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This is 'Liberation through Amplification.'
“Excerpts
From a Dread Liturgy” CD//DD//LP track listing:
1). A Drowning in Sunlight
2). An Apiarist
3). O Time Thy Pyramids – An Unfinished Nigthmare
4). A Repulsive Act Shrouded in Flesh
5). A Crown of Asphodels
The Review:
Portland's Drouth offer up five tracks of
black metal on this sharp and dark release. As noted in previous reviews, I'm
no afficianado of the black metal genre and my listening tends to be a little
restricted to the classics of 25+ years ago or to a couple of modern bands (Winterfylleth
in particular).
However,
I know a band I like when I hear it and I very much like this. Over the course
of five tracks and around forty minutes, Drouth delivery convincing blasts, darkness
and atmosphere. Have a listen to the opener “A Drowning in Sunlight” and see if you agree. For me, this is
straight ahead black metal with a few individualistic ingredients.
The
time changes are solid, the riffs are melodic in places and vicious in others,
vocally the band are almost similar to At The Gates, as opposed to other many black
metal vocalists, while the sound is not pro-toolsed beyond reason and stands as
a coherent capturing of the band's raw sound.
As
the album progresses, it's notably extreme and melodic by turn (like much black
metal, to my ears) and the brutality of “An
Apiarist” stands counterpoint to the cloying darkness of “O Time Thy Pyramids…” and so on.
By
the time the album finishes with the excellent “A Crown of Asphodels”, any listener will have made up their mind
about the band and the record. For me, this is good black metal done well- it
stands apart from much of the genre due to the professional manner of delivery
and utterly committed performances of the band members. If you are looking for
some black metal, this will do it for you.
Not many bands would attempt something so daring
and varied. Of course, not many bands are anywhere near as good as Lord Dying,
so try this one out and expand your taste. Excellent.
“Mysterium
Tremendum” CD//DD//LP track listing:
1. Envy The End
2. Tearing At The Fabric Of Consciousness
3. Nearing The End Of The Curling Worm
4. The End Of Experience
5. Exploring Inward
6. Severed Forever
7. Even The Darkness Went Away
8. Freed From The Pressures Of Time
9. Lacerated Psyche
10. Split From A World Within/Devoid Of Dreams/Death The Final Loneliness
11. Saying Goodbye To Physical Form
The Review:
Lord Dying are back and Portland's finest have not
run out of riffs and hunger just yet! The first thing that hit me when I
pressed play was the sound- thick, muscular, meaty and absolutely spot on for
this sludge/metal mash up. Sitting somewhere between Mastodon, High On Fire,Death Angel
and Jethro
Tull (!?) this record has a surprising amount of variation, not to
mention light and shade. “Envy The End”
will get your head banging at any volume, mind, and after that opening the
album has more twists and turns than a sidewinder.
The Doors-esque “Tearing at the Fabric of Consciousness” is just one of the
curve-balls here; it's dark and quiet and pretty different to what you might
find on the average sludge release. As the record progresses, the band runs the
gamut from quieter almost folky moments to thrash riffage and the heaviest of
sludge metal. The vocals are just as changeable- clean singing, more metal type
singing and screams/growls.
The
eleven tracks on offer clip by, being as the song lengths are pretty varied- no
formulaic writing here, so instead there is a real mixture of light and heavy.
The quiet loud dynamic has worked for the greatest metal bands you can name, so
Lord Dying
are onto something here. The life/death concept is a good one for the band to
explore and gives them latitude with the arrangements; lots of instrumental
sections and some pretty psychedelic sections throughout the album are welcome
additions to the Lord Dying's approach here.
As
a concept album, a track by track is a little pointless and would perhaps spoil
the experience for the listener as this is an album to be experienced as a
whole or at the very least in track list order. Suffice it to say that most
heavy music fans will find something they like here; it covers a lot of ground
and approaches (often even in one song) and ranges from the very pretty (“Freed From The Pressures of Time”) to
the whimsical to the more extreme metal you might have expected.
“Mysterium
Tremendum”
is a vast work and is not what I really expected at all- and is all the better
for it. Not many bands would attempt something so daring and varied. Of course,
not many bands are anywhere near as good as Lord Dying, so try this one out and
expand your taste. Excellent.
Whether cranking out a moldering dirge
like the introductory, instrumental “Descend into Dusk” or the chugging
progressions of “Hope’s Aspersion”, Shrine of the Serpent deliver the perfect mix
of nauseating terror so often characterized by the best death doom bands
“Entropic Disillusion” CD//DD track listing
1.
Descend into Dusk
2.
Hailing the Enshrined
3.
Hope’s Aspersion
4.
Desecrated Tomb
5.
Returning
6.
Epoch of Annihilation
7.
