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Presenting up to date news, reviews & interviews for riff addicts around the world.
This is 'Liberation through Amplification.'
Now entering their 6th year, things
seemed to have slowed to a manageable pace for curator and mastermind Steve STB
of STB Records, having hit a purple patch a
couple years ago, when it seemed vinyl releases were coming every couple
months, more recently it seems to the outsider looking in that STB Records are easing off the gas a little in terms of
volume of releases but continue to set the benchmark in terms of delivering
high end vinyl releases. But what would a
stunning record be if the music concealed
within those grooves sucked. Yes STB Records deliver kick ass vinyl, but the quality of the
music needs to be kick ass too and the label certainly know a things or two
about that, seemingly nurturing talent, until the big boys come along. Today’s SLUDGELORD debutants
seem to be no different, in fact worshippers of the riff, behold, it’s time to
feel Minnesota, because Let It Breathe are
ready to bring their self-titled LP from its fuzzy, small town beginnings to
the metal-loving masses of the world.
Let It Breathe’s
7-track self titled debut rumbles with stoney heft and washes of easygoing
melody. Emphatic vocals soar and coast over exuberant drums and tasteful
leads, but first and foremost they bring the riff. The cavernous sound resonates deep and grooves hard, and
those who dig everything from Howling Giant to The Heavy Eyes to Telekinetic Yeti are sure
to trip out to this epic LP and today you can check out a brand new jam, in the
form of “Blood Relations”.Let it Breathe's
debut LP is set for release on April 27 via STB Records
and can preordered here
From the eerie, ambient opening to the final crescendo, “Strike the Sun” is a rare “all killer, no filler” beast of a record. By crafting a truly timeless album, Shroud Eater have managed to distinguish themselves as one of the noteworthy purveyors of American metal.
“Strike
the Sun”
CD//CS//DD//LP track listing
1. Smokeless Fire
2. Iron Mountain
3. Awaken Assassin
4. Another Skin
5. Dream Flesh
6. It Walks Among
7. Unseen Hand
8. Futile Exile
The Review
With the deluge of heavy bands churning out
consistently crushing work, some stellar records manage to lurk at the edges of
my consciousness well past the initial release date. Shroud Eater’s second
full length, their first for STB Records, dropped
all the way back in July, but has garnered immediate, deserved praise. It’s a perfect summer selection: the
blistering heat and stifling humidity of the band’s home base – Miami, Florida
– practically pools around the speakers with every shredding riff and swinging
drum fill. But as the autumn days grow
colder in the northeast, “Strike the Sun”
reveals new, ominous facets. From the
eerie, ambient opening to the final crescendo, “Strike the Sun” is a rare “all killer, no filler” beast of a
record. By crafting a truly timeless
album, Shroud Eater have managed to distinguish themselves
as one of the noteworthy purveyors of American metal.
Intro track “Smokeless Fire” hints at Shroud Eater’s melodic
mysticism underlying Strike the Sun’s
crackling exterior: Valentine’s
ethereal vocals serve as a haunting prelude to the bashing Iron Mountain. Like a slightly less haggard Matt Pike, Jeannie Saiz’s vocals straddle distinct melody and hardcore
barks. Most improbably, Saiz’s lyrics are actually discernable
while being gritty – no mean feat among the standard death growlers and
shriekers glutting the metal market. “Awaken Assassin” may be my go to pick
for my “just listen to this one track and you’ll see what I’m talking about”
for Shroud Eater – both melodic and soaking in
sludge filth, it’s the sinister standout of the record.
Which isn’t to say “Strike the Sun” ever falters.
Instrumental cut “Another Skin”
showcases the band’s technical skill without being a pyrotechnic wank-fest,
while “Dream Flesh” evokes the
melodies and delicate vocal harmonies of “Smokeless
Fire”. “It Walks Among” lays waste to this brief reprieve, smashing the
band back into hellish crunch, highlighted by subtle guitar harmonies that are,
frankly, breathtaking. Davin Sosa’s drum work really shines in
“It Walks Among” and balances tribal
beats with complex fills in “Unseen Hand.” Album closer “Futile Exile” acts as a perfect bookend, encapsulating the
disparate, remarkable elements Shroud Eater wield so
well: intricate picking, smashing power chords complemented by crushing bass
tone, clean vocal harmonies and a menacing, croaked finale that feels
exhausting and empowering all at once.
