ALBUM REVIEW: R.I.P., "Dead End"

By: Richard Maw

Album Type: Full Length

Date Released: 09/10/2020

Label: Riding Easy Records

“Dead End” CD//DD//LP track listing:

1. Streets of Death

2. Judgement Night

3. Dead End

4. Nightmare

5. One Foot In The Grave

6. Death Is Coming

7. Moment of Silence

8. Buried Alive

9. Out of Time

10. Dead Of The Night

The Review:

One of the most exciting and original doom bands to emerge in the last few years, R.I.P. Have really knocked it out of the park on this one. The intro is more akin to a Wu-Tang Clan album and when the track “Judgement Night” kicks in... it's obvious that the band mean business. “Dead End” is their best album yet. Why? Read on...

Their debut, “In The Wind”, was cool- great artwork, some good songs and excellent song titles. Their sophomore, “Street Reaper”, is a record I have played a fair bit over the last couple of years- it had a grimy street vibe, encapsulated by the front cover photo. Very cool, very American- and quite different thematically to most doom out there. “Dead End” is a meaner and nastier proposition than both.

Whether this is in the doom sphere is very much open to debate. The opening few tracks here are pretty fast and furious. There is precedent for this in the genre (Hallows Victim!) but it's pretty unusual. This sounds as much like frantic street punk or even proto-metal as it does like doom. “One Foot In The Grave” is pacey and full of attitude- it's fantastic in the same way The Stooges were.

There is a cowbell on “Death Is Coming” (bonus points achieved) to match a seriously killer vibe. The fact is, this is cool- it's not wizards and warriors, it's retro films and black leather- worn in a climate that is really too hot for it. The record is focused without being samey (thus outstripping the debut) and varies tempos to good effect. This never creeps into endless two chord drudgery at a snail's pace, instead opting for mid tempo or faster most of the way. It's a master stroke as that sets the band apart from 90% of the 'doom' competition immediately.

Importantly, there are good hooks here; the title track is really catchy and you'll find yourself singing the chorus to yourself, along with a few of the other tracks. Naturally, there is a creepy instrumental in the form of “Buried Alive” to match the excellent “Streets of Death” intro and then the album signs off in some style with two tracks blasting out from the crypt.

The riffs on “Out of Time” and elsewhere are straightforward and all the better for it. There is as much of the MC5 as there is Saint Vitus, but, crucially, the band is its own entity. In an ocean of Sabbath/Vitus/TGOS/Electric Wizard clones, R.I.P. don't really sound like any of them- even if there are aspects of any band mentioned in this review to be found. By the time they sign off with “Dead Of The Night”, you should be convinced. This is different, pretty daring and definitely one of best albums of the year in the doom/stoner sphere.  Come to the dark side.  You won’t regret it.  

“Dead End” is available HERE

Band info: Facebook || Bandcamp || Instagram

ALBUM REVIEW: R.I.P. - "Street Reaper"

By: Richard Maw

Album Type: Full Length

Date Released: 13/10/2017

Label: Riding Easy Records

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?!

“Street Reaper” is available here

Band info:  Facebook ||Instagram || Bandcamp

ALBUM REVIEW: Monolord - "Rust"

By: Ernesto Aguilar

Album Type: Full-length

Date Released: 27/09/2017

Label: Riding Easy Records

Monolord hits all the superlative notes when it comes to doom and the album's closing tracks, "Forgotten Lands" and "At Niceae," are as close to perfect as you can get.

"Rust" CD//DD//LP track listing

1. Where Death Meets The Sea

2. Dear Lucifer

3. Rust

4. Wormland

5. Forgotten Lands

6. At Niceae

The Review:

Doom and sludge metal both have a handful of performers who can create a truly melodic listening experience. Not a melodic, pop-music-style sort of atmosphere ala Ghost, but rather sounds that are faithful to the subgenres while injecting the kind of talent that reminds you there is so much more to doom mastery than dropping the sixth string down to decent B flat.

