REVIEW: Windhand & Satan's Satyrs - "Windhand & Satan's Satyrs Split"

By: John Reppion

Album Type: Split LP

Date Released: 16/02/2018

Label: Relapse Records

This is two bands at the top of their game, producing some of their finest work to date

“Windhand & Satan’s Satyrs Split” CD//DD//LP track listing:

1). Windhand – “Old Evil”

2). Windhand – “Three Sisters”

3). Satan’s Satyrs – “Alucard AD 2018”

4). Satan’s Satyrs – “Succubus”

5). Satan’s Satyrs – “Ain’t That Lovin’ You, Baby”

The Review:

I was lucky enough to catch Windhand and Satan's Satyrs playing together when they toured the UK at the end of 2017. At the time I didn't quite see the kinship between the two bands, but thanks to this new Relapse Records split release, the connection is now somewhat clearer to me.

On first listen Windhand’s opener, “Old Evil”, sounds like a track straight off of “Griefs Infernal Flower” (and that’s definitely no bad thing). Further plays however, reward the listener with something that’s actually a few degrees heavier, and tighter than the content of the 2015 album. Essentially it’s like the most Windhand that Windhand have ever been; they are well and truly on point here. “Three Sisters” is built around one simple and massive riff, with added keyboard gloom courtesy of Jonathan Kassilow (of Sinister Haze and former Windhand Split-buddies Cough). The track is staggeringly doomy: lumbering and powerful and miserable, and pretty fucking wonderful overall.

“Alucard A.D.” starts things off on the Satan’s Satyrs half of the record, and it does so in heavy style. Now previously, thanks to their 2015 album “Don’t Deliver Us”, I thought of Satan’s Satyrs as a kind of Glam Punk retro rock kind of band, but that’s not what they sound like here. This is juicy, juicy stuff which reminds more than a little of Electric Wizard’s “We, The Undead”, in the best possible way. 

“Succubus” follows on wonderfully well with a main riff that’s both doomy and kind of cheeky and funny. There’s more than a hint of NWOBHM in the guitar work, and the whole thing just slots together in such a way that, even after several listens, still hasn’t failed to put a smile on my face. Closer “Aint That Lovin’ You Baby” is much more in line with my previous expectations with regard to Satan’s Satyrs. It’s a sleazy 12 bar blues that clicks into double-time half way through before going down in a blaze of Cock Rock guitar solos. Claythanas'/Clayton Burgess' shout of “thank you, goodnight!” is all that’s really missing from the end of this obvious set-closer.

Sometimes these split EPs can feel a bit like filler between “proper” releases; songs that didn’t make it on to the main record, or versions of some work in progress that’s not yet quite come together. That is definitely not the case with this Windhand / Satan's Satyrs release however. This is two bands at the top of their game, producing some of their finest work to date. So much so in the case of Satan's Satyrs that

I’m really regretting missing the beginning of their set back in October.

“Windhand & Satan’s Satyrs Split” is available here

Band info: Windhand || Satan’s Satyrs

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Pale Mare (Toronto, Ontario)

By: Mark Tremblay

Album Type: EP

Date Released: 10/11/2017

Label: Medusa Crush Recordings

For those of you who long for the days of “Blessed Black Wings” era High on Fire, this record is the perfect trip down memory-lane.  If you dig thick and dirty riffs, you’ll dig Pale Mare.

“Pale Mare EP” CS//DD track listing:

1). Descolada

2). Carthage

3). Hoplite

The Review:

Toronto’s Pale Mare has finally released their long awaited self-titled EP. After making a name for themselves locally opening for acts such as Windhand and Weedeater, Pale Mare have unleashed their well-honed brand of sludge metal. For those of you who long for the days of “Blessed Black Wings” era High on Fire, this record is the perfect trip down memory-lane.

The EP comes out of the gate swinging with “Descolada”; a song built upon a heavy riff that would make Matt Pike smile. Where Pale Mare break from the pack, however, is this jazz break they’ve fused into the middle of the song. The clean shimmering guitar chords and wah-tinged bass give them a nuisance and balance not often found in riff-driven music.