“Strike the Sun” is
available here(LP) and here(CS)
The Company
is a specialist DIY label based out of Kansas City, whose vision for the label
was to put the spotlight on the heavy scene in the local area. Guided by the long
term mentor, Steve STB, The Company founder
Josh Wilkinsonknown for his design
work for boutique stoner doom label STB Records took a
leapt of faith and would release the debut from local boys Keef Mountain
on vinyl, thus the label was born and with it, another top class label issuing albums
lauded by the underground scene but seemingly ignored by the big boys.
Now with five vinyl releases behind them, I took
the opportunity to fire some questions at them, in order to get low down on
this unique and high class label. "Welcome to The Company".
Tell us a little bit about yourself and
your background?
My name is Joshua
Wilkinson. I have lived in the Kansas City Metropolitan area for 95% of my
life, the other 5% being Omaha, NE. I have an associates degree in Graphic
Design, and currently daylight as an employee for a Large Format print shop
here in KC. I’ve done design work some of the following bands: Hossferatü, Merlin, Druglord, Red Wizard, Crown of Thornz, Bright
Curse, Eternal Black, Custom Black, Olde, Sinister Haze, Goya, Ancient
Warlocks, Joel Grind, Doctor Doom, Fistula, Year of the Cobra, Geezer,
and The Watchers, just to name a “few”. I also
handle the majority of design, and marketing for my label.
What inspired you to start a record
label?
I started realizing how many good bands there
were in KC, and I felt like they needed to be heard outside of the midwest.
Originally the idea was to do a single 7” or Flexi to sell on The Companys website to draw attention to my design
services. I never had any intention to start a label; I just wanted to sell
something different that other designers weren't offering. I approached my
favorite KC band, Keef Mountain, and they
were into the idea completely. As some of you may know, I handle most of the
design work over at STB Records, so when I
mentioned the idea to Steve from STB, he was the one who
pushed me to go the full distance and release a full length. I invited the Keef boys over to my house, I laid my plan out to them, and
they jumped aboard. So that was the beginning of The Company as
a record label.
What are some of the difficulties you
have faced and currently face?
Money and time. I can confidently say those are
the only 2 road blocks I’ve faced in my short experience. I could always use
another 8 hours in my day. With my day job, my main design and label hours are
limited to the evenings and weekends, but I’m always working things over in my
head, or communicating throughout the day regarding design and label stuff. It
never gets “shut off”.
What would you describe as The Company’s
'vision' or 'philosophy'?
My main vision was to put a spotlight on KC and
its incredibly talented heavy scene. The metal scene, the punks, the
unbelievable Hardcore scene we have out here, whatever. I personally am more
into the “stoner” side of things so I chose to focus first and foremost on
those bands because I feel like I can market them honestly, because I’m also a
fan. I would never release an album that I personally wouldn't listen to. This
is strictly a labor of love.
Are there other labels that have inspired
you? Other labels you think people should look into?
STB and Poisoned Mind Records, hands down. Steve from STB has been my mentor since day 1. He took a huge chance
on me, took me on as his lead designer without ever having met me, and really
taught me a lot along the way. He pushed me, made me challenge myself a lot,
and taught me a great deal about the business along the way. Same with Tom from
Poisoned Mind, he’s my bud! (What up Tommy!) I used to do
most of their design work as well, so Tom and I used to (and still do) bounce
ideas off each other all the time. Those guys are both huge inspirations to me,
and great friends. On a much bigger, much different level, I’m incredibly
inspired by Relapse Records of course. I’m mostly
inspired by their ability to market a vast array of genres and stay relevant
for so many years. That’s something I’d like to see The Company
do, is sorta branch out and reach a broader audience.
Tell us about some of The Company’s
earlier releases you think people may have slept on?
If you’re not listening to Hyborian
yet, I would very highly recommend checking them out. They’ve put out such a
phenomenally talented and extremely well written record. They recorded the
whole thing themselves in their practice space. It’s a true DIY recording but
if you didn't know any better you'd think it was recorded in a giant studio. It’s
massive. I get nothing but positive comments about them. They're some of the
hardest working dudes in the game and some of the most talented people I’m
privileged to call friends.. Mark my words: They are going to go far in this
business. I Love those dudes like brothers.
Keef Mountain,
our first release, is one of my favorite bands, and 2 of my favorite people on
earth. The Company, as a label, wouldn’t exist if
it weren't for them. The album itself fucking RULES! If you like Sleep, or the Melvins, then you’ll
very likely be into this album. It’s a fun record. Another one that was
completely recorded DIY by Alex Tunks (Inner Altar, Blindside USA) in a bar
basement. The cavernous surrounding gives it a huge sound.