Hailing from Gothenburg, Swedish doom metal group Monolord formed in 2013, and its members have set a frankly frenetic schedule, dropping three full lengths and an EP, including the 2014 debut, "Empress Rising." That amount of output is quite unusual, let alone delivering content that has been as well received as Monolord has since it began. The big question is, can the team's newest, "Rust," develop the music while giving its base what it loves?

Monolord hits all the superlative notes when it comes to doom, though the group knows how to plant a strong post as far as different music too. On the opener "Where Death Meets The Sea" the trio strikes a brisker pace than one might expect from a sludgy bassline. Regardless, the track is incredibly satisfying – it's tight, the vocals are exceptional, with a touch of wash-out though audible and story-based, and the mood is thick with dread. The track progression is also superior, as it is followed by "Dear Lucifer," which flows well out of the opener's assiduous pace, matching it until it evolves into an ultra heavy entry befitting the vocal. On the strength of this pairing, Monolord will get a dozen positive comparisons. Likely the best you can say is that more acts are going to be compared to this band before too long.

Monolord's chemistry is palatable. Singer Thomas Jäger deserves a lot of praise for his work. Drummer Esben Willems and Mika Häkki on bass ratchet up the tension throughout "Rust" as well. There are also some creative additions – the strings in "Wormland" or the title track's organ and effects – that are brilliant touches.

In addition, what makes the new release so satisfying is how well Monolord grasp sterling arrangement. That sounds rather technical, but frankly you know an atrocious song by how weakly it is structured. This album's closing tracks, "Forgotten Lands" and "At Niceae," is as close to perfect as you can get. At 15 minutes plus, it is a cut with quite a build. However, the instrumentation by Monolord, the song's pacing and lyrics are presented in a way that keeps you listening, over and over.

"Rust" available to preorder/buy here

Band info: bandcamp || facebook

ALBUM REVIEW: Holy Serpent - "Temples"

By Theron Moore

Album Type: Full Length
Date Released: 30/09/2016
Label: Riding Easy Records

All in all, “Temples” is a great record.  Holy Serpent nailed it.  The songs are well crafted, well-structured, the vocals are right on and the music is perfect parts psych, doom, sludge and out right heaviness.  Don’t hesitate, buy “Temples” immediately.

“Temples” CD//DD//LP track listing:

1. Purification By Fire
2. Bury Me Standing
3. Toward The Sands
4. The Black Stone
5. Sativan Harvest

The Review:

The snake is writhing; the storm is brewing from beginning to end with “Temples.” Clocking in at 43:19 seconds, Holy Serpent delivers five songs the way music was meant to sound – heavy, psychedelic, fuzzed out sludge. And the Serpent, on this their second record, have seemingly perfected their sound.  I point this out because it usually takes most bands several records, maybe three or four, to truly dig deep within themselves and pinpoint their musical identity and really work that out on a sonic level.  Holy Serpent managed to do just that right here. 

The band is re-inventing the wheel with this record, they’re making said wheel much more efficient and effective.  Its better parts Cathedral and Sleep, fused together, performed as only Holy Serpent can.  The bass and guitars drive this record.  Heavy wah-wah, down tuned, low end, that dance and play around a wall of distortion, mapping song routes and musical direction for singer Scott Penberthy’s hypnotic, almost dream-like vocals that define and carry each song.  “Temples” isn’t doom or sludge for the sake of such.  The songs are well done, well structured, that speak to you on visceral levels, stimulating cortex and neurotransmitters.  They’re easy to connect with and stay connected with.   

“Purification by Fire” opens the record with a somewhat sinister, ominous vibe, building and prodding along, laying the foundation of what to expect with “Temples.”   Slow, methodical and dirge-like at times, is a great way to describe second song “Toward the Sands,” however, there’s a buried gem at the 6:25 mark with an up tempo Sabbath meets Cathedral boogie-groove type section, which quite frankly, I’d like to have heard more of, but, what a cool way to cap off the end of this song, I really dug it, it fit perfectly. 

