man, there are so so many. Not sure how many would translate but I do remember one time we went to a party after a show and nobody there had actually been to our show. When they realized we didn’t know anybody there they kicked us out. Our previous drummer Ben Smith decided to take off his shirt outside and then wander around inside pretending to look for it while we all watched through a big plate glass window. Then when he came back out the guy who lived there followed him and was like, “Oh you guys are friends with Shirtless Dude? Come on inside!” That was pretty damn funny.

Doza: Humor definitely is a big part of what we do, not that we make joke songs per se, but we have a damn good time and are one of the few metal bands that smiles onstage. There are so many ridiculous memories, it's hard to pick one, but the Colossus Challenge always brings out some hilarious moments. It works like this: If someone can beat each band member at a test, either physical or mental, they win a prize. We had a literal giant challenge us recently, a very drunk 7 plus foot tall metalhead with long hair and a sweet GWAR tattoo. He had to beat Ry, our bass player in a beer chugging contest. He lost. And then projectile vomited. All over me. I got puked on by a giant?! Yes I did. It really happened.

Sludgelord: The people of Raleigh definitely love to party with Colossus. Since you guys are an active touring band, what other cities would you say people have really gotten into you guys?

Sean: We have a ton of awesome friends all over but I think some of the largest concentrations of fans are in Detroit, Columbus, Athens, Wilmington, Austin to name a few. Our buddies in all those places always hook us up with fun shows and crazy times.

Doza: Wilmington NC is incredible. So many great bands and music lovers down there that really support us. Same for Athens GA, amazing town and people. New York has been most welcoming of Colossus. Columbus Ohio is always a blast. Detroit Michigan is home to our kindred spirits, the Beggars. We try to tour at least once a year with those awesome dudes. They aren't necessarily a metal band, but they completely rule and our shows mesh perfectly.

Sludgelord: Maiden seems to be an obvious influence for Colossus. What other bands have inspired you?

Sean: I heard the Lord Weird Slough Feg’s (Now simply  know as Slough Feg) Atavism on a trip out to California shortly before the band formed and later realized how much it had inspired me. Always been heavily influenced by Rob Halford’s golden pipes, and although I can’t sing like him I’ve always respected Dio’s lyrical skills.

Doza: As a drummer, I'm super into Cozy Powell, especially his work with Rainbow. Vinny Appice, either with Sabbath or Dio, is probably my greatest influence. He has incredible feel and the way he throws firework barrage drum fills into a song is just perfection. Before I do anything with Colossus, I always check out Scott Travis. His modern interpretations of older Priest songs are so on point for me.

Sludgelord: Doza, you also played briefly with the doom legends, Hour of 13, and also toured and recorded with Bloody Hammers. Both killer bands, but both very stylistically different from Colossus. From a musician's standpoint, do you feel it benefits you to try different things?

Doza: Thanks for the kind words about Hour of 13 and Bloody Hammers, much appreciated. It has been an honor to play with each of those bands. I have gotten to play some amazing shows with both of them, the 2014 European tour that Bill (guitarist of Colossus) and I did with Bloody Hammers was one of the greatest experiences of my life. I learned a ton about touring and playing huge shows. Download festival was amazing. Musically, it's definitely made me a better musician to branch out and play with different bands. Colossus is 110%, full blast the entire time, whereas the other bands I have played with have been on the doomier side of the spectrum, with slower tempos and more air in the songs. I love both!

Sludgelord: Colossus has played with many great bands throughout the years. You recently played an after party for Mastodon, Graveyard, and Clutch, and have an upcoming gig with Nashville Pussy. Who are some your favorite bands that you've played with?

Sean: The big shows are a blast but most of my favorite memories are of bands that are fun to tour with like The Beggars, Thunderlip and recently Sunshine State.

Doza: We've played with so many killer bands!! Valient Thorr - Those dudes put on a hell of a show and they're super awesome people as well. Slough Feg -This show happened before I joined the band and I hope to get to play with them some day, they're a huge influence on Colossus! He is Legend - We played with them at the Soapbox in Wilmington and there was a line around the block to get in. Sold out show! Also: The Beggars from Detroit, Savagist from GA, White Tiger and the Bed of Roses, Salvacion, Thunderlip, and the rest of the Wilmington, NC scene. Demon Eye, Solar Halos, Caltrop, and the amazing Raleigh/Triangle NC Metal scene. Despite all the challenges of this day and age for musicians, great music is still happening and we're proud to get to play with these killer bands.

Sludgelord: One thing I love about you guys is your shameless love for fantasy and sci-fi. Your songs reference everything from Conan to Dune to the Song of Ice and Fire. As kids who grew up during the '80s, the time when a major fantasy/sci-fi boom was happening, was there a particular film or book that has truly resonated with you? What would you say is your all-time favorite and why?