Rending the Psychic Void
The Review:
I
love the menacing crackle of lo-fi death metal in all its permutations:
classic, grind, blackened, death doom.There’s a muddy, horrific vein running through those crusty recordings
that instantly invoke twilight drives through swamps and decrepit woods,
all-night gore flick marathons, and seedy exploitation VHS rentals that just
sets my monster kid heart all aflutter.Combined with the gruesome, sometimes nauseating artwork that typifies
the genre (even the borderline incompetent shit), even the rawest demo tape can
turn me into an easy mark for bands who can thrash out a competent slab of
death.It helps when they manage to back
up their swagger with some real bona fides, and the trio behind Shrine of the
Serpent have some real chops on display, bolstered by haunting cover
artwork by Mariusz Lewandowski & Vladimir Chebakov.
Whether
cranking out a moldering dirge like the introductory, instrumental “Descend into Dusk”, or the chugging
progressions of “Hope’s Aspersion”, Shrine of the
Serpent has one unifying characteristic: VOLUME.The vibrating bass tones and the shrieking
crackle of guitar leads are fuzzy, dirty, and punishing.Often, this hits that perfect mix of
nauseating terror that characterizes the best death doom bands.Todd Janeczek’s inhuman growls are
multitracked and layered in several different registers, imbuing tracks like “Desecrated Tomb” with the sense that
there’s a whole host of ghoulish, unholy narrators.Chuck Watkins’ drum performance is that
subtle balance of technical skill and instinctual barbarism that the best death
drummers can pull off effortlessly.And
Adam De Prez’s multi-duty efforts are formidable, especially his unholy bass
tone.
Unfortunately,
there’s a lack of balance in the mix that quashes some stellar intricacy.The left channel in particular is just too
damn jacked into the red zone, so you get clipping on many of the guitar
tracks.And frankly the punishing volume
can be unpleasant and diminish moments like the volume shift in “Epoch of Annihilation” that should be
chilling but instead sounds strange.This volume escalation is an issue that plagued even the best death
metal bands, as well as modern superstars (Metallica and Rush have both fallen victim to
“volume wars” in recent years).For a
band so solid in every sense of the term – rhythmically, technically, and
vocally – a steadier touch at the mixing board next time may produce a genuine
masterpiece.For now, with “Entropic Disillusion”,
Shrine of
the Serpent embraces both the pinnacles, and pitfalls, that decades
of death metal have traversed, while showing promise for exciting work ahead.
"There’s a progressive element running through
this self-titled debut, but it’s not full on prog metal, and while there are
lurching, sludgy, doom inflected passages, the overall style skews closer to
black metal with strong melodic overtones.
“Lowered” DD//LP track listing
1. Semaphore
2. Unreal
3. Blame the Hunger for the Throat
4. Call of the Moon
The Review:
Describing hybrid metal genres may be the
ultimate cringe activity. Whenever
“gaze” or “blackened” or “symphonic” or “melodic” gets appended to some agreed
upon metal genre, all the trve kvlt tryhards come out to “WELL ACTUALLY” all
over the description (often throwing in a smattering of homophobic slurs). It’s the shallow, reddit redpill subculture
of modern metal, but there is a case for staking out new descriptions,
especially when black, groove, and death metal have been so amalgamated that
there are few “pure” modern examples that don’t consciously push for
“throwback” status.
There was a brief period where “Extreme Metal”
was slapped on bands as disparate as Cradle of Filth, Napalm Death,
Gojira, and Behemoth – I blame Kerrang and the other trashy UK metal mags of the era. Frankly it sounds a little too late 90s/early
2000s limited edition Mountain Dew flavor to me. I’ve heard the term “dark metal” bandied
about recently, and maybe that’s the best modifier for a group like Lowered. There’s a
progressive element running through their self-titled debut, but it’s not full
on prog metal, and while there are lurching, sludgy, doom inflected passages,
the overall style skews closer to black metal with strong melodic overtones. Regardless of how the album FITS into a
glutted field, there is no doubt that Lowered is one of those
rare genre mashup debuts that feels assured, distinct, and never gimmicky.
Opener “Semaphore”
rides on absolutely sickening low end bass tones sprawled across a doomy
soundscape – it had me thinking of Celtic Frost, until the
band slams into double time, chugging blackened rhythms. Vocalist Anna Vo is an expert metal screamer
– pushing her voice to extremes but remaining somewhat comprehensible. I could make out a good deal of the words
even without a lyric sheet, and that doesn’t diminish her inhuman
capacity. Most importantly, she shows
dynamic range on the record, pushing out low death growls and piercing screams
with aplomb. Nate McCleary, who handles
all guitars and basswork on the record, is a surprisingly virtuosic shredder,
and his brief forays into tech wizardry put a unique stamp on Lowered’s sound that never feels forced.
Drummer Ian Makau owns the second track, “Unreal”, sprinting through marathon
blast beats and throwing in little rhythmic twists that show true mastery of
the kit. The tribal shift in the
mid-song bridge is a stroke of genius, while the doom coda is
soul-crushing. “Blame the Hunger for the Throat” is a slab of blackened death that
continues to pummel, and is only slightly less interesting than the other
tracks on the record. Vo’s delivery is
the best feature of the song – it’s a truly gut-wrenching performance.