“Bury Me Standing,” track three, reminds me a lot of Sleep but changes tempo and goes full on Serpent.  The guitar parts on this song are remarkable, they really guide this track from start to finish.  “Sativan Harvest,” like “Toward the Sands,” hits that melancholy, dirge like vibe again, but harder, slower, allowing Holy Serpent to showcase that sheer wall of sound technique they’ve been developing throughout this record. 

Capping off “Temples” is “The Black Stone,” a dreamy, psychedelic slab of distortion laden goodness that properly ends the record.  All in all, “Temples” is a great record.  Holy Serpent nailed it.  The songs are well crafted, well-structured, the vocals are right on and the music is perfect parts psych, doom, sludge and out right heaviness.  Don’t hesitate, buy “Temples” immediately.

“Temples” is available here

Band info: bandcamp || facebook

FFO: Sleep, Black Sabbath, Cathedral, Electric Wizard

ALBUM REVIEW: Electric Citizen - "Higher Time"

By: Jake Wallace

Album Type: Full Length
Date Released: 13/05/2016
Label: Riding Easy Records

‘Higher Time’ is a sincere reflection of a band that has been dedicated to having their own bespoke brand of ‘70s psychedelic rock. Driving riffs, solid rhythms, flawless vocals and explosive solos, this album is a superb follow-up to their debut release and shows how far the band have come since then. They have made this style of music appealing and popular in the modern day and show no signs of slowing down for the future.

“Higher Time” CD//DD//LP track listing:

1. Evil
2. Social Phobia
3. Misery Keeper
4. Devils in Passing Time
5. Golden Mean
6. Higher Time
7. Ghost of Me
8. Natural Law
9. Crux
10. Two Hearted Woman

The Review:

Cincinnati 4-piece psych rockers Electric Citizen have released their second record, ‘Higher Time’, on RidingEasy Records as a follow up to their 2014 debut release 'Sateen'. As with the first album, it was recorded at The Diamonds studio in Cincinnati by Brian Olive.

The album kicks off with ‘Evil’ and straight away you can tell why they chose this particular track name. Laura Dolan’s vocals are absolutely fantastic for this style of music and having a husband-wife combination with her husband Ross provides a unique kind of musical connection. The main riff is nice and chuggy and as the vocals blend in with the killer riffs, Laura’s voice is very reminiscent of Jillian Taylor’s vocal work in Philadelphia’s Ruby the Hatchet.

The next track ‘Social Phobia’ is some straight up Sabbathian riffage and the female vocals work incredibly well which makes you wonder what might’ve transpired if Ozzy had been a woman! Around the 2min 40 mark Ross unleashes into a ripping solo with some otherworldly sounds and raw talent oozing from his playing.  ‘Misery Keeper’, has a solid, driving riff throughout with some very interesting sections, drawing influence from a number of directions.

The first band that spring to mind are Dublin’s Mother Mooch who have a strikingly similar style and this combination of ‘70s style heavy rock riffs, psychedelic lyrics and female vocals is proving to be a heavily desired sub-genre of music due to the success of bands such as Ruby the Hatchet, Blood Ceremony and Purson in recent years. Electric Citizen have defined their sound and no matter what they turn their hand to, they are producing top notch psychedelic rock. Tracks 4 and 5 are packed with superb riffs and more soul-searing guitar solos from Ross.

The title track ‘Higher Time’ has a fairly simple structure but the raw power of Laura’s vocals combined with the sonic atmospheres lurking in the backdrop creates a very absorbing environment. After the slightly creepy spoken word interlude in the middle, the riffs wind back in and Ross launches off into another relentless guitar solo. The style of his solos are perfect for this style as it’s not taking away from the music or distracting you with elaborate guitar parts. It all just gels very nicely in a cohesive blend and the instruments all compliment each other as well as complementing Laura’s vocals.