Sean: I have yet to write a song about it because the final book hasn’t come out yet but I can’t wait to read The Doors of Stone by Patrick Rothfuss and then write a song about The Kingkiller Chronicles. It’s some bad ass fantasy, I highly recommend it. And he’s not a billion years old so hopefully he’ll actually put out the last book! Also reading the Wheel of Time and pretty excited about doing a song or two from there.

Doza: For movies, it was Conan the Barbarian. That is still one of my favorite movies of all time. It's perfect. Next would be the animated Tolkien movies. Those blew my mind as a kid, as did the Last Unicorn. I have posters of Krull, Ice Pirates, and Solarbabies in my practice room. I was an avid reader as a kid, and CS Lewis really spoke to me. I read all the Narnia books, 7 I think? And his Space Trilogy is really fun, I've read that over and over. I love older Sci Fi that was written before the scientific breakthroughs of the 20th century. What they imagined back then was so much cooler than what actually happened. Currently, I'm reading Fafhrd and the Grey Mouser, by Fritz Leiber. These books are hilarious barbarian adventure stories and have influenced several Colossus songs.

Sludgelord: So what's next for Colossus?

Sean: We are planning to film a live concert DVD for the bands 10^th anniversary this fall so fans who have never seen Colossus can experience the live show. We’ll be bringing back some past band members to perform, should be a fun time. And we also are working on finishing a new full length that should be out soon.

Sludgelord: Anything else you'd like to add?

Sean: Thanks to Sludgelord for premiering the video! Hope you guys like it and check out our website to for any news about upcoming releases and tours!

Doza:  On behalf of Colossus I'd like to extend a huge thanks to Jonny Gillette, who did a tremendous amount of work on our video for "You Died." He came up with the concept, produced, directed, and edited the video, and is an all around awesome dude! Also Sherri Di Fillipo put in countless hours building our cave set and doing some ultra rad claymation. Finally a huge thanks to all our friends and fans who came out and got weird with us, this video was a huge blast to make, we hope you enjoy it!

Check out the premiere of ‘You Died’. Enjoy!

Band info: Facebook |Official | Twitter

Demon Lung - 'A Dracula' (Album Review)

Album Type: Full Length

Date Released: 16/6/2015

Label: Candlelight

“A Dracula” CD//DD track listing:

1. Rursumque Alucarda
2. Behold, The Daughter
3. I Am Haunted
4. Gypsy Cursem
5. Deny The Savior
6. Mark Of Jubilee
7. Rursumque Adracula
8. Raped By The SerpenT

Demon Lung is:

Shanda Fredrick | Vocals

Jeremy Brenton | Drums

Phil Burns | Guitar

Brent Lynch | Guitar

Jason Lamb | Bass

Review:

The great Seattle guru, Jack Endino, once stated that heavy music can occasionally be both intense and relaxing. Those may seem like completely diametric elements when it comes to the metal end of the spectrum, but it is actually a very apt observation, one that can describe many heavy bands of the here and now. Sometimes this phenomenon is achieved through slow pacing and high volume riffing. Other times it occurs through clever usage of effects and a studio engineer who really knows what they’re doing, (the recent spike in “atmospheric black metal” is a result of the latter.) In the case of Demon Lung’s latest release for Candlelight Records, which was produced by the highly reputable Billy Anderson, we are indeed receiving an offering that is heavy and massive, but is also dark and hollow, (hollow in the sense that you can almost “feel” the space around the instrumentation.) In short, “A Dracula” is a record that screams of heaviness, but it also provides a sonic abyss that allows listeners to get lost in its depth and undercurrent.

After a dark folk-ish intro, the record immediately segues into the pummelling, detuned, double bass madness of “Behold the Daughter.” Shanda’s vocals soar like an evil ghost, which is sure to strike a chord with the occult lovers who dig this eerie effect. As the album moves forth with songs like “I am Haunted” and “Gypsy Curse,” it’s evident the band knows a thing or two about mixing the High on Fire “pillars falling” sound with a sort of horror rock vibe. That said, it should also be mentioned that this record is a thematic one. The band previously stated that the album is about “the daughter of Satan, who happens to fall in love with the purest of souls in the convent she resides. She coaxes this soul over to the dark, with only intentions of love but in doing so she dooms her to death by the hands of the nuns. The anger consumes her and she uses her dark powers to resurrect her love and together they kill the convent and then the world.” Everyone is down with a little nun-slaughter, right? The whole albums-with-stories thing may work more for some listeners than others, but in the case of “A Dracula” the music is strong enough to win over the folks who may not be down with some storyboard guidance. The tunes are good, well played, and there’s a great mix of new school doom and traditional doom elements to entice fans from all across the board. My personal favorite? The record’s midpoint, “Deny the Savior.” It’s reminiscent of the strongest Candlemass offerings, and Shanda’s breathy vocal delivery really brings forth the darkness and despair.