“Call of the Moon” is
the apotheosis of Lowered’s capacities. McCleary’s eastern-tinged open guitar chords
and shrill riffs are hypnotic, especially over Makau’s militaristic
pounding. There's a particular beauty in
the guitar dynamics on this track, with soaring harmonies and deft solo
work. The abruptly sludgy bridge is a
great twist on the tightly controlled black metal precision, especially as the
track moves toward a stirring crescendo.
The broken-sounding coda seemed like overkill at first, but with
subsequent listens I’ve found it especially stirring. Lowered achieves a rare
feat for most groups who never write tracks below the 6 minute mark: they had
me clamoring for more. I hope this debut
carries them toward further output, further experimentation, and greater exposure
– they’ve certainly earned it.
Inspired by acts like Seven Sisters of
Sleep, His Hero Is Gone, Torch Runner, and Coalesce, Year of The Coyote is a 3-piece DIY outfit from Portland,
OR making music that's as visceral and grinding as it is lurching and
rhythmic. On Feb 16th the band are set to release their debut
album “Siege” and today you can check
out the track “State of Nature”
below.
I don't expect it to usurp the likes
of “Born Too Late” or Pentagram “Relentless” in my list of best all time doom
albums, but if you want a modern doom rock album with lots of attitude and
overdrive, then this is one you should check out.
“Street Reaper “CD//DD//LP
track listing:
1). Unmarked Grave
2). Street Reaper
3). Mother Road
4). The Dark
5). The Other Side
6). Shadows Fool
7). Brimstone
8). The Cross
9). The Casket
10). Die in Vain
The Review:
Portland's
R.I.P. unleashed their debut on an unsuspecting public back
in 2016. Since then, the press seem to have latched on to the quartet's “street
doom” label as something new in the doom sphere. Truthfully, it is not. Street
doom is as old as Saint Vitus and The Obsessed... maybe even as old as Sabbath!
Any doom head knows the difference- fantasy vs reality, heroes vs heroin and so
on. Regardless of what genre tag has
been ascribed, “In The Wind” was an
enjoyable slice of Saint Vitus meeting Fu Manchu. With “Street
Reaper”, the band have progressed their sound on by focussing it and
tightening up the arrangements.
The
one minor criticism I levelled at their debut was that it was a little on the
long side. Well, the ten tracks here have solved that problem and the band have
really delivered a muscular set of songs. Once again, the influences are there:
Pentagram, The Stooges, Saint Vitus, Sabbath... and the
aforementioned Fu Manchu. The spectre of the Californian
state looms large in the sound and vibe, and gives the band a little something
extra, a little uniqueness. A little of the desert and a little of the imagery
shown on the album cover- four hirsute dudes rolling in a low-rider. It is
clear that these guys are not from Barnsley, that's for sure!
The
music is direct and punchy, featuring over-driven bass and fuzzed up guitars
again. The riffs are simple and groovy and this really does have the feel of
street level music. From the opening chug of “Unmarked Grave”, through the title track and beyond; this will get
your head nodding. As noted first time around, it is great to hear a band with
a singer and actual riffs. This isn't about playing really slow or being
massively heavy but is instead more about the vibe and the flow of the record.
There are nods to the gods via instrumental interludes like “The Cross”, grooving slabs of riffage
such as “Shadows Folds” and even
some more melodic playing here and there (the intro of “The Dark”, for instance, and the closing “Die in Vain”).
The
wheel is not being reinvented here, but that isn't the point. R.I.P. bring a slightly more youthful swagger to the game-
it's welcome as most of the really big players are knocking on a bit now, to say the least. By the time of the
seventh track “The Casket”, you will
have made up your mind about the album. Personally, I like it. I don't expect
it to usurp the likes of “Born Too Late”
or Pentagram “Relentless” in my list of best all time doom albums, but if you
want a modern doom rock album with lots of attitude and overdrive, then this is
one you should check out.
With
the last three tracks clocking in at around four and a half minutes apiece, the
band close the show consistently, albeit using different tempos and approaches
as they go- relatively up tempo, slower dinosaur riffing and melodic-
respectively. The yowling vocals are more Reagers
than Wino, the sound is never less
or more than over-driven and fuzzy and the whole thing works well. It is an
improvement on their debut and sets the band up very well for album number
three and a possible rise through the ranks of doom. When are they coming to
the UK?!
The
guitars are thoroughly dissonant and murky, the bass is husky and drums
voluminous. Then there are the vocals, which feel like they're being delivered
with the sort of urgency of someone trapped at the bottom of a deep well. The
whole composition of the record is just magnificent for doom fans.
“Portals into Futility” CD//DD//LP track listing
1.
Eidolons and the Increate
2.
Lathe of Heaven
3.
Demon Haunted World
4.
Pyrrhic Victory
5.