‘Ghost of Me’ takes the tempo up a notch and they deliver the goods with some thrashing riffs and a slightly ominous tone from the keyboards combined with the entrancing vocals. ‘Natural Law’ is another fine example of how the band have defined their sound and set in stone their vision for both image and musical style. Ross’s solo playing is on fire in this track and his diversity as a rhythm and lead player really shows. ‘Crux’ has that swinging occult rock feel, it’s what I imagine lute players in medieval imbibing emporiums would’ve been playing if they had access to electric guitars, fuzz pedals and amp stacks. The final track ‘Two Hearted Woman’ begins with another master-crafted riff and it seems like Ross Dolan’s barrel of riffs has no end. The organ sounds are great in this track, layering a nice thick spread of sound among the rhythm section. The last section has the same stomping riff ascending up and up into a crescendo and the curtain falls bringing a close to an extremely solid album.

‘Higher Time’ is a sincere reflection of a band that has been dedicated to having their own bespoke brand of ‘70s psychedelic rock. Driving riffs, solid rhythms, flawless vocals and explosive solos, this album is a superb follow-up to their debut release and shows how far the band have come since then. They have made this style of music appealing and popular in the modern day and show no signs of slowing down for the future.

“Higher Time” is available here

Band info: bandcamp || facebook

FFO: Ruby The Hatchet, Blood Ceremony, Purson

ALBUM REVIEW: Salem's Pot - "Pronounce This!"

By: Jake Wallace

Album Type: Full Length
Date Released: 22/07/2016
Label: RidingEasy Records

…a tripped out, fuzzy journey through the minds of these mysterious occult rockers, but hidden behind their disguises, there is a band who are certainly serious about making themselves heard and this release has all the necessary ingredients for the cauldron. Overall, 'Pronounce This!' is definitely a contender for one of the best releases of 2016

“Pronounce This!” CD//DD//LP track listing:

1). Tranny Takes A Trip
2). Just for Kicks
3). The Vampire Strikes Back
4). Coal Mind
5). So Gone, So Dead
6). Desire

The Review:

Swedish spooky psych outfit Salem's Pot are back with their latest release on Riding Easy Records. 'Pronounce This!' is a tripped out, fuzzy journey through the minds of the mysterious occult rockers. Hidden behind their disguises, there is a band who are certainly serious about making themselves heard and this release has all the necessary ingredients for the cauldron.

With 6 tracks resulting in around 50 minutes of eerie stoner bliss, 'Pronounce This!' delivers a huge variety of sounds and atmospheres. Their vintage style and well-established spooky vibe is something that people can appreciate and fans of this type of music will certainly get behind this release. In a world dominated by stoner rock/doom bands who are very similar, Salem's Pot stand out for taking a fresh twist on the old approach. Their fascination with horror emanates throughout the album and the freaky enigma is a great complement to the music.

The first track 'Tranny Takes A Trip' is a great opener as it sets the scene instantly with the creepy organ sounds and traditional psychedelic rock style. The breakdown has a great rolling guitar riff and the vocals soar overhead binding the lyrics to the sound. There are elements of Hawkwind present with the space-rock influences and some of the transitions are very reminiscent of The Doors. The last section of the song is a great jam with guitars and organs fusing together creating a very similar vibe to New Orleans' The Mystick Krewe of Clearlight.

'Just for Kicks' brings some other genres into the mix as Salem’s Pot seem to be able to work all angles into their craft. The track maintains the catchy, fuzzed out guitar riffs but the addition of some slide guitar brings some country/folk elements to the table. The organs hang nicely in the background and keep the ominous tones rolling through their music. There are some great transitions during the middle part of the track after the guitar solo which show the seasoned musical capabilities of this group. Around the 4 minute mark the track dies down and some effects are used in creating a very trippy backdrop to the slow guitar riff building up into a great doom section and when the drums kick in it's a fucking solid groove. The outro has another ferocious guitar riff and the rhythm section is on fire in delivering a great finish to the track.

The third track 'The Vampire Strikes Back' has a more traditional stoner rock sound with some great riffs which remind me a lot of Uncle Acid and the Deadbeats and Greenleaf. One thing that Salem's Pot are very good at is keeping your attention, there are no boring, never-ending passages. It is constant barrage of great riffs, scary vibes and fluid transitions that never slow down or get boring in any way. Another breakdown around the 5 minute mark really emphasizes the horror themes as even the guitar licks sound haunting and eerie as the track comes to a close.