A lot of people know Curse the Son,
but I don't think a lot of people realized we released the album, because a lot
of them we’re expecting it to be released by STB. That’s
another album I recommend. They're the only band on the label who isn't from
the midwest, but they're part of my STB family, and the
album is so god damn good, I had to push myself to do that one. It’s
reminiscent of Electric Wizard style stoner/doom, but to me
there’s a big Seattle/grunge influence to the record, especially the vocals. I
always say it’s like If Alice in Chains had
started a Sabbath worshipband.
What upcoming releases are you most
excited about?
I’m really excited about Snowchilds‘Age of Change’ which was well
received when it was released digitally so I’m pumped on that one. Snowchild is from Wichita, KS which is a couple hours south
of KC. For those that aren't aware, Kozmik Artifactz will
also be doing a pressing of that album as well with different colors and
packaging so stay tuned for that. Kozmik always has bad
ass releases! After that I’m co-releasing Youngblood Supercults
exceptional new album “The Great American
Death Rattle” with DHU Records. Another
midwestern band, YBSC hails from Topeka, KS. The
albums great, and has a lot of emotion felt on the recording. The addition of
Brad Morris on bass and his contribution to the song writing made a huge impact
on their sound, for the better of course. I swear to god I get goosebumps
everytime I hear Davids voice. That guys a true vocalist. Weston brings “stoned
and steady” drumming, and Bailey just fuckin’ shreds it! So other than that, we’ve
also got plans to work with some other great KC area bands, Inner Altar being the one I’m most excited for.
Tell us about some of the newer bands on
The Company roster.
One of my favorite bands in the world, Inner Altar, just got done demoing their new album, so
hopefully we’ll get a full length from them in the near future. Inner Altar features members of Keef Mountain,
Blindside USA, No Class, Altered Beast, and Blood Shaman. They're
kinda like Demon Head, or early Witchcraft
with a KC twist. Their two first tapes are some of my favorite music ever
written. Check them out.
Gnarly Davidson
has been part of The Company crüe for a while now but
I don't think they got the attention they deserve. They hail from Lawrence, KS
and are a three piece who play LOUD fuzzy stoner metal. We re-released a tape
they recorded on the fourth of July. They recorded one side sober, and then
re-recorded side b after they had gotten drunk. We’ve still got some of those
tapes available. I hope to work with them again in the future, they rule.
If you could have released any record
past or present, what would it be and why?
Inner Altar:
“Vol 1” + “Vol 2”… Did I mention I love Inner Altar?
What does the future of The Company look
like, from your perspective?
I’d like to see it become as big as possible.
Its hard running this thing while maintaining a steady day job, but I bust my
ass so I hope it pays off someday. I would at the very least like to look back
and say that I was part of not only KCs music scene, but the whole Stoner/Doom
community in general.
Guttural guitars and raunchy drums at the ready. Geezer delivers the intensity of the Melvins, one of the group's
inspirations, while giving its own unique spin to stoner rock. While many
others try, this is one band that is confident enough to step out and truly
make this sound their own.
“Psychoriffadelia” CD//DD//LP track listing:
1.
Hair Of The Dog
2.
Stressknots
3.
Psychoriffadelia
4.
Red Hook
5.
Dirty Penny
The Review:
If
you're honest about it, you must admit it is hard to get excited about a band
whose first cut on its album is a cover of Nazareth's"Hair of the Dog." It is a fantastic song, of course, but just
about every bar band in America and beyond has beaten the joy out of it long
ago. If we're being mercenary about such an issue, who isn't sick of it? Don't
lie. We've all made those judgments before.
It
is a great then that Kingston, New York trio Geezerare so tight elsewhere,
because you'll quickly forgive them and enjoy the heavy bluesy jams of their
latest five-song release.
Geezerhas
been prolific, dropping six releases thus far and touring as well as doing regional
live shows quite heavily. Such experience makes the band incredibly competent
at sustaining the energy on songs like "Dirty
Penny" – guttural guitars and raunchy drums at the ready. Geezerdelivers
the intensity of the Melvins, one of the
group's inspirations, while giving its own unique spin to stoner rock. While
many others try, this is one band that is confident enough to step out and
truly make this sound their own.