A Crown of Desolation
The Review:
Portland's
Usnea is known and loved for a few things. These include
its unique doom metal sound, ambitious concepts and sprawling music. Its 2014
four-song recording, "Random Cosmic
Violence," clocked in at about an hour. Its self-titled 2013 debut
contained two tracks on vinyl, with download code for two songs comprising 25
more minutes. And although the genre is rather renowned for its density, with "Portals into Futility"
ticking in at just under an hour, Usnea demonstrates aptitude
for music with a rare depth.
After
its release, there were murmurs that "Random
Cosmic Violence" did not deliver the oomph of Usnea's debut.
Some of that clatter could well be chalked up to what follows promising acts that
go from independent labels to big independents like Relapse.
Critics pointed to a wilder vocal style in the debut sliding into a
two-vocalist approach that could be seen as formulaic at turns. Exciting
moments there were, but subtle questions amped up some of the tension.
"Portals
into Futility" is a solid return to form for a
young band widely expected to do great things. There are also hints of
maturation for its songsmithing. Along with the longer tracks – two songs
compose about half the playing time here – that allow this imaginative group some
musical space and are cuts that seem
indicative of a crew that is open to test itself and the genre itself. Such
courage is rather exhilarating, and makes for quite a frenzied trip.
Usnea's return starts with "Eidolons and the Increate,"
for which there is likely a fantastic backstory or other mythology. Heavy of
the sludge, you may also notice some post-punk and funeral doom influences
herein. Joel Williams and Justin Cory are back on vocal duties,
and they seem far sharper this time around. They manage to keep the opener – at
12 minutes in length, you might ponder the wisdom of this kind of beginning –
very dynamic. Usnea's bass and drums are a stand out early
too. Credit the tight arrangement and what seems to be an evolution of Usnea's performance. Such advancement is to be expected for
a group that sticks together after a few years. You similarly hear this
progression in this next track, "Lathe
of Heaven," a compact song that is a good example of why many have
seen so much potential in Usnea. From a relaxed
build with an almost Americana or desert vibe, Usnea
plunges you into a far less hospitable place just before the three-minute mark.
The guitars are thoroughly dissonant and murky, the bass is husky and drums voluminous.
Then there are the vocals, which feel like they're being delivered with the
sort of urgency of someone trapped at the bottom of a deep well. The whole
composition is just magnificent for doom fans.
The
terror continues with "Demon
Haunted World" then to "Pyrrhic
Victory," where the vocals alternate between Williams and Cory. If
you enjoyed them together on "Random
Cosmic Violence," you will most assuredly find their work on the
latest leaps and bounds better. The vocal pairing feels more clearly formed and
executed on the latest. If you did not love it last time, you may well be won
over by Usnea's growth. The production on "Portals of Futility" is
flawless across the board, and lyrically and vocally there is no exception.
This is top-shelf doom metal sure to excite fans.
The
album's closing, "A Crown of
Desolation," is arguably the best, and the most perplexing, cut. The
folk-flecked chords hurl the listener headlong into a thick wall of guitar. As
noted, Usnea is not afraid to test itself, and this
song breaks away from its characteristic vocals to offer ghostly choruses and
ultraheavy bass lines that press hard on your mind. Over the track's 19-plus
minutes, you will catch the aforementioned folk chords and choruses again, and
more of what makes the quartet so good, and a few departures from what you've
heard throughout. Finishing with a standard doom track with slow guitars and howling
vocals might have been a perfectly satisfying way to wrap. Instead you get a
song befitting its place at the conclusion of the recording.
There is so much to enjoy about the new Atriarch release. You have heavier cuts like "Dead" and "Devolver" to mix among the more pensive songs. The songwriting is superior. And, best of all, you have a talented group back for a release that is sure to remind you why you enjoyed its brutal sound when they debuted.
“Dead As Truth” CD//DD//LP track listing
1.
Inferno
2.
Dead
3.
Devolver
4.
Void
5.
Repent
6.
Hopeless
The Review:
Atriarch are one of those bands that
cuts across a ton of subgenres. For many outfits, that can go lots of ways, for
better or worse. There are more than a few examples of times this does not
work. Too many metal performers trying to be too much to too many people, and
it can be exasperating. Similarly, in this Portland-based group, you can hear
hard rock, gothic, post-punk, black metal and doom, but it is altogether better
than all that sounds.
On
their fourth full-length recording, "Dead
As Truth," Atriarch does so
famously because its members build upon a series of well-received releases with
a sound that, for all it is advertised as, does the core parts so remarkably.
Atriarch bills itself as classic death
rock, but there is a good chance you will hear tinges of old-school death metal
here. From haunting singing to touches of dirge and, in truth, a lot of heavy,
sludgy guitar, you will catch the screams of some of death metal's originators
in Atriarch's blast. Instead of the screeching,
indecipherable C-list material you can find anywhere, though, Atriarch paints some ghastly images without the nonsensical
bombast. "Dead As Truth"
continues the growth of the group's sound and, in many ways, makes it far more
intimidating because it is more cerebral than most.