The longest track (12:47) 'Coal Mind' begins with another great doom section which shows that this band has everything to offer in this genre. They can quickly transcend from the upbeat blues/country sound to an absolutely filthy piece of slow doom metal. This is what makes Salem's Pot really stand out for me as some bands want to stick to a particular area and find their comfort zone whereas these guys are extremely comfortable in all areas. Around the 5 minute mark, the effects come back into play, fuzzing away and jousting with your sanity. Some delayed guitar creates another ominous sound and you can't help think that these guys could've provided a soundtrack to every horror movie ever. This track also leans heavily on the harmony guitar styles of Thin Lizzy and the Celtic-sounding riffs are definitely present. It winds down with that same gloomy doom section from the start which I personally enjoyed thoroughly as that intro was too good to just use once.

The penultimate track 'So Gone, So Dead' is a nice breath of fresh air after the sludgy ending to 'Coal Mind'. An acoustic country song might be entirely out of place for most bands, but yet again, Salem's Pot have found their niche and it works like a charm.

The final track is 'Desire'. Probably my favourite track from the entire release, it reminds me of a Black Sabbath/Pink Floyd hybrid which is precisely what I set out to find in life. The organ sounds and patient tempo of the track is highly reminiscent of some of Floyd's more psychedelic releases but the guitar tone and riff styling has Mr Iommi written all over it. It makes me envision a desolate church in the desert with spell-casting sorcerers flocking towards it slowly, their hexes permeating the night sky. The track winds down and just as you think you've had your share of unsettling, creepy organ... think again - the outro is more than enough to raise some final goosebumps.

Overall, 'Pronounce This!' is definitely a contender for one of the best releases of 2016. Salem's Pot have a very distinct sound and have caught the attention of the stoner rock/doom world with their remarkable interpretation of horror-laced, '70s psychedelic rock.

“Pronounce This!” is available here

Band info: bandcamp || facebook

Mondo Drag - ’The Occultation Of Light’ (Album Review)

By: Joosep Nilk

Album Type: Full Length

Date Released: 26/02/2016

Label: Riding Easy Records

Compared to their self-titled from last year ’The Occultation Of Light’ is more intense and direct in its offering. Yet similarly to that previous effort, the album’s strength again lies rather in that which is left unsaid.  What can also be heard is a matured band more comfortable in delving into different frames of mind, knowing full well how to stay the course on an even keel, paying reverence to their array of influences yet earnestly exploring previously uncharted territories.

The Review:

Their first on Californian label Riding Easy Records, one would perhaps predict a more sun-soaked mind-exploration, but the onset of opening track  ’Dying Light’ establishes the tone for the remainder of the album. It clearly isn’t a light-hearted record. Beginning with an onslaught of mind-bending repetition, this dizzying ascension soon takes a turn toward the sinister and carries forth with some trepidation. The bass line keeps the theme of apprehension throughout and the foreboding guitars conversing with the eerie dialogue between synths and organ prove instantly infectious. The air thickened, the wispy vocal melodies adding conjectures that cut like a knife through the murky mood. It isn’t long until their proggy sensibilites come to the fore as it all comes together through a mind numbing and a commotion of steady meandering.

As an adherent to the very organic sound of their previous album, it is initially surprising how clean and polished the presentation here is. Luckily that is no indication of having steered from other influences of long past decades. ’In Your Head (Part I & II)’ is a perfect example of just how dysphoric of a sound they’ve created from these quite disparate elements. Starting off encircling, it builds upon an ecstatic and warm sense of anticipation. On a backdrop of the rhythm section’s rumbling, it then falls into an agitated surge of quirky swirling psychedelia. Yet keeping with the thread of unrest, the tension picks up again but is ultimately left unsolved, as if careful not to indulge into all of the sentiment at once, diligently weaving it throughout.