The only potential snag I may see for Demon Lung is that the sludge lovers may find themselves wishing for a more in-your-face production style. However, it’s doubtful that’d end up being too much of an issue. Today’s lovers of heavy seem to enjoy a kaleidoscopic array of sound. If you dig your music loud with a fine balance of sludgy and airy, “A Dracula” is an album that should certainly strike your dark fancy.

Words by: Erik Sugg

‘A Dracula’is available here

For more information:

Like: http://www.facebook.com/demonlungband

Valkyrie - 'Shadows' (Album Review)

Album Type: Full Length

Date Released: 19/5/2015

Label: Relapse Records

“Shadows” CD//DD//LP track listing:

1. Mountain Stomp
2. Golden Age
3. Temple
4. Shadow of Reality
5. Wintry Plains
6. Echoes (Of The Way We Lived)
7. Carry On

Valkyrie is:

Jake Adams | Guitars, vocals

Pete Adams | Guitars, vocals

Alan Fary | Bass

Warren Hawkins | Drums

Review

Anytime I hear of a buzz-worthy heavy band coming from my home state of Virginia, I immediately perk my ears up, wondering what area they’re from and what manner of heavy they’re laying down. When Valkyrie was first introduced to me some time ago, they were described as a “killer stoner rock band from Harrisonburg.” I found that interesting, being that Harrisonburg is a tiny college town nuzzled away in the mountains of the western part of the state, a town that was never really known for heavy music. The general flavor for the Harrisonburg I remembered was more Indie rock, college rock, and emo. Imagine my surprise when I discovered that a band like Valkyrie was calling this town their home. However, the more I thought about it, the more it made sense. A high altitude city under starry skies and well above sea level is the perfect backdrop for a band whose kingsnake grooves and volcanic riffing blast like the power of a supernova colliding against a mountainside.

That Valkyrie lineup has changed rather frequently since their 2002 inception. The rhythm section has ebbed and flowed throughout the years, (once it even featured doom metal titan, Gary Isom, on drums.) The current rhythm section features Warren Hawkins on drums and Alan Fary, of fellow mountain-dwelling riffsters, Earthling, on bass. However, the thing you can always count on are the band’s guitar-wielding brothers, Pete and Jake Adams, (one of whom also plays in some little band that you may have heard, called Baroness.) It takes about half a second’s worth of listening to hear that Valkyrie’s slick and tight guitar-driven heaviness is what makes the band shine. The group stands out from the countless others who travel this well-trodden path forged by the proto-heavy gods of yore. You’ll hear traces of ‘72-era Purple, early Thin Lizzy, and even lesser known acts like Dust, Morley Grey, and Toad. At the times the Adams brothers’ harmonies even sound like Dave Murray and Adrian Smith decided to slow things down, to a toke or two, and lay down some heavy grooves with a drummer like Bill Ward or Ian Paice. Besides, a stoner-style take on Maiden sounds like a surefire win, right? It is.

Valkyrie’s latest release for Relapse Records, “Shadows,” is a record that will surely keep the band headed on their skyward trajectory. It consists of seven strong tracks, all clocking in around five or six minutes, a fine balance of heaviness, introspection, and victorious “battle cry” moments. They may not have directly intended to write such anthemic tunes, but songs like “Golden Age” and “Shadow of Reality” practically beg for those “fist in the air” screams of triumph. It’s everything you love about your favorite stoner rock bands, but rather than relying solely on bluesy, Iommi-inspired riffs, these riffs are more modal and classical sounding, (not unlike master Blackmore.) The album opener, “Mountain Stomp,” has been making the rounds since its Internet teaser moment in early April. It wastes no time charging into a ‘70s inspired riff that could almost pass for Skynyrd, (that is if Skynyrd stopped praying to Jesus and set their sights towards more eldritch deities.) The production is crisp, loud, and punchy. You can even hear a vibraslap right before the vocals come in. Smart musicians know that production techniques such as these tend to be “Easter eggs” for music lovers. And that’s the main thing that struck me with “Shadows” upon my first listen. The sound is very inspired, well crafted, and it is evident that band’s time and energy has paid off into this stellar recording. The guitars scream, the vocals soar, the low end rumbles, and the grooves are unstoppable.

It’s always good to see a band with the vitality and staying power of Valkyrie. After 13 years and running, the group shows no signs of slowing down nor losing any of the magic that inspires them. “Shadows” will surely stand the test of time, and not just for the heavy music subculture. There’s a little something in this one for anyone and everyone who digs rocknroll.

Words: Erik Sugg

‘Shadows’ is available here

For more information:

Listen: https://thevalkyrierides.bandcamp.com/

Like: https://www.facebook.com/thevalkyrierides