Fans
of the band's past recordings may believe this new package sounds toned down
compared to past collections. Such an observation is largely true, but rather
than chill, this one feels like a more sophisticated entry. The restraint you
hear from the opener, "Inferno,"
to the closer, "Hopeless,"
is used to support savage storytelling. "Void"
taps a similar lyrical delivery, until it unleashes the full bore of anguish on
the listener.
There
is so much to enjoy about the new Atriarch release. You
have heavier cuts like "Dead"
and "Devolver" to mix
among the more pensive songs. The songwriting is superior. And, best of all,
you have a talented group back for a release that is sure to remind you why you
enjoyed its brutal sound when they debuted.
Imagine
a combination of Yob’s epic psychedelic doom and Sumac’s post-metal infused
noise rock and you get an idea of the crushing cacophony the band conjure up
here. “Ectopic” is a huge final statement from Mursa
that demonstrates they had the power to go toe-to-toe with the worlds doom elite.
“Ectopic”
DD track listing:
1). Ectopic
2). Crass Life
3). The Worming,
Pt. II
The Review:
Portland heavyweights Mursahave already passed on to
riff Valhalla ahead of the release of their new album “Ectopic”. It is fortunate they managed to commit these final
tracks to tape before their demise but it is a tragedy they will not be able to
capitalise on their impact on the heavy underground.
The bulk of “Ectopic” is
taken up by the monstrous twenty minute title track. In between the sweetly
ominous opening chords and the squall of white noise that brings proceedings to
a close, Mursaembark on a compelling journey through a warped riffscape.
Imagine a combination of Yob’sepic psychedelic doom and Sumac’spost-metal
infused noise rock and you get an idea of the crushing cacophony the band
conjure up here. Vocals are deployed sparingly to great effect but for the most
part Mursalet the riffs do the talking, either in the form of sweeping
slow-motion doom or relentless, razor-edged locked grooves. As the track
reaches its climax, the band hone in on one particularly punishing riff and
ride it for all it’s worth, grinding the tempo slower and slower as waves of
harsh static engulf everything in their wake.
“Crass Life” is a brief
acoustic interlude that allows the dust to settle before Mursalaunch into the “The Worming, Pt. II”. The majority of
the track finds the band focused on the doomier end of the spectrum to create
an atmospheric world of lumbering riffs and dark melody. Events take a left
turn when an icy blast of feral black metal shatters the mood and leads into an
intense pummelling finale.
“Ectopic” is a huge
final statement from Mursathat demonstrates they had
the power to go toe-to-toe with the worlds doom elite. This release is
currently available as a name your price download on bandcamp so let this slab
of otherworldly heaviness into your world right now.
I had first heard of Holy Grove
from watching a Hoverfest
video. Right off the bat I was hit with a smile as if Heart had teamed up with Mountain,
vocals of a muse, guitars straddling the fuzz course of perfection and a rhythm
section that locked in like a 747 on a mission to get to the Lowell George
inspired Spanish Room.
The key is to watch and listen as
the fun the four piece has is so utterly infectious that you feel good while it
takes a hold of your hips and makes you perform a tasty yet nasty dip into the
world of whimsical groove.
Just because music is loud and
heavy, does not mean that it doesn’t
mirror a play book in which stories have yet to be unfolded, or personify music
from an honest perspective relayed by musicians in it for the stillness only a
locked in, sights on, missile of a tune can bring. Look for this in pop music,
oh I am sorry, it is not present as you must have a soul to reach out and
conquer what could be ailing the mind of a troubled chanteuse or a passenger in
this turbulent game called life.
Holy Grove are sincere and
genuine musicians that met, rehearsed and grew a magnificent bond that will not
let their circle be broken.
Sit back and enjoy my chat with
Gregg and Andrea.
Gaff)
First of all thank you guys so much for taking the time and speaking.
Both)
Thank you
Gaff)
How did you guys first meet?
Andrea)
it was funny because all of us at the same time were looking to start a band
separately. I wound up hooking up with Gregg as he was jammimg with our
original guitar player and drummer, and I met up with them as they hadn’t found
a singer yet, they had only been jamming for a couple weeks, and then we met Trent about what, a year
later? Trent was looking too, as he was in a
band in Portland
and was looking for something different and yeah. So we all kind of got
together and the timing was right for all of us. It just seemed like we were
all searching for something and we just found each other.
Gaff)
Had you guys been in this genre of music or playing different styles?
Gregg)
I think we were all sort of, this was the kind of music that we live and
breathe. All of my previous bands, I have been playing music and in bands for
25 years and it has all basically been heavier stuff with slight variations but
always sort of heavier stuff coming from Black Sabbath, Led Zeppelin, Deep Purple
sort of stand point.
Gaff)
Same thing for you Andrea?
Andrea)
this is my first band. I would say that my voice has always blended itself,
like I always listened to heavier music and people that had strong voices. Tina Turner
is a really strong inspiration for me. I grew up singing along with records but
left the actual being in a band for other people. Until I decided to not have
that be my life.
Gaff)
Before forming, had you all known each other?