Geezeris
at its best at points like the title track, where members Richie, Turco and Pat
feed off of one another and simply let the chemistry take over. It is
remarkable how well they blend even on songs like "Red Hook," without a doubt the most unusual song on the
release. It contains a slightly country blues and heavy rock vibe that may not
grab Geezer's traditional audience, but the
musicianship is so effective here you will not notice the difference much. In
fact, you will quite likely be nodding along.
By
the time "Psychoriffadelia"
wraps, that potentially rough start will be but a distant memory. Instead you
will remember one of the more entertaining bands around.
Olde’s “Temple”
is doom metal done the way it should be. It is well-crafted, forward-thinking,
and a contender for one of the best records of the year.
“Temple”
CD//CS//DD//LP track listing:
1). Subterfuge
2). Now I See You
3). The Ghost Narrative
4). Temple
5). Centrifugal Disaster
6). Maelstrom
7). Castaway
The Review
Oldecan be
best defined as “Efficient Doom Metal”; creating atmospheric and riff-centric
music without wasting time. Olde’s“Temple”
showcases their most refined music to date; there is not another doom band that
understands how to write great riffs, without them overstaying their welcome. Olderuns the gamut of everything the genre offers;
from Kyuss-y blues, to darker and more
punishing in bands like Yob.
The
album starts with two quick stoner metal tracks; “Subterfuge”, and “Now I See
You”; hypnotic riffs by riff-master Greg Dawson. Ryan Aubin’s familiar groove
oriented drum style is particularly highlighted on these tracks, showing why he
is the best drummer in the genre. The album takes a darker turn with more
plodding dirge’s in “The Ghost Narrative”
and “Temple”. Not only do they create a
necessary balance in the records pace, but also show off some of the best lead
guitar work on the record. The guitar solo on “The Ghost Narrative” is particularly brain melting.
The
album concludes with their best track “Castaway”
a very Baronessinfused track filled
with huge open chords, and interplay between major and minor keys. This song
also flexes their atmospheric muscles; utilizing faint guitar feedback and
other sound clips in a much more advanced manner to their previous release.
This song concludes the album on an interesting footnote of what is to come for
Olde.
Olde’s“Temple”
is doom metal done the way it should be. It is well-crafted, forward-thinking,
and a contender for one of the best records of the year.
there are moments of majestic riffing and an impressive amount of
variation on offer
“Vae Victis” DD//CD//LP track listing
1.
Vae Victis (9:30)
2.
Dysthiest (6:20)
3.
Immanentize The Eschaton (Jim Jones Instrumental) (4:43)
4.
Scum Of The Earth (7:03)
5.
The Room Of The Torch (7:36)
6.
Green Scar (6:09)
The Review:
If
you’re not up to snuff on your Latin,
‘Vae Victis’, the title of the second full length from Seattle based
psych-doomsters Wounded Giant, roughly translates as “woe to
the conquered”. While this might conjure images of a record full of mighty
battle hymns and victorious fist-pumping metal, the six tracks and near hour of
riffing tells a much different story.
The
title track opens the show with a ghostly rush, approaching as if from a great
distance. It’s loud and immediate, settling into a groove buoyed by tumbling,
scattered toms and military snare roll snaps. The main riff grinds and thunders
like a slightly slower Slomatics, loping along
before locking in and slowing down into an Electric Wizardian
buzzing guitar line. When the band start to crawl it’s much more menacing,
switching up into tension building section before dropping into a tasty groove
with snatches of deep bass. There’s a lot of variation here, but it’s the
conclusion of the track where things really pick up, a maze of twin wandering
guitars.
‘Dystheist’
is all scuzzy bass and tribal drumming, growling feedback and swaggering
guitars pitching the band between a slightly lighter Conan and
a less woolly Mastodon. ‘Immanentize The Eschaton’ (you kiss your mother with that mouth?)
chimes like an old school Hammond organ, a wah heavy bass undertow and lazy
drums joined by punchy chords and a pulsing synth loop, muddled in with vocal
samples that too be honest is a tad tough to comprehend. ‘Scum
Of The Earth’ is swollen with sludgy weight, straining vocals riding out
the deep, bluesy undertones, a muted chugging drive dragging us through. It’s
less changeable and varied than the previous, but the psyched out guitar
layers, droning vocals and frantic drumming make it seem like you’re falling
into a tunnel of brown acid. ‘The Room
Of The Torch’ shimmers and wavers, guitars tentatively licking in, forming
into a righteous riff reminiscent of The Sword. Satisfying
stuff, energetic and well executed, even if the climax is a little on the
standard side.