 “Carthage” is a straight out banger that page homage to early Baroness EP’s “First” and “Second” while adding their own twists. Luke Roberts’ drum fills on this track are particularly jaw-dropping. Given the fact that he is also the guitarist and main creative force behind Ayahuasca, it begs the question “Is there anything Luke Roberts can’t do?”.

The albums closer “Hoplite” is continuation of all these elements mashed together in one riff-crammed magnum opus. Pale Mare is a throwback to the hey-day of the Savannah sludge metal of the early 2000s, only with a twist. If you dig thick and dirty riffs, you’ll dig Pale Mare.

“Pale Mare EP” is available here

Band info: bandcamp || facebook

REVIEW: Witchthroat Serpent - "Striped Dragon" (EP)

By: Richard Maw

Album Type: 7”

Date Released: 16/06/2017

Label: Svart Records

“Striped Dragon” DD//7” track listing:

1). Striped Dragon

2). No Way to Escape

The Review:

Following up debut “Sang - Dragon” with this two track EP is a smart move- riffs pound, organs swirl, vocals wail... business as usual for these French doomers!

A-side “Striped Dragon is a weighty and psychedelic excursion into the realms of Electric Wizard but the band are sleeker and more streamlined. Both tracks come in almost at the six minute mark with lots of overdrive and lots of retro atmosphere.

“No Way To Escape” is just as heavy, but perhaps even more driving in sound. Simply put, if you heard the debut and follow up “Sang-Dragon” then you know what to expect here. Essentially the doom version of Motorhead, I am amazed that the band have not yet written a song called Born Toulouse... but there is still time. This is real fuzzed up doom. Vive Le Serpent!

“Striped Dragon” is available on vinyl here and digitally here

Band info: bandcamp || facebook

FFO: Electric Wizard, Windhand, Sleep, Cough

ALBUM REVIEW: Conclave - "Sins of the Elders"

By: Brandon Green

Album Type: Full Length

Date Released: 10/06/2016

Label: Patac Records |

Lost Apparitions

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening

“Sins of the Elders” CD//CS//DD track  listing:

1). (Intro) Descend

2). Funeral Fyre

3). Black Lines

4). Cut it off

5). Mammut

6). Cold Comfort

7). Sins of the Elders

8). Kaltas (Outro)

The Review:

In a world where it seems stoner doom is king; Conclave pull off their best work to date with an anger-soaked massive riff machine. I was lucky enough to see Conclave live in Boston a few times, and they were overwhelming with their stage presence, masterful song crafting, and beastly amp setup. It’s rare that a band captures their live sound on a record, and Conclave have totally nailed with this. With each song clocking in around 7-9 minutes, this is a doom release begging to be cranked. The album invokes visions of punishment, despair, hopelessness as you wander through the tomb-like atmosphere this album creates.

“Sins of the Elders” starts off with “Descend” which sets the mood using rain samples, reverb/delay drenched clean guitars, and spoken word before tossing the listener into a dark well full of pummeling riffs. “Funeral Fyre” is loaded with powerful hits and soaring growled vocals, layered with massive sounding distortion/fuzz. Jerry’s vocals really shine on this release, giving a melodic feel to the angry shouting style seen in stoner doom. His vocals remind me of the style seen from Tom Fischer in Triptykon’s releases. It’s clear the band has a fantastic handle on the genre and introduces their own spin with more variation, catchy riffs, melodies, and killer guitar solos reminiscent of 90s era death metal.

The third track, “Black Lines,” hones in on the more stoner doom sound of the band and builds up with crushing riffs and amazing drumwork. Dan Blomquist is a fantastic drummer, and the highly creative drum riffs follow the guitar work and add an entirely new amazing layer to the song writing on this entire album. “Cut it Off” immediately reminded me of early Crowbar with the slow tempo drums and a darker more progressive approach to the Sabbath riff style. When the chorus comes into the first solo, this song quickly became one of the highlights of the album for me.

“Aethereum” stood out to me with the low spoken word vocals over the crushing doom riffs and syncopated drums. The reverb/delay drenched leads in this song make it sound particularly evil mixed with the spoken vocal style. The alternating solos on the song were a welcome addition, and showcase that Conclave are far more than your run-of-the-mill stoner doom band. I loved this vocal approach so much that I wish it was peppered into some of the other songs. “Cold Comfort” grabs the listener in anticipation with guitar feedback and overdrive bass/drums to build atmosphere before the band crushes the listener with what they do best.