Andrea)
No we hadn’t.
Gregg)
We were 4 strangers.
Gaff)
So you meet and now how long has the band been together?
Gregg)
We played our first show in June of 2012. We started jamming together very late
2011 early 2012.
Gaff)
And has it been or from the music and videos I have seen, it appears to be a
really natural succession with you all.
Gregg)
Absolutely, it has never been a discussion about what we wanted the band to
sound like, it was just a natural collaboration between us that it just sort
of, it really wasn’t a lot of thought, we just knew what we wanted to sound
like. You know, it was a real natural feeling. One of the most natural feeling
bands I have been in. You don’t have to have those discussions about, “is
this the riff we wanna save or is this a riff we are going to ditch?”
Everyone was just on the same page from the get go.
Gaff)
It tends to be a much more smiling band when that happens.
Gregg
and Andrea) Yes
Gaff)
So I take it this is a pretty egoless band?
Andrea)
Thankfully.
Gregg)
I mean we are all, it is one of the few bands I have been in where I didn’t
want to kill someone who is also in the band with me. I feel very lucky that we
all hang out outside of the band, everyone is cool with each other. We enjoy
each other’s company; there are no sets of egos and bullshit.
Gaff)
Instead of being married to one person, you are married to 3 or 4. So it is
great that you guys are able to have that camaraderie. So, how about the
recording process. Are there primary writers, how did you end up in the studio,
talk to me about that.
Gregg)
So like I said we started in early 2012 and kind
of spent the first 6 months of the band coming up with a set and a lot of what
you hear on the record is stuff that I had had for a long time and was waiting
for the right band to bring it too. Then when I met Trent and he was
immediately on the same page and he was a really good asset to flush out the
songs and the we played live and played the songs out for just about a year and
around that time is when we met Billy through some mutual friends and obviously
when you meet Billy Anderson and he says he is into recording your band there
is not really any other choice to go with.
You know, it is all sort of
serendipitous that he moved up to Portland
the time we wanted to record and we met him at a show and everything seemed to
happen from there. So we spent quite a while on the record just due to
conflicting schedules and being a completely self- financed band we would pay
for a chunk of studio time and then I would go back to work, for 2 weeks and
then pay for another chunk of studio time. I am sure you know how that goes. We
really took our time on exactly getting what we wanted out of the record. We were
not under any pressure to get it out so, and we all had really wanted to make a
record that we all had been wanting to make for a while.
Gaff)
Was the studio aspect relaxed? Some bands can get tight in there. Are you guys
a band that likes the studio and live aspect?
Andrea)
I think that, as far as being tense, there really wasn’t part of that element
there, and I attribute a lot of that too working with Billy. Initially I think
we were all fan boys of Billy and could get a little nervous around him and he
was really good at disarming us and making us feel comfortable, not feeling
like we couldn’t do another take, he really encouraged us to try and do some
different things. This record, we really wanted to make a studio record. I mean
we recorded it in a really beautiful studio in Portland called Type Foundry studio. It had a
huge room with high ceilings and I was able to do a lot of my vocals with Billy
at his home studio. The live element is there but probably not as much as if
you had seen us live.
Gaff)
You can tell when something, I don’t want to stay fake but it is kind of thrown
together. The tracks I have heard, it has a nice seemless feel. Well it is one
of those records where the bass groove is so fucking tight, drums are great and
the guitars are so nice, it is almost like feathering a bed for the vocals. So
I think your band has 4 really spectacular parts and through the recording you
can definitely hear that, as it is a nice blend of the parts as equals, not
heavy in one instrument. Did you guys have a big part in the mixing?
Gregg) For sure, that was one of the
best parts. I love playing live and that is the best part of being in a band is
the live part for sure and I love going to see bands, I see as many shows as I
can. I love the studio too and to be in the studio with a knowledgeable
engineer and have him mix your record and sit there and hear it come together
was fucking awesome.
Gaff)
You know, I think sometimes you forget it is you when you are listening.
Gregg)
And then when you hear the whole, all the pieces come together and you hear the
mix come out of the speakers it’s like, “Oh Shit”?.
Andrea)
We were there through the whole mixing process with Billy. When we were
finished or when he was finished and we were able to just listen to the record
as a whole, it was a big experience for us. His ability to mix a record the way
he does it is truly an art you know.
Gaff)
Like I said, the end result is happening
Andrea)
Thanks. I mean I will tend to over think things and he really encouraged if
ever my voice would crack a little bit he wanted it to sound like there was a
person behind the voice. Not something lifeless.
Gaff)
Yea, I mean you can listen to pop music if you want to hear that shit.
Greg
and Andrea) Right
Gaff)
Andrea, do you right all the lyrics?
Andrea)
Yes I do,
Gaff)
Are you someone that writes on the spot or from an emotional stand point?
Andrea) I think in rock n roll we
all take out of the same pot for certain themes. I am not doing anything that
original in writing about fantasy, folklore and mythology. I definitely add a
story telling perspective. I think that telling a story is really important. I
tend not to speak from my own perspective, but I might sing from the
perspective of which the story is about. I try to stay away from being too
literal I guess.