‘Green Scar’
is slow, foreboding and buzzy. Sighing vocals and striding riffs match pace
with restless, cymbal heavy drums, but for the album’s zenith, it seems a
little weak and directionless. The latter word is perhaps a decent, if harsh,
summary of the record. While there are moments of majestic riffing and canny
song structure here (and an impressive amount of variation), there’s no sense
of real unification of purpose. Coupled with some vocals that err a little too
much on the ‘spirited amateur’ side of things, some lyrics that are a little
too ’14 year old writing in the back page of a school book’, plus a music scene
saturated with bands doing this exact thing (and often better), and ‘Vae Victis’ more likely won’t find its
way into your heavily rotated records.
Three years can seem like an eternity to even the most
die hard doom fan, particular if your favourite band hasn’t deliver any riffs
during that time. Take the band Olde for
example, after delivering their self-titled debut and garnering critical
acclaim from the doom underground, fans have been clambering for their crushing sonic blows. Fear not, because Olde are set to return on August 11 with their STB Recordsdebut“Temple”, an album that delivers everything “Olde” did but with added weight, ferocity and that much
needed hook laden fuzz they’re know for.
So with Canada Day a mere 24 hours away, not only can
you check out a brand new sonic demonstration in the form of “Now
I See You” but we have
given free reign to Olde guttermouth and bassist Cory McCallum to
choose the best underground riffs from the Canadian underground. Check it oot below to find oot what is all
aboot. (my Canadian naturalisation is
complete)
By: Cory McCallum
It is almost Canada Day, by golly, and what better way to celebrate 150 years
as a nation than to strap on your toques, fire up the bacon and crank some
crushing and under-appreciated Canadian bands.
AYAHUASCA
Luke Roberts (of Thantifaxath and Pale Mare, also metal heavyweights) stretches out in his band Ayahuasca. "Yin" is a beast of an album; a conceptual trip through the dark regions of Roberts' psyche. The delightfully-complex guitars and rhythm section set the scene for the incredible vocals (the harmony work on this record is second-to-none).
RIYL
progressive sludge with a real focus on smarts, with a smattering of 90s
grunge, punk rock and traditional heavy metal to boot. Coincidentally mixed by
our own Greg Dawson (which is how I found oot aboot them).
HAWKEYES
Hawkeyes are a six-piece instrumental psychedelic doom band out of the Kitchener-Waterloo area, but they might as well be from space. These dudes are in no hurry to get anywhere, and their patience is a welcomed-virtue. For fans of Floyd, Mogwai or virtually anything loud and droney, Hawkeyes consistently brings the goods with songs that are sonically rich and textured and pay close attention to dynamic and movement. Strap in and launch off.
SONS
OF OTIS
Full disclosure: OLDE would not exist without Sons of Otis. It's not that long a story, but it boils down to our Greg recording Sons of Otis and having a "holy-shit-I-gotta-do-that" epiphany.
Are Sons of Otis underappreciated? Arguable. Does everyone who digs heavy music know who they are? No, and they should. SOO are by far Canada's crown princes of Sludge or Stoner Metal or Heavy Psych, or whatever the hell else you want to call them. They do it all and they do it all tremendously well.
I would hazard that there hasn't ever been a heavy band that can "lock into" a riff or a groove the way Otis can. When all three (very capable) musicians get on that same page (and sometimes, by design, it takes a while to get there), things get REAL in a hurry. Fat fat fat bottom end, a rhythm section that operates like a two-brained octopus (hunh?), guitar tones that make your toes curl and possibly the most inconsequential lyrics of all time (note: I am not taking a swipe at Sons of Otis' lyrics. I am saying that the sounds and the songs are so goddamned heavy and hypnotic that Ken Baluke could be singing out a recipe for butter tarts {awash in reverb and echo and whatever else tickles his fancy}, and I would be pleased as punch). A modern-day legend, still going strong. Hail Otis!
SHALLOW
NORTH DAKOTA
Unfortunately,
many of us probably have a story about seeing a great band play to almost no
one. Mine involves Shallow North Dakota, Hamilton's finest purveyors of noisy,
progressive sludge rock (humour me; they kind of defy easy categorization)
playing in my shit hometown to about ten people in a Mediterranean
restaurant. SND existed in a bit of a vacuum; they were
heavier and more daring than anyone else in the Southern
Ontario scene at the time and were making brilliant records and
demolishing live audiences years ahead of their time (or at least half a
continent away from where they would have been huge). Canada's Melvins, in a way, but even
calling them that with complete respect and admiration is unfair and
reductive. Regardless...when you want a bit more edge, something a bit
more fierce, punishing and unrelenting, turn to Shallow North Dakota. A
fave amongst many Ontario
metal heads over the age of 30 or so.
FRIENDLY
RICH
In
the spirit of breaking rules, I conclude with Friendly Rich, perhaps Canada's
hardest-working weirdo and a truly underappreciated force hacking his way
through the wilderness of the Canadian music scene. If you are ONLY down
with hearing me blather about metal bands, well...tough.
"Heavy" is relative, anyway. Friendly Rich (and, most often,
his assorted Lollipop People) have been recording and releasing some of the
most innovative and interesting (and yes, often the heaviest) music here in the
Great White North. If you have ever wondered what would happen if a
travelling freak show crashed their caravan into a Hell's Angels clubhouse
which just happened to be rented that night to, say, an Italian lounge lizard
doing an interpretive presentation on the respective folk music
traditions of various Eastern Bloc countries....and who hasn't wondered
that....well, here you go. Friendly Rich requires investment; your time,
attention and, most importantly, your open mind. It is an investment
that, should you make it in good faith, will pay off in spades.
Plus....”Sausage Samba” is easily the greatest
video of all time.
Honourable
mentions- Seas, Sierra, Ol' Time Moonshine, Hammerhands, Godstopper, Yeti on Horseback,
Algoma, Culted, Razor, Mutank, Sacrifice, Haitian Knife Fight, Kabal, The
Shanks, Low Orbit....shit. I'm putting my name in right now to
come back and do this next year.
2016 commemorates Goya’s
fifth year as a band, and will see their latest EP, “The Enemy”, getting a deluxe vinyl release through STB Records, who also released their 2015
full-length, “Obelisk”, "a thinking man’s doom metal record, that it keeps you on your
toes and always remains untamed, delivering uppercuts with complete conviction
just when you think you’ve sussed them out."
Whilst “The Enemy” an EP, which saw Goya "sounding creepier and more terrifying" has already been made available
digitally, there really is no better way to experience the record than via STB's glorious limited edition vinyl
treatment. STB's
latest outing features two exclusive LP-only tracks, including a mortar-thick
rendition of the Sabbath classic,
"Who Are You?" and is offered in the four deluxe variants for
which STB has become known.
With the vinyl release set to drop on Saturday 8th
of October, and with the band showing no signs of slowing down, there seem to
be no better time than to check in with Goya
main man, Jeff Owens and talk influences, his quest to write the perfect “Vol
4” riff and the prospects of a new album.
It is time to get Amped and Doomed,
with Arizona’s
finest riff slayers, Goya.
SL:
Welcome back to The Sludgelord, Jeff. Can
you remember who or what inspired you to pick up the guitar? Are there any bands,
guitarists, bassists currently on the scene that continue to inspire and push
you to try new things?
Jeff Owens: I’m sure I’m not the first to say this, but the
single person who caused me to be interested in picking up a guitar was Kurt
Cobain. My biggest inspiration lately has been my band mate and the mastermind
behind Spirit
Adrift, Nate Garrett. That dude is a machine. Aside from him, Pete Adams
of Valkyrie
and Baroness
and his brother Jake have both lit a fire under my ass to keep going and always
try to get better at my craft.
SL:
Who do you take inspiration from or do
you have any heroes in music and do you have 5 records that stand out as
favourites, what influence did they have upon you and what is it about those record
that particular resonates amongst others?
JO: I’m not sure that I have heroes per se, but there
are many greats who influence me, all of whom I will mention below. Choosing
less than 30 records that are favorites is always hard
because there are a couple hundred, so I’ll just
sort of throw out the first ones that come to mind with the caveat that there
is no way these are my six favorite albums (I’m doing six), but they are all
influential to me.
Nirvana – “In Utero”
To me, this is one of the most vitriolic albums
ever written. Just how disgusted Kurt Cobain was with a lot of things comes
through very clearly on this record in his lyrics, his delivery of them, and
his guitar playing. Plus, “Radio
Friendly Unit Shifter” is my favorite Nirvana song.
Metallica – “Master of Puppets”
This is probably my favorite metal album, arguably
the best metal album of all time, and one of the most finely-crafted albums
ever. The harmonies on it are top notch, and it is the perfect mix of complex
and relentlessly heavy. Having Cliff Burton, the best metal bassist ever, does
a lot for an album, it turns out.
Thin Lizzy – “Jailbreak”
Speaking of harmonies, this album has some of the
greatest harmonies ever written. It’s hit after hit after hit on this record. Thin Lizzy
are one of the great underrated bands, though it does seem that people have
been catching on over the past few years, which is great! I may not sing about
love in Goya,
but Phil Lynott’s love songs are the best love songs.
Queen – “Queen II”
Did someone say harmonies? I have listened to this
album more times than I can count and I still love it. I’d be hard-pressed to
choose a favorite Queen album, but I’m relatively sure “The
March of the Black Queen” is my
favorite Queen
song. Freddie Mercury was it. The Golden Voice. And don’t get me started on
Brian May. If I could go back in time and see one band that I never had the
chance to see, it would probably be Queen.
Pink Floyd – “Obscured by Clouds”
Floyd is
another band I have trouble choosing a favorite album from, but I come back to
this one time and again. They are the masters of the melancholic triumph of
life, which is what I think the majority of true artists are striving to
depict, in one way or another. Gilmour’s lyrics are absolutely incomparable.
Look up the song “Childhood’s End” if
you haven’t heard it. It’s truly amazing.
Black Sabbath – “Vol 4”
Do I really need to explain this one? Iommi's
guitar playing on this record is something that had never been done before and
has never been done since. I am forever trying to write the perfect “Vol 4” riff, but it definitely ain’t
easy!
SL:
Can remember your first electric guitar, bass?
JO: Absolutely! I still have it. It’s a Peavey
“Predator”. Black with a white pick
guard.
SL:
What guitar(s) are you using today and how did you gravitate towards the guitar
you
currently use?
JO: In Goya, I use a modern Standard ’61 SG
that I believe is a GC exclusive. I started the band playing on a Les Paul “Smartwood”
(which I still have and use in my other band), but I decided there was a little
more low end in it than I wanted. I’ve always been interested in SGs because
of Tony Iommi and Greg Hetson. I bought one when I was young, but didn’t really
understand it, so I gave it another shot, and I haven’t looked back. My current
axe, Lady Lucille (not named after BB’s guitar), sort of caught my eye in the
store. I took her down and played for about an hour, and put her on layaway as
soon as I could!
SL:
What do you like about the guitars you currently use and has there been any
specific modifications to it?
JO: One of my SGs has BLK/TRI pickups, and I do love those! They’re
a great way to get a lot of power without any batteries. (Everyone knows
batteries suck.) Lucille is all stock and I have no plans to change that. I’m
actually a big fan of quality, stock Gibson’s.
SL:
What amps and pedals do you currently use? Do you use a combination of amps, or
a full
half
stack? Talk us through your set up both in the studio and in the live environment?
JO: Live, I’m currently using a Marshall Plexi (1959HW) and a Sovtek Mig 100,
each through their own full stacks. The Plexi runs into an Orange PPC412 and an Ampeg
cabinet loaded with BLK/
TRI/Ted Weber Ghost Series speakers, and the Sovtek runs into an Orange PPC412 HP8 and a
Randall cabinet
loaded with Celestial
G1265s.
For pedals, I use a Boss TU-3, Magic Pedals Magick Fuzz, Dunlop Crybaby
Classic, MXR Phase 90, Boss DM-2w, and a Radial
Twin-City ABY. I’m always trying to use less and less pedals, but I
just can’t seem to get away from delay, wah, and phase. In the studio, I’ve
been using the Plexi
into the PPC412
with the same pedalboard.
SL:
What one pedal could you not live without and why?
JO: Hands down the Magick Fuzz. I got this pedal
between the recording of “777”
and “Obelisk/ “Satan’s Fire. If you
listen to all of that, it’s very apparent that the guitar tone took a huge stepup between those recordings. The MF
is about as close to the 4th member of Goya as it gets.
SL:
What are your amp/ pedal settings?
JO: My amps are always turned up. The Sovtek
is generally dimed. The Plexi runs at about 6 or 7. I had it dimed
when I first got it, but I fried it and had to have it fixed, so that one would
be all the way up, but I want to keep her working. As far as my pedals, it
varies from track to track, excluding the MF.
SL: Do
you have any advice for up and coming guitars players, bands?
JO: You don’t get better by not playing, and there
will always be someone better than you.
SL:
Do feel there are deeply help misconceptions about being in a band?