The title track, “Sins of the Elders,” was my favorite of the entire release with a down-tuned melodic Iron Maiden inspired riff which invokes feelings similar to the killer album artwork. The guitar harmonies sound great and really showcase the chemistry of the band. The harsh backing vocals in this song and double bass bring a welcomed dynamic to the band’s sound. The final song, “Kaltas” brings a calming atmosphere similar to how the album started using a reverb-laced acoustic guitar and subtle cymbal hits. An excellent closer giving the listener the feeling they completed a journey back to familiar territory and conquered the welcomed horrors in the depths of “Sins of the Elders”.

Overall, Conclave are a band you should absolutely pay attention to if you’re a fan of the stoner doom genre and love bands in the riff worship category. They bring a refreshed approach using melodic/harmonized guitars, reverb soaked leads, soaring yet aggressive vocals, and highly energized drumming. Conclave paced this release very well, and I frequently found myself having riffs stuck in my head long after listening. For $10 on bandcamp, you get master-crafted doom with a full 6 panel digipak with amazing artwork completely reminiscent of how the record sounds. Throw on some headphones, and descend into the bleak punishing atmosphere of “Sins of the Elders.” I highly recommend it.

“Sins of the Elders” is available here

Band info: bandcamp

FFO: Tryptikon, Crowbar, Electric Wizard, Windhand, (early) The Sword

ALBUM REVIEW: Witchthroat Serpent - "Sang-Dragon"

By: Jake Wallace

Album Type: Full Length

Date Released: 30/04/2016

Label: Hellas Records |

Deadlight Entertainment

This is a dominating record and something which the band can be sure will appeal to all kinds of fans of stoner doom and sludge. Witchthroat Serpent have left a deep scar in the genre and it will take a long time to heal with a record so devastatingly heavy.

“Sang-Dragon” CD//DD track listing:

1). Hydra’s Bewitchment

2). A Caw Cries From my Gut

3). Siberian Mist

4). Lady Sally

5). Into the Black Rock

6). Behind Green Eyes

7). Mystical Devotee

The Review:

As the French stoner rock/doom scene steadily grows, Toulouse's Witchthroat Serpent have released their new album 'Sang-Dragon' and it is nothing short of colossal. Interestingly, 'Sang-Dragon' translates as 'Dragon's Blood' and there is plenty of dragon fire wrapped up in these deliciously devastating riff attacks. Many have made the comparison to Electric Wizard and although it is plain to hear, I think these guys are almost worthy of Electric Wizard sounding like THEM. With 7 tracks clocking in at around 40 mins, it is a thoroughly solid display of gargantuan riff-play.  

 The opening track 'Hydra's Bewitchment' is a mellow introduction to the death & destruction that lies ahead. It consists of just over 2 mins of very ominous wah pedal work that grips you in from the get-go and you just know it will be followed by something very powerful... which it is. Track 2, 'A Caw Rises From My Guts', is absolutely soaked in fuzz and the down-tuned guitar work is immensely satisfying. The vocals are probably the reason many people liken the band to Electric Wizard, they are very similar styles but these guys bring much more finesse to their songs. The main riff is extremely catchy and is guaranteed to get stuck within the depths of doom tunes in your brain for at least the rest of the week. Around the 3:40 mark the tempo slows down even more and the weight of the riffs increase. The last minute of the song includes some subtle lead work which sears through the thick walls of low-end rumble, and bends your mind as the track winds to a close. 

'Siberian Mist' is the third track on the album and begins with a filth-laden bass line which provides a canvas for the bluesy guitar licks that follow. This style of fusing both sounds reminds me a lot of London's Orange Goblin and you can see there is a lot of influence from England's premier league of doom heavyweights. There are also parts of this song that remind me of

Gothenburg’s sonic titans Monolord. As the years go by and the number of bands playing this style of music multiply, it should become a lot harder to reinvent the wheel but Witchthroat Serpent know exactly how to craft such a thing.  