Gregg)
The melodies will come really fast, and then she will go home and bring back
these amazing set of lyrics that fill the space with melody that was already in
place.
Andrea) I think there is a definite,
I mean I am more of a blues singer you know, I can sing on the top and if
something sounds catchy I will stick with it, you know.
Gaff)
The vocals are slamming. There are a lot of albums in which the vocals get
overlooked and for me, there is groove but the vocals are so powerful, they
kind of hit you in the chest in a spectacular way.
Gregg)
Speaking for myself, like having played in bands for song long where the vocals
were totally an after thought. It is very hard to find a singer of Andrea’s
caliber. I have been in the studio with bands where the singer is scribbling
down lyrics in the vocal booth. To have someone that is an amazing singer but
also putting in thought to the lyrics and the melody is a pretty new experience
for me. It’s been totally nice to have that as part of this band and that was
something that we all set out for before we met Andrea. We thought it would be
a total uphill battle and we were not going to settle for a screamer or someone
that wasn’t totally dedicated to their craft.
Gaff)
Was there a point in the studio when you guys were like, here we go? This is
fucking spectacular?
Andrea)
For me it was putting harmonies to the songs. I never had that but harmonizing
with myself was pretty great.
Gregg)
Second day in the studio we had recorded most of the bass tracks. The drums and
bass are all live and then we built on top of that. Usually the first or second
take we used on drums and bass. Then we started building up the songs a little
bit. When we knew that we only had a certain amount of time at the actual
studio and then at Billy’s for overdubs. He had Andrea lay down a bunch of
scratch vocals and I remember standing in the control room and hearing the
playback of the music for the first time but also listening to her lay down
scratch vocal tracks, I was like “Holy shit, this is sort of what I have
hoping to do and accomplish since I started playing music”.
Gaff)
That voice in your head starts to smile.
Gregg)
Absolutely, absolutely.
Andrea)
Also, the reverse cymbal; that was a fun moment.
Gaff)
You gotta let the drummer get some
Gregg and Andrea) Right
Gaff)
Yeah, if you are going to go into a studio, why the fuck not use it as a
studio?
Gregg)
That was sort of our approach. We are going into the studio, let’s do what we
want. Keep a live element to it, not make it sound too “Sgt. Peppers”, but if we want to overdub a guitar part or vocal
harmonies, then why not do it?
Gaff)
Especially if you have a singer that can do it, why cheat yourself
Gregg)
Right, if you put in the right amount of energy live, an audience isn’t going
to expect you to pull it off live.
Andrea)
3 of those songs have been previously released in different forms, Live at
Jr’s. We didn’t intentionally try and do something different, but if you listen
to the album and the video or live, you enjoy the songs for what they are.
Gaff)
It is when you can pull it off live and in the studio is when you know
something is happening.
Gregg)
Right, especially when a band performs the album live note for note, why don’t
I just stay home and listen to the record.
Gaff)
I’d rather stay home and listen to Steely Dan
if it is going to sound just like the album, fuck it.So
Billy recorded and mixed the album, who mastered it?
Gregg)
Justin Weiss, out of Track Works in San Fran. He is Billy’s
mastering guy and does all his albums. Billy said this is who you should go too
as he understands how I record, the low end and that is who you should have
master the album. So we took his word for it.
Gaff)
So it sounds like the whole process was nice and easy?
Gregg) I feel like it was pretty easy. Billy is a
busy dude so it was just trying to find holes in schedules to get it done.
Also, saving up enough cash to pay for it.
Gaff)
Talk to me about the Portland scene and the emergence of really amazing female vocalists.
Andrea)
There has always been an incredible scene in Portland but people are more
tuning into heavier music. I do think that Witch Mountain had a huge part in bringing
female vocals fronting a rock n roll band to the forefront. Christian
Mistress is another.
Gregg)
It is weird how there does seem to be a strong contingent of woman who are
involved in heavy music, people tend to move here for their art so it reached
that peek where it became possible to do that thing and become more of the
norm.
Gaff)
For me it is so nice to hear a heavy band with melodic vocals
Andrea)
It is so important and not to just have a good singer but a good drummer. If
you have a band that has everyone firing at all cylinders at once and working
really hard to play the best then it will show.
Gaff)
So plans now to tour on the album?
Gregg)
Not a full US tour but up and down the coast and into Colorado and Nevada and
then Psycho
in August.
Gaff)
What night you playing?
Gregg)
Friday night
Gaff)
So are we (Gozu).
Gregg)
I can’t wait for that, it is going to be crazy
Andrea) Yes it is
Gaff)
The only word I can come up with is interesting
regarding that weekend.
Gregg
and Andrea) That’s a good way to describe it
Gaff)
So in September, Europe, will this be your first time?
Gregg)
Yes
Gaff)
How did u hook up with Heavy Psych and the
fact that Gabe also books tours, did that come into play?