’Incendiary Procession’ immediately picks up on that prior outpouring. With a nod toward genre-definers Yes, the band play with turbulence, contstantly changing tempo. This ecstatic vigor remains all legerdemain though, as it is often exchanged suddenly in favor of bringing back that already familiar unease, only to shift back yet again. The dynamic between this exuberance and disquiet fully compelling and enveloping your mind in its sharp contrasts.

Obviously one can’t leave unmentioned the band’s recent prolificity. Having just released a self-titled  album, some themes from yesteryear are quite obviously revisited. Whereas the overall impression brings to mind the livelier tracks from that endeavor, on fourth track ’Initiation’ the melody heard during the intro is almost a straight reprise of the languid mellotronic- heavy tune ’Plumajilla’. In contrast, the soothing calm here instead dissolves into a bustling build-up giving hints of some towering premonition until it all fumbles apart. These familiar motifs that have been expanded upon can be noticed elsewhere, and brandished with sure prowess.

The band’s not-so-recent move from the Midwest is perhaps also a factor, heard either in that very noiry melancholy or the carefree strut of an organ-heavy tune like’Ride the Sky, there’s undoubtedly a quality reflecting in their sound from breathing in that West Coast air. The aforementioned track introduces a welcome shift in pace and tone as a rocking danceable number with a blistering guitar solo, where Mondo Drag prove that they aren’t unfamiliar to grooving it out every now and then. Another allusion to California dreaming comes on closing track ’The Eye’ in the form of spoken word amongst a Middle-Eastern vibe, recalling to mind the goofy mania of late 60s classics H.P. Lovecraft, yet of course carrying it out with more than a touch of their own. The band aptly demonstrate elsewhere how capable they are with references, as on ’Out of Sight’ they shed light on how Sabbathian groove isn’t amiss amidst a thoroughly proggy approach either, and even-more so – how well it can carry  a different sort of garnish – with the riffs converging into a sudden kraut-down at the track’s apex.

Returning once more to the mix, whereas the self-titled had John Camino crooning in the distance, on ’...Occultation...’ the vocal track is further up front. As per usual, instruments do the majority of the talking, with lyrics used sparsely but to still greater effect, the words complimenting the music and vice versa. This is nowhere truer than at the climax of the album, which comes in the form of second-to-last track ’Rising Omen’, a circular confluence fully embracing that looming darkness established at the outset. Enveloped in an implied yearning, it’s a hazy gyration, with the almost ghostly tone of the guitars reflecting the anguished words and organs further glorifying the madness, equally alluring as it is captivating in one finalistic concession.

Compared to their self-titled from last year ’The Occultation Of Light’ is more intense and direct in its offering. Yet similarly to that previous effort, the album’s strength again lies rather in that which is left unsaid. As promised by the title, it is by and large a dim lit affair. What one can hear is how the band themselves prefer listening to be – one cohesive, and equally trippy, experience. What you can also be heard is a matured band more comfortable in delving into different frames of mind, knowing full well how to stay the course on an even keel, paying reverance to their array of influences yet earnestly exploring previously uncharted territories.

’The Occultation Of Light’ is available here

Band info: official | facebook | twitter | instagram

Mondo Drag launch a brief U.S. tour on March 11 in Denver, joining Pentagram for a series of both U.S. and European tour dates before teaming for a European outing with Elder as well as performances at Roadburn and Desertfest.