JO: It’s tough to say, as I’m pretty out of touch with
what most people think. Maybe some people think it’s never difficult. I don’t
know though. Working my ass off in music-related efforts is the most rewarding
thing I have ever done, so it honestly seems easy and fun to me, whether I get 4
hours of sleep most nights or not. I don’t understand artists that don’t have a
burning desire to create something 24-7. This isn’t a choice for me; it’s a compulsion,
so it would be significantly harder to not do it, though it can get exhausting,
at times.
SL: Moving on a
little then, in terms of releases it has been a busy year, re releases of Goya records on your own Opoponax
Records, the demo release on Totem Cat
Records, but you have also established a great relationship with STB Records, what can you tell us about the upcoming
vinyl release of “The Enemy” and where do you feel it sits within the Goya discography
JO: I’m really excited that STB Records wanted to put this
record out! I was originally planning to do it as an Opoponax release, but I had so
many other things to put out, that it became clear it would be quite a while
before I was able to put it out, so when Steve and I spoke about it being released
through STB,
it was a total no-brainer.
I believe this one is going to be Steve’s biggest
pressing yet, so that’s a true honor. As always, there is some cool stuff lined
up for the die-hard edition. The vinyl will come with two tracks that have only
been made available on cassette so far, so for everyone that hates cassettes,
they will finally be able to hear the Sabbath cover we did last year!
Chronologically speaking, this release is the
follow up to “Obelisk”. Musically
speaking, this EP was extremely experimental for us. At the time, I was listening
to Black
Sabbath’s “Paranoid” a
whole lot, and that was highly influential in the creation of the songs on it,
particularly the title track. I really dig what we did on “The Enemy”, and I think people will look back on it as something
from our catalogue that stands out as a very unique release.
SL:
Does anything spring to mind when you think about the completion of the record
JO: This may seem strange, but the colors stand out
to me, for which I owe a thank you to the cover artist, Jesse Schaller. I
really see yellow and green (subtle nod to Baroness?) in my head when I think of the
record. I’m not sure what that means. Maybe another strange connection to “Paranoid”, and “War Pigs” in particular, with the green being that sort of
camouflage green.
SL:
What stands out as your overarching memory from the recording sessions?
JO: Using way too many different guitar tones, and
learning about the difficulties of recording to tape.
SL:
Yo’re never a band to rest of their laurels, what is in the pipeline in terms
of future recordings
and
how is your schedule shaping up over the next 12 months?
JO: Well, we just finished up at Switchblade Sound with Joe
Asselin recording our song for The
Planet of Doom, but
that won’t be out until the movie is. Right now, we are finishing up writing
our follow up to “Obelisk”, which will be titled “Harvester of Bongloads”, and yes, that is a nod to Metallica.
We will also be recording that with Joe at Switchblade
over Halloween, and I will be releasing that one through Opoponax Records in late
February or early March. We will be following the release with a couple of
weeks up and down the west coast. Originally, the plan was to take it easy
after “Harvester…”, and we will be
doing that for a couple of months when we finish recording. Knowing me though,
I highly doubt that we won’t be writing our next album by summer 2017, if not
by the end of the year. In fact, we have already begun to kick around ideas. “Harvester…” is intended to be sort of a
last hurrah to weed worship, as I am hoping for the band to mature and evolve.
I’m sure there are people out there moaning and
groaning as they read that line, but to those people, I would like to point out
that I think “Obelisk” is our most mature
material so far, and it doesn’t have a single drug reference on it!
SL:
As a band you have been active for
around 5 years or so, what stands out as some of your
fondest
memories
JO: Seeing King Diamond on Halloween in LA before playing
“Day of the Shred” the next day was definitely
a highlight. After the show, we came outside and it was pouring rain. A couple
of us had to buy new shoes the next day. We also did a short run up the west
coast with Bongripper
(shout out to all the Dales and Boogies out there), and that was a wild ride.
We definitely made some fond memories on that run.
When we played in Austin,
we made a point to go around and see some of the sites from “Texas Chainsaw Massacre”, and that was
pretty cool. Recently, playing at Psycho
Las Vegas was incredible. That whole weekend was amazing. We made a bunch
of new friends, and saw just as many old ones. Aside from playing music, the
best thing about being in Goya is travelling and meeting a bunch of
like-minded people! I can’t think of anything I would rather do.
SL:
Finally, do you have any final comments/word of wisdom you’d like to bestow
upon us?
JO: When you get interviewed, try to keep your
responses short…
The End
Goya "The
Enemy" goes on sale Saturday October 8th 12noon est. Album
includes two unreleased tracks by the band and will be available here
