…they’re coming to get you: GOYA – ‘Satan’s Fire’ 7” (Album Review)

Satanic doom champions Goya are giving listeners another reason to revisit their majestically evil and sonically depraved Satan’s Fire EP (review HERE). Released in 2014, both digitally and on limited CD through Owens’ own Opoponax Records imprint, Satan’s Fire found Goya seamlessly blending evil, freak-out psychedelia in the vein of Glitterhouse Records-era Monster Magnet (particularly opening track “Malediction and Death”) with the filthiest, sleaziest riffs to emerge from the bloated underbelly of the doom underground. While the Satan’s Fire 7” is not a literal translation pressed on wax, sadly, as it only features the title track, BUT there is more than enough reason to hunt down the new 7” other than having the ability to bury a needle into “Satan’s Fire” or for simply being a completist. The Satan’s Fire 7” may have shed the awesome “Malediction and Death” and the haunting percussive instrumental “Symbols,” but it does come backed with an incredible cover of Iron Maiden’s “Wrathchild.”

Barely recognizable upon a casual listen, Goya’s subsonic, bass-heavy rendition—like a heaving mass of rising dough—palpably bloats its way through stereo speakers and menacingly threatens to suffocate the listener for its six minute duration. Goya defiantly matches Iron Maiden’s galloping energy with a gargantuan, sloth-like lethargy. Where Paul Di’Anno imbued “Wrathchild” with a streetwise, yet likeable upbeat sneer, Jeff Owens counters with a suitably gruff, road-weary bellow. Both versions have exceptionally killer, somewhat spacey guitar solos, but Owens’ are appropriately twisted and acid-drenched.

No matter what tune Goya had decided to tackle from Iron Maiden’s vast discography the results would have been remarkable, but it is particularly cool that the band chose an upbeat number from the Di’Anno era to deconstruct and rebuild into an abominable golem of doom-and-gloom. Fans of Maiden or not, Goya’s rendition of “Wrathchild” is worth the price of admission alone.

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…the Devil descends on you: GOYA – ‘Obelisk’

And the dragon stood on the sand of the seashore. Then I saw a beast coming up out of the sea, having ten horns and seven heads, and on his horns were ten diadems, and on his heads were blasphemous names.

Obelisk, the second full-length from Phoenix three-piece Goya, is a monumental step forward from what was already an impressive beginning. The band’s debut, 777 (review HERE), was a grimy, acid-drenched excursion into the seedy underbelly of heavy music occupied by the likes of Electric Wizard, pre-’93 Monster Magnet, Blood Farmers, and, of course, classic era Black Sabbath. The band followed their debut with the excellent 2014 EP Satan’s Fire (review HERE) and a split with Seattle’s Wounded Giant featuring Goya’s “No Place in the Sky” from the forthcoming Obelisk. Each successive release has found Goya transcending and, in many ways, eclipsing their influences.

Obelisk, like the beast rising from the sea, is a multi-headed blasphemous monster of an album that demonstrates not only Goya’s propensity for crafting evil, unforgettable heavy tunes, but also their ability to manipulate the album’s overall tone with the moody instrumentals “The Star” and “Echo from Space.” Though both are brief, “The Star” and “Echo from Space” add ominous textures to the doom-laden album. The best example of Goya’s growth and their willingness to spread their wings can be heard on the haunting “300 Eyes.” It is a sparse acoustic number that is equal parts melancholia and self-loathing. Jeff Owens gives a nuanced vocal performance that simultaneously conveys sadness and a seething, underlying rage.

Although “The Star,” “Echo from Space,” and “300 Eyes” are all nice distractions, at the end of the day—with Goya—it is all about the riffs and Obelisk is in no short supply. While there is no single weak track to be heard on the entirety of the album nothing quite stands out like the seemingly Richard Ramirez inspired “Beyond Good Evil.” The track is not only among the heaviest of the collection, but it is also imbued with the album’s most infectious chorus—both musically and vocally.

Since the release of 777 every subsequent Goya release has been highly anticipated around these parts and they have yet to disappoint. Obelisk is easily the band’s most varied release to date, but it also stands as their darkest and grimiest. Goya have channeled a black, twisted psychology with their latest both musically and atmospherically. Obelisk, with its heavy, overblown riffs and feedback strewn soundscapes, is top-tier material that easily stands among the year’s best. Highly recommended…

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...see the world as it turns to dust: GOYA - 'Satan's Fire' EP

There’s a place where the gargantuan, Iommic riffs of Sleep collide with the gritty, feedback-strewn psychedelia of Glitterhouse Records-era Monster Magnet and the narcotizing waves of distortion unleashed on Bardo Pond’s peerless 'Lapsed' album, and that particular destination can be found on Goya’s excellent 'Satan’s Fire' EP. Goya’s initial outing, '777' (review HERE), found the band reveling in the seedy underbelly of stoner metal and doom, bringing to mind inevitable comparisons to such acts as Electric Wizard, Cough, and, most notably, the aforementioned Sleep. 'Satan’s Fire' is in no way a departure from the band’s earlier accomplishment, but it is definitely a refinement of style executed with an array of effects pedals and impossibly fuzzed-out distortion, amplified by extreme hatred and disgust. With 'Satan’s Fire'—and their subsequent split release with Wounded Giant on STB Records—Goya is officially a force to be reckoned with.

EP opener “Malediction and Death” is about as evil as it gets. It’s a slow, sinister build of oscillating feedback encircling a mighty, wyrm-like distortion that sounds as if it is finally stirring after centuries of uninterrupted slumber. Amidst the heaving, roaring chaos, guitarist and vocalist Jeff Owens (who also performs bass duties on this release) spits forth vitriolic curses and condemnations. When he snarls, “I wanna watch you die,” there’s absolutely no reason not to believe him. “Symbols,” the middle track, is a brief instrumental that is both sparse and ghostly. Consisting of only a handful of raps on the cymbals courtesy of drummer Nick Lose, “Symbols” isn’t quite as unsettling or as jarring as the percussive soundtrack to The Texas Chainsaw Massacre, but tucked neatly between “Malediction and Death” and the title-track “Satan’s Fire,” the results are quite effective. “Satan’s Fire,” unlike the EP opener, does not hesitate to launch into its stoned-groove. It’s another killer track that easily surpasses what the band had accomplished with '777.' The only real complaint that could be leveled against “Satan’s Fire” is that it is tonally and tempo-wise too similar to “Malediction and Death.” It’s a minor complaint though, as this EP totally smokes.

For those who miss the early days of Monster Magnet, particularly the raw, heavy, evil-inspired and drug-fueled excess found on their self-titled EP—or their spaced-out mind-fuck, 'Tab'—then Goya’s 'Satan’s Fire' may partially fill that void. While Goya doesn’t quite go to the beyond by reaching out to the vast expanses of space rock as Wyndorf and company have, there is still enough dopesmoke and cannabis-induced paranoia to appease any true lover of stoner metal or psych-tinged doom. 'Satan’s Fire' is an impressive follow-up to a pretty damn fine album, and Goya is definitely a band to keep an eye on.

(Originally published at Heathen Harvest Periodical, edited by Sage Weatherford)

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…all hail nothing: Goya/Wounded Giant – split LP

Goya and Wounded Giant—two heavy-hitting up-and-comers who have already released impressive debuts—have been united under the STB Records banner to release a split album that builds upon and surpasses much of what either band has produced in the past and, hopefully, serves as a harbinger for great things to come from both camps in the upcoming year. Goya’s ‘777’ (review HERE) exploited the dingier, seedy underbelly of stoner metal in the vein of such bands as Electric Wizard, Glitterhouse Records-era Monster Magnet, or Stonehelm with hooks thickly veiled under a canopy of nearly impenetrable dope-smoke. Wounded Giant, on the other hand, released an album that was mainly characterized by a lumbering, drunken aggression that was interestingly rivalled by melody and groove in ‘Lightning Medicine” (review HERE). From the sound of it both bands have continued along their respective trajectories and have delved even further into the cauldron black depths of glacial-paced, down-tuned metal—each with their own unique take.

Goya’s offering is the epic track “No Place in the Sky,” a mesmerizing tune of murky fuzz and feedback accentuated with an occasional moment of wah-pedal abuse. Goya’s influences are far from being thinly veiled and, to be honest, it’s difficult not to draw comparisons to Electric Wizard’s ‘Witchcult Today,’ but Goya is far from being a mere clone. Jeff Owens’ husky, sonorous croon can be the perfect antidote for some of Oborn’s whinier moments. “No Place in the Sky” relies heavily on repetition to make its point—point that is embellished with subtle nuances and effects so as not to grow tedious or overstay its welcome. “No Place in the Sky,” along with the band’s ‘Satan’s Fire’ EP are easily some of the finest tunes from the Arizona three-piece.

Wounded Giant offer a bit more variation, but that can mostly be attributed to their two tracks to Goya’s one. “The Room of the Torch” is carried along by the rhythm section punctuated by a bass-heavy groove. This is straight up bludgeoning metal that really picks up with a fist-pumping chorus. Where Goya’s opening track was intent on warping the listener’s mind it would appear as if Wounded Giant was determined to stave in their skull. “Dsytheist” just may be the highlight of the entire split with its pummeling, barbarian-like strut and inventive riffs, it slightly echoes the creativity displayed on “Sinistra” from their debut. “Dystheist” matches heft with catchiness for one of the most kickass tunes to be released yet this year.

So there you have it…Goya will get you high and transfix your soul while Wounded Giant dashes your skull against a brick wall. These are both bands to watch out for not only because of their killer debuts, but especially based on the strength of this split release. I’ve heard rumors of a second pressing from STB Records later this year. Don’t sleep on it…

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…forever dead forever stoned: GOYA – ‘777’

With their 2012 demo as a foundation Phoenix, Arizona three-piece Goya have constructed a Sabbathian altar to the heavens which emanates and projects mind-warping waves of distorted bliss and acid-soaked leads into the cosmos with their full-length debut, ‘777’. Not simply a flexing of reverential muscle, ‘777’ brings heft and groove to the forefront resulting in a perfect blend of sludge, doom, and tripped-out stoner metal with no shortage of hooks. And that is what separates Goya from the herd—the hooks. Usually in the form of a catchy guitar lead, but they also come in a well-placed peel of feedback, a vocal melody or lyric, or from the down-tuned, earth-quaking hypnotic tremors of the rhythm section.

‘777’ is instantly a gratifying listen, particularly for those who like their riffs overblown and grimy. “Night Creeps”, one of the strongest tracks of the album and a carryover from the demo, is a fine example of the band’s ability to create or potentiate euphoria through the repetition of fuzzed-out riffs and interstellar guitar leads. The majority of the track is as slothful as a Reverend Bizarre jam, but infinitely more spacious and tripped out. As a whole, if forced, ‘777’ could be labelled “stoner metal”, but the album—and “Night Creeps” in particular—brings a heavy dose of doom to the table.

It should come as no surprise that in addition to a heavy veneration for altered states of conscious Goya imbues the six tracks of ‘777’ with an occult atmosphere both musically and lyrically. With the final track—the aptly titled “Bad Vibes”—Goya adds a misanthropic edge to the proceedings resulting in one of the darkest tracks of the album. Dismiss the tales of raising the dead or the stealing of souls, “Bad Vibes” has nothing but disgust for the human race while upholding a veneration for the Beast.

Goya’s ‘777’ is a fantastic late addition to an already killer year in heavy music. Given the time to stick around and fully sink in it probably would have made several more year-end lists. As it stands ‘777’ is some of the finest sludge and doom influenced metal to be released this year. Despite an obvious debt to Black Sabbath, Goya has embraced the conventions established by their forefathers and have made travelling a well-worn path both interesting and compelling. Goya’s approach to heavy, psychedelic music will likely appeal to fans of Tombstones, Curse the Son, Wounded Giant, and ‘Witchcult Today’ era Electric Wizard.

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