March 11  Denver, CO  Hi-Dive
March 12  Columbia, MO  Café Berlin
March 14  Atlanta, GA  Masquerade (w/Pentagram)
March 15  Nashville, TN  Exit/In (w/Pentagram)
March 17  Dallas, TX  Gas Monkey (w/Pentagram)
March 18  Houston, TX  Warehouse Live (w/Pentagram)
March 19  Austin, TX  The Lost Well (w/Pentagram)
April 6  Lindau, Germany  Club Vaudeville (w/Pentagram)
April 7  Munich, Germany  Backstage Big Hall (w/Pentagram)
April 8  Wiesbaden, Germany  Schlachthof Wiesbaden Big Hall (w/Pentagram)
April 9  Durbuy, Belgium  Durbuy Rock Festival
April 11  Bezirk Landstrasse, Austria  Arena Big Hall (w/Pentagram)
April 12  Jena, Germany  F-Haus (w/Pentagram)
April 14  Hamburg, Germany  Klubsen (w/Pentagram)
April 15  Tilburg, Netherlands  013 (Roadburn Festival)
April 16  Karlsruhe, Germany  (w/Elder)
April 19  Aalborg, Denmark  1000 Fryd
April 20  Stavanger,Norway  Folkden (w/Elder)
April 21  Bergen, Norway  Hulen (w/Elder)
April 22  Oslo, Norway  Bla (w/Elder)
April 23  Gothenburg, Sweden  Truckstop Alaska (w/Elder)
April 25  Kobenhavn K, Denmark  Loppen (w/Elder)
April 26  Kiel, Germany  Schaubude
April 27  Muenster, Germany  Sputnikhalle (w/Elder)
April 28  Chemnitz, Germany  AJZ Talschock (w/Elder)
April 29  Berlin, Germany  Astra (Desertfest)

Holy Serpent - S/T (Album Review)

Holy Serpent

S/T

Riding Easy

12 May 2015

The band:

Scott Penberthy - guitar/vocals

Nick Donoughue - guitar

Michael Macfie - bass guitar

Richard Orr - drums

The songs:

1. Holy Serpent

2. Shroom Doom

3. Fools Gold

4. The Plague

5. The Wind

Review:

Daaamn! Where have these guys been hiding? A brand new acquaintance to me, Holy Serpent from Melbourne, Australia are phenomenal! Not knowing what to expect when I pressed play, The album blew me away completely. Fuzzed out, trippy and low end heaviness emantes from the speakers, engulfing me in a wonderful trance. Going slow and for emotions, Holy Serpent can add another disciple in their physchedelic quest for world domination. Each spin bring out more and more, leaving me flabbergasted at how they can put so many angles into their songs without suffocating the music. Because the music flows so naturally and with such ease that I'm left speechless....and that's a damned good thing!

Breaking free from the tonguetiedness, 'Holy Serpent' starts the proceedings of annihilating yours truly. Brilliant Iommi-esque riffs flies at me before guitarist Scott's reverbed voice begin to soar above the music. Everything flows elegantly between jam sessions and full onslaught and you can't ask for more...especially not with an album opener. The title follows next and certainly lives up to it's name. Slow, punishing and trippy, it's just like you have ingested handfulls of magic caps. The visions man, the visions. Eerie and forlorn at first, 'Fools Gold' becomes led-heavy after about a minute where the bass guitar and drums keeps the beat perfectly. Despite the gradually increased heaviness the song never gets fast and that's great. To me it would be weird if Holy Serpent hit warp speed, they should remain slow and goddamned heavy, you hear!

'The Plague' is up next and man, it's like a young Black Sabbath has re-emerged in 2015. Don't get me wrong, this is no copycat thing at all. On the contrary, it's the perfect homage to the doomfathers. Bottom-heavy, psyched out and absolutely amazing, this song is a one-of-a-kind indeed...and it's my favourite tune on the album. Oh, did I forget to tell you that it's trippy as hell! Reverb and riffs launches the album-closer 'The Wind'. Let your hair hang down, hit the bong and loose yourself in this colourful space journey. I'm there already floating through some amazing visions and unheard of worlds.

Musically 2015 has been fantastic so far and Holy Serpent keeps that trend going. Regardless what music we're talking about, if a new album is this damned good just keep it going. We, musicians and fans alike, need inspirations like this album because they push the limit in a way few can. So everybody, take heed of these Australians....they are my new favourites!

Håkan Nyman

Thanks to Richard at Sheltered Life PR. Holy Serpent- S/T will be available on CD/DD/Vinyl from RidingEasy Records.

For More Information

Facebook | BandCamp