Andrea)
Totally
Gregg)
For sure. When we finished the album and started shopping it. Gabe let us know
that he also booked tours in Europe and threw it on the table right away. So
that was a deciding factor for us because we all wanted to do it and it made
sense.
Gaff)
So everything is going great
Andrea) We are committed to seeing this through. This
is our band for as long as we are together. This is so important to us. We
didn’t set out to get signed or go to Europe. These things, like you said about
the record coming natural, this is also just a natural progression for the
group. We are not foolish enough to say no, this is the dream you know.
Gaff)
The dream is going pretty well.
Andrea)
Thankfully you know
Gregg)
We just wanted to write some songs and play some shows and then to have these
other things, Europe, Psycho, it is all gravy and we are just happy
to take every opportunity to play.
Andrea)
I just wanted to sing more.
Gaff)
The natural progression is nice. Start on a Monday night, then asked to play a
Thursday, a Saturday night, then you get 3 free Miller Hi Life’s, fuck it, you
made it,
Gregg)
Throw in a couple free tacos, yes.
Gaff)
I have to ask as people love gear, so what are you playing?
Gregg)
A Rickenbacker
and the same SVT
that I had since I started playing bass in the mid 90’s. It has never failed me
and I have never felt the need to go anywhere else. So the SVT, 8-10 and a few pedals.
Gaff)
What are you using for pedals?
Gregg)
I have an Old
God pedal which is something that Billy turned me onto. It was a
pedal a fan made for Billy. We used it on the bass tracking and ordered one. It
is a guitar fuzz pedal but translates great to bass as you don’t lose any low
end. I also use a wah pedal. Trent has
an old Marshall
Super bass head. I think it’s one of the best sounding guitar heads
out there. He also uses an Orange head also. He is constantly changing
pedals also quite a bit. He is a great tone chaser. Also, plays an SG.
Andrea)
We are lucky that Portland has a few pedal makers here. Mr Black, a store named
Old Town Music, amazing pedals there.
Gaff)
Right on. So we talked about a ton, who
came up with the name?
Gregg)
It was one of those things as we had been looking for a name forever and once
we knew we had something good going we kept asking what should we call
ourselves. I remember sitting after practice and everyone was rattling off
names and once Holy
Grove came up, boom there it was. Everyone agreed right away. It
just sounded perfect.
Gaff)
It definitely generates the vibe of the group.
Andrea)
We talked to our friend Nate, drummer in Witch Mountain and he was like, great name,
you can read it, spell it, say it and looks good on a poster. I know the thing
that we intentionally tried to steer clear away from was having the name
somehow cue in that there was a chick in the band. We didn’t want to be
pigeonholed in anyway. We wanted it to represent the individuals in the group.
Gaff)
Yeah, you didn’t call yourselves, Josie and the
Pussycats.
Andrea)
Yeah, “Andrea and her rotating cast of
characters”.
Gregg)
“Andrea
and the dudes” that was the closest.
Gaff)
So a lot of great stuff is happening. What makes you the happiest? Is it the
friendships in the band, the high you get from playing or the fun you get from
playing.
Gregg)
For me it is when you are in the practice room and the first time you play the
song through and it just clicks. The live show is something we all put a lot of
emphasis on and we really try our best to leave it all on stage and bring it.
Then the studio, capturing what you have been working on so hard. Also, my 3
best pals are the members of the band so it has been really rewarding for me.
Gaff)
Andrea
Andrea)
One of the best things since singing with Holy Grove is truly the relationship with my
band mates. The months we spent hammering away at the songs are some of the
best times of my life. Despite how sweaty, hot it gets there is no place I
would rather be than with these dudes fleshing out these songs. When we lock in
with each other’s rhythm it is unreal. To be able to
experience the power of music is amazing. Also playing the live show, I am on
stage and present but not really because it is like an outer body experience
for me. Coming down from that high is intense. The fact that we spend all this
time writing this music and we get it to a point where we want to play it for
others and to have a stage to perform on is still, I am awestruck, I am seeing
things for the first time and playing live shows in which people want to see us
play live will never get old.
Gaff)
Music is the only place where you can be yourself and there are no masks needed
to be worn on stage. It is its our own pharmaceutical company. The first note,
first pedal step, everything else is a wash. Thank you guys so much for taking
the time and I will see you in Vegas.
Gregg)
Thank you so much.
Andrea)
Thanks Marc
Well after speaking with Andrea and
Gregg, my opinion of them has catapulted higher than before our conversation.
Hearing them discuss the enjoyment of the crafting of tunes, to the live
performance, to the sincerity of the studio, how can you not root for this band.
I know it is not cool to praise people these days or to say you truly enjoy
what they do. Well to the people that still believe that, you can pick up your
Jonas Brothers tickets at Wil Call.
Music, when created out of trust,
desire and a spiritual goodness, should be placed in a spot where it can shine
and be heard by the masses. That such place shall be Holy and in a pasture of
goodness, a Holy
Grove.