'Lady Sally' begins with a riff that would break the Richter scale. This is probably one of my favourite songs on the album and it's not hard to see why. The huge riffs rumble on like a huge prehistoric beast marching across baron wastelands and the chorus vocals are superbly powerful and catchy. This is most certainly a song that would be mind-blowing to witness live and I will definitely be looking out for these guys touring near me in the near future just to hear this track up close. 

The fifth track on the album 'Into the Black Wood' starts with some more of the wah-doom sound they have going on before exploding into a molten onslaught of heaviness. It is a relentless beast that can't be tamed and then just over halfway through, the tempo blasts up and the sludge takes off into the sky. The sheer number of riffs these guys can produce and deliver is astounding and after a couple listens they become ingrained into your mind. The ending is very powerful as well as they slowly bring the speed down until the headbanging becomes a slow, rhythmic nod as the track closes. 

The penultimate track ‘Behind Green Eyes’ is the longest song on the record clocking in at 8:46. It is a behemoth of more solid doom riffs. There are some great vocal harmonies on this track which really add an extra level of depth to the lyrics and create a strangely eerie vibe. The riffs chug along slowly and powerfully and there are some elements of Saint Vitus present throughout. The track breaks down around the 5 min mark and the deep bass line keeps the slow train rolling down the track. The added lead parts are patient and delivered well as a perfect complement to the bass line and the subtle keys in the backdrop.  

The final track ‘Mystical Devotee’ wraps up the album with a powerful, pummeling display of rhythm and riffs. There is no slowing down from the onslaught of power that has been present throughout the entire album. There is a great change just after the 4 min mark and Witchthroat Serpent give birth to yet another dark passage of doom. The whole record is completely steeped in darkness and the mental imagery that goes with the music is completely on the money.  

The cauldron of sludge is overflowing and every ingredient of the potion has been carefully considered. This is a dominating record and something which the band can be sure will appeal to all kinds of fans of stoner doom and sludge. Witchthroat Serpent have left a deep scar in the genre and it will take a long time to heal with a record so devastatingly heavy.  

“Sang Dragon” is available here

Band info: bandcamp || facebook

FFO:  Electric Wizard, Windhand, Sleep, With The Dead

ALBUM REVIEW: Mammoth Weed Wizard Bastard - ‘“Y Proffwyd Dwyll”

By: Charlie Butler

Album Type: Full Length
Date Released: 30/09/2016
Label: New Heavy Sounds

  

“Y Proffwyd Dwyll” is a celestial voyage of crushing density.  “Valmasque” sets the tone for the album, establishing a towering wall of sound built from huge lumbering riffs, set against a backdrop of swirling space noise and sci-fi synths that enhance their attack and swell their sound to a galactic scale.  Mammoth Weed Wizard Bastard have struck gold here with their distinct brand of spaced-out carnage.

‘“Y Proffwyd Dwyll” CD//DD//LP track listing:

1). Valmasque
2). Y Proffwyd Dwyll
3). Gallego
4). Testudo
5). Osirian
6). Cithuula

The Review:

Mammoth Weed Wizard Bastard is a name that conjures certain preconceptions. New LP “Y Proffwyd Dwyll” is a colossal slab of cosmic heaviosity worthy of such a ludicrous moniker. However, the execution of these six epic tracks is a million miles from the standard stoner doom you might expect from a band whose name could’ve been generated by pointing at four random words on an Electric Wizard lyric sheet.

“Valmasque” sets the tone for the album, establishing a towering wall of sound built from huge lumbering riffs. The band more than hold their own in this department, the monstrous intro of “Osirian” being a particularly prime example. Mammoth Weed Wizard Bastard have a couple of tricks up their sleeve though that elevate their sound into another dimension.

The first is their use of electronics. The whole record is awash with swirling space noise and sci-fi synths that enhance their attack and swell their sound to a galactic scale. The instrumental “Gallego” brings to mind Hawkwind and the BBC Radiophonic Workshop after undergoing a sludge conversion.

The other key element here is the vocals. On first listen Jessica Ball’s vocals seem too smooth and polished against the mayhem in the background. Subsequent listens reveal them to be the lynchpin that brings everything together. Coated in layers of sweet reverb, they increase the hypnotic psychedelia of the music while adding catchy melodic hooks. The poppy chorus of “Valmasque” is like Grimes fronting Sleep doing the soundtrack to 70’s Doctor Who. The climax of “Cithuula” sees her channelling Chino Moreno at his most dramatic while the band provide a suitably crushing Deftones-indebted backdrop.

“Y Proffwyd Dwyll” is a celestial voyage of crushing density that threatens to draw their home of Wrexham into a black hole. Mammoth Weed Wizard Bastard have struck gold here with their distinct brand of spaced-out carnage.

‘“Y Proffwyd Dwyll” is available here

Band info: bandcamp || facebook

RIYL: Conan, Slomatics, Yob, Windhand

INTERVIEW: "The End of the Beginning" with Boston's Doom-laden metal maestros Second Grave

In life, it is often said that timing is every thing, indeed it is through careful consideration of other external factors than can often influence some desired outcome, a time to be born, a time to die, a time to fight, a time to love, a time for peace, a time to riff.  We all have a clock that has been set but it means something different to everyone.  Whilst timing, is used to refer to the time at which something happens or is planned to happen, or to the length of time that something takes, it is also a skill or action of knowing when to judge when is the right moment to do something.  So in the case of Boston’s, Second Grave, you could say my timing to introduce the band to our readers sucks. But first let us set the scene…. 

Conceived in early 2012, Second Grave combine elements of doom, heavy rock, and metal, with an emphasis firmly planted in riff worship. Their sound partially hearkens back to a time when red hot tubes–pushed to their limit–delivered massive tone through huge cabinets, while delivering epic tales of ancient battles, horror, human nature and the mysteries of the arcane.

By the end of 2012, Second Grave had released their debut self-titled E.P. played shows with likes of Witch Mountain, Castle, Elder, and Pilgrim.  A 2-song 10” EP “Antithesis” (released by Pariah Child on vinyl) would follow in November 2013 and the band would appear at the Stoner Hands of Doom festival in Richmond, VA. May of 2014 saw the band at the Eye of the Stoned Goat Festival in Worcester, MA.

So fast forward to August 2016, I receive an email from Second Grave to announce the release of their long-awaited full length album—3 years in the making.  Cue much excitement, a killer band, killer riffs, the timing was perfect? Well you’d think!

Please welcome Second Grave, it is “The End of the Beginning”

SL: Can you give us an insight into how you started playing music, leading up to the formation of Second Grave

Chuck Ferreira (drums):  I think, like most other musicians, as children the love of music takes hold of you and, at some point, you pick up an instrument—often not the one which you're most proficient on as an adult—and start emulating your musical heroes, and this process just grows until you develop some degree of ability.  Practice and jamming, over and over again, and you get to a point where you join a band or start a band, etc. 

As for Second Grave, we formed in 2012 when drummer, Chuck Ferreira, contacted singer/guitarist, Krista Van Guilder, about “starting something heavy”.  Initially not sure about it, it was several months before Krista reached back out to Chuck to determine if he was still interested—he was, and so the initial steps toward Second Grave forming were taken.  Krista brought along Chris Drzal (guitar) and eventually Dave Gein (Black Pyramid) was brought on board to play bass.  When Dave left a couple years back (he plays on both the “Second Grave” and “Antithesis” EP s), Maureen Murphy joined the band and we kept rolling along!

SL: What can you tell us about your upcoming record and where do you feel it sits within the context current doom scene

Chuck Ferreira: The record, “Blacken the Sky” is now officially out (currently available for a name-your-own-price on Bandcamp) and features a hugely collaborative effort where we were all of the same mind set.  We don't like to peg ourselves as being strictly a Doom band, but it's clearly a huge part of our sound.  Each member of the band has a wide array of influences, and having played together now since early 2012, we've sort of figured out a way to meld those influences into the “Doom” sound that you hear on “Blacken The Sky”.

The current Doom scene is extremely diverse, with many various off shoots—blackened Doom, Doom Metal, Stoner Doom, Sludge, etc.  “Blacken The Sky” probably has a foot in the classic Doom sound in the line of the Black Sabbath inspired sound, and one in the more Doom Metal genre, but even within that description, there are variations.  At the heart of it, though, it's extremely melodic and heavy, and we feel it doesn't purposefully try impose any particular style, rather, it incorporates all the elements we love.  

SL:  How was the mood in the camp going into the recording of the record

Chuck Ferreira: The mood was great—but also determined.  It took us four years to finally get to the point of recording a full length—we had released two very well-received EP s prior, but it was time to buckle down and get this out.  We had a lot of great new material and worked hard to hone it down.  When it came time to tracking (at Mad Oak Studios in Boston, with co-producer Benny Grotto), we were in a good place because we had these songs down really well.  There wasn't much tinkering in the studio. 

SL: What can fans look forward to from you over the next 12 months? How is your schedule shaping up?

Chuck Ferreira:  In a true “doom” and despair scenario, many people will be surprised to learn that as of August 27^th we've decided to put Second Grave to rest.  Everyone is going in different directions with new projects and we're all just at different places in our lives from the time this band started in 2012.  There are the obvious musical differences and desire on the part of all four members to head down new paths, but we all remain committed to making sure everyone gets to hear “Blacken the Sky”.  In a lot of ways, this full-length is a great way to cap off what's been a great run for us, we've had the honor of sharing the stage with bands like Windhand, Witch Mountain, Castle, Elder, Jucifer, Gozu, Gospel of the Witches, Pilgrim, and many others, and we made a lot of friends along the way.  We're thankful for all of that.  Doom on. 

• Chris Drzal, guitarist, has a heavy/doomy due project called "Winterbolt" that he's getting going.

• Krista Van Guilder, vocals guitar, and Maureen Murphy, bass, are getting a new project going that will likely be unveiled later in 2016.  No name yet.

• Me (Chuck)--I'm involved with several projects in the Boston area (non-metal bands Eddie Japan and Aloud), as well as being a busy session drummer.  It's only a matter of time, though, before I get a new heavy rock/doom project going again.

“Blacken the Sky” is available here

Band info: bandcamp || facebook

REVIEW: "Untitled" by Vanishing Kids (EP)

By: Theron Moore

Album Type: EP

Date Released: 13/05/2016
Label: Independent

Paying homage to Windhand marrying Ty Segall; in a fuzzed out conjoining of sounds and soundscapes traversing planes of terra firma.  That is Vanishing Kids.

‘Untitled” CD//CS//DD track listing:

1). Mockingbird

2). Eyes of Secrets

3). Without A Sun

4). Magenta Blue

The Review:

Remember the “Kraken” from “Clash of the Titans?” Unleash that with the essence of Blue Cheer and that’s “Mockingbird,” the first track from Vanishing Kid’s 4 song EP.  Like the other songs here, “Mockingbird” has a flowing, dream tapestry about it, like something you’d hear on a David Lynch soundtrack.  Nightmarish and beautiful.  With layer upon layer of texture.  The kind of thing you can reach out and touch with your mind; guided by Nikki Drohomyreky’s vox, a lifeguard in a sea of strangeness; her soothing vocals guide you ashore, safely. 

“Eyes of Secrets” roots out, like a tree searching for water, goes deeper, scouring the depths of heaviness and doom in other ways, not overtly heavy.  Rather travelling psychedelic pathways to humming consciousness, paying homage to Windhand marrying Ty Segall; in a fuzzed out conjoining of sounds and soundscapes traversing planes of terra firma.  That is Vanishing Kids.  Neural pathways electrical, alive…

Penultimate track, “Without a Sun,” dreams further, velvet, smooth, and instead of going for the anvil’s forge.  Pounding, streaks upward to the sky, searching for Icarus, conjuring notions of Salems Pot and Wooden Ships, multiple freak outs allowed, and often.  Embrace it.  Escape into it.  Get lost and found again.  Somewhere between LA Witch and the end of forever and still, heavy like the Earth. 

And then slip into the last track, “Magenta Blue,” beyond the horizon, through the rainbow and silent, heavy drift; the land of lucid, wavy, thoughts, where heightened, sensory perception kicks in, giving nod to active brain, active players Nikki Drohomyreky’s vox with Jason Hartman- Guitar; Jerry Sofran- Bass and Hart Allan Miller- Drums.  The dream is complete.  Psychedelicized.  Doom be thy name.  Your brain will see you now…

‘Ruins’ is available here

Band info: bandcamp || facebook