…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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…all deities are nothing and dust: GRAVECODE NEBULA – ‘Sempiternal Void’

This past October Denver Doom Fest III steeped the Mile High City in two nights of suffocatingly heavy tunes from bands from around the US and even from the other side of the globe. Each and every band was killer in their own respect, but there was one in particular that plumbed depths so unfathomable and dark that they remained in a league all their own. Salt Lake City’s blackened funeral doom miscreants Gravecode Nebula gave the most harrowing and bleak performance of the festival. Stage presence and musicianship were artfully combined for a maximum effect of creepy atmospherics and nightmare psychedelia. Shortly after the band’s performance they released their full-length debut, ‘Sempiternal Void’, through the Baneful Genesis Records Bandcamp page and, in doing so, have demonstrated their unnatural ability to tune in sinister vibrations from the darkest reaches of the infernal abyss and channel them into a blackened doom cacophony of the highest order.

Perhaps putting their best foot forward ‘Sempiternal Void’ opens with “Bloodcraft of Andromeda”, a maelstrom of wailing guitars, guttural incantations, swirling noise, and occasional blasts of fury—the prime elements from which Gravecode Nebula performs their unholy, cosmic transmutations. “Bloodcraft of Andromeda” is the most textured track of the bunch and includes the most twists and turns. The vocals of The Zodiac—a highlight throughout the entirety of the album—also exhibit the greatest range by effortlessly shifting from hellish death growls, to tortured wails, to deranged gibbering. Easily one of my favorite tracks of the year. Though “Bloodcraft of Andromeda” is arguably the strongest, most serpentine track of the album, “Lunar Dionysian” is a close second by balancing blackened fury with otherworldly atmospherics. Opening with a melancholy lull in what can only be described as wind chimes gently clanging in Hell the majority of “Lunar Dionysian” simply shreds.

With six tracks and a runtime just over the hour mark ‘Sempiternal Void’ is an oppressive experience from start to finish, but despite the long runtime the album always remains engaging, albeit punishing at times. Gravecode Nebula has crafted one of the most interesting albums of the year, an album that is veiled in a seemingly impenetrable, noxious atmosphere. Before the journey ends the closing track, ‘Abhorrent Absorbant (The Salivation of Sand)’, does include sparse moments of undeniable beauty courtesy of tastefully used keyboards and effects. ‘Sempiternal Void’ is a dense album and it takes time to fully grasp it in its entirety, but for those willing to answer the call of the code it’s well worth it. Look for this to be pressed on vinyl in 2014...


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KHEMMIS – ‘Khemmis’ EP

As a late addition to fill the void left by the withdrawal of Fister from Denver Doom Fest III, the Mile High’s own Khemmis impressively kicked things off for night two of the city’s increasingly awe-inspiring music festival. Despite standout performances from the likes of Black Acid Devil, In the Company of Serpents, Dead Temple, and Gravecode Nebula, Khemmis had no problems bringing some of the heaviest tunes of the night to the table and leaving their sonic mark. As a live entity the four-piece was a tight, seismically heavy barrage of psychedelic doom accented with moments of melodicism.

Nearly a month after their performance the band finally released their self-titled EP via Bandcamp and it does not disappoint in the least. Everything that the band displayed live has been captured in the studio. With three killer tracks and a runtime of twenty-three minutes the ‘Khemmis’ EP is, hopefully, a favorable portent of things to come.

“Sunrise/Sunset”, arguably the heaviest track of the collection, crashes out of the gates like an armored sloth ready to wage war: lumbering and lethargic. Amidst feedback slow, bloated riffs roll out like distant thunder and flanged lead guitar turns itself inside-out before the track eases into a mid-paced groove. Clean and sparingly used harsh vocals give the song an added depth and grittiness that complements the sheer weight of the track.

The second tune, “Take the Knife”, is as close to a straight-ahead, sludgy rocker that Khemmis gets. It’s slightly faster paced than the EP opener, but features some great dual guitar harmonies on the latter half of the track and some impressive, heartfelt vocal melodies as well. It’s the perfect way to break up the trio of tunes.

Closing out the EP is the standout track “The Bereaved”, a tune that ups the ante in terms of melodicism. The song’s intro is a slow, somber buildup of drums and clean guitar before the bottom falls out and a distorted wave of bass and guitars crashes down. The track seems to marry the essential elements of “Sunrise/Sunset” and “Take the Knife” into the EP’s defining moment particularly due to the amazing, blissed-out guitar harmonies. A stellar track from start to finish.

Khemmis’ self-titled EP is an exceptional debut that does justice to the band’s live performance and an excellent production job further enhances the listening experience. The band more than adequately balances heft, psychedelia, and melodicism to create their distinctive take on sludge and doom. Fans of Sleep, Black Acid Devil, or even Bardo Pond should give Khemmis a chance. Here’s to looking forward to both more recordings and gigs in 2014…


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…spanning space and time: Bölzer – ‘Aura’ EP

Frantic, angular riffs are strewn about in a seemingly haphazard fashion amidst moments of pure ethereal beauty on the debut EP from Switzerland’s atmospheric blackened death duo Bölzer. ‘Aura’, one of the year’s finest releases, is an example of an album that can offer catharsis in many forms depending on the listener’s mood. At times ‘Aura’ is completely devastating and destructive—a journey to the dark side of the duo’s collective psyche complete with growls and howls belched forth from the chasms of the netherworld accompanied by a sonic onslaught of heavy riffs and percussion. On the other hand, there are moments of sheer atmospheric bliss—unbridled moments coalesce into sweeping anthems that seem capable of spanning both space and time. Regardless of mood ‘Aura’ remains an intense experience from beginning to end.

The opener, “C.M.E.”, is arguably the most intense track of the EP that whips itself into a Dionysian frenzy—a ritual soundtrack whose subjects feverishly offer their servitude to the gods culminating in communal prostration and self-sacrifice by the masses. The second track, “Entranced by the Wolfshook”, rivals “C.M.E.” in intensity, but surpasses the opener in its otherworldly atmospherics. Brief feedback launches into some of the catchiest, most dynamic moments of the album where sky-streaking guitars are hemmed in by coarse, earth-rending riffs. Closing out the EP is “The Great Unifier”, an epic track that plays with furious outbursts and slower, more downtempo moments. While “The Great Unifier” isn’t as immediate or initially striking as the previous tracks, it makes up for it through a prolonged, mid-tempo concentration of force offset by moments of sparse instrumentation.

Not only is ‘Aura’ one of the best releases of the year, but it is also one of the biggest surprises. The duo of HzR (skin decimation) and KzR (X String Flay, Heresy) have crafted an album that, despite a lineage that can be traced back to both black and death metal, defies easy classification. ‘Aura’ is an addictive album and is certainly the most transcendent album to be released this year. With three tracks and a runtime at 23 minutes, “Aura” is simply over too soon, but the band has a couple releases planned for 2014. Bölzer describes that 'Soma', the follow-up EP, “…is intended to complement its predecessor 'Aura' in theme and appearance. The 'spirit'/'body' concept sets a dualistic platform for a cyclic life/death introspective, revolving around war, waged in both the physical and metaphysical spheres.” The duo also reports that their demo, ‘Roman Acupuncture’, is going to get the 12” vinyl treatment as well.

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Year's Best 2013

Full-lengths:

1. CURSE THE SON – ‘Psychache’ *Damn, this album grabbed me by the throat at the beginning of the year and it never let go. Great tunes complemented by some great sequencing.

2. TENTACLE – ‘Ingot Eye’ *The follow-up to ‘Void Abyss’ was everything I hoped for…and more. Trippy, menacing, and utterly evil sounding.

3. UZALA – ‘Tales of Blood & Fire’ *I still maintain that Uzala is one of the most unique doom bands going today. Super cool people and they destroy live.

4. SUBROSA – ‘More Constant Than the Gods’ *The depth to this album is simply mind-blowing. Dark, often surreal atmospheres dominate every tune.

5. THE FLIGHT OF SLEIPNIR – ‘Saga’ *This band just gets better with every release. ‘Saga’ is the band’s trippiest and most varied release to date.

6. LUMBAR – ‘The First and Last Days of Unwelcome’ *I had high hopes for this release and I wasn’t disappointed. Pure rage is off-set by obscured moments of hope. My only complaint is that it’s too short.

7. IN THE COMPANY OF SERPENTS – ‘Of the Flock’ *Similar to Uzala, In the Company of Serpents have released an album that does an amazing job of capturing their live sound. The duo has progressed and the results are amazing.

8. ICE DRAGON – ‘Born a Heavy Morning’ *Seemingly content to move even further from their doom roots, Ice Dragon is still churning out amazing tunes. Is it weird that my favorite track is “(I Will) Watch My Hair Grow”?

9. WINDHAND – ‘Soma’ *Not quite as magical as their debut…nonetheless ‘Soma’ is a narcotizing wave of doom.

10. WOLVSERPENT – ‘Perigaea Antahkarana’ * ‘Perigaea Antahkarana’ is a sprawling trip that is as dark as it is invigorating. Not for everyday listening, but it fills a niche that few other bands can come close to touching.

HONORABLE MENTIONS (in no particular order): GOATESS - ‘Goatess’, SUMMONER - ‘Atlantian’, GRAVECODE NEBULA - ‘Sempiternal Void’, TORTUGA - ‘Tortuga’, SHALLOW GRAVE - ‘Shallow Grave’, ROTE MARE – ‘The Invocation’ & ‘The Kingdom’, BEELZEFUZZ – ‘Beelzefuzz’



EPs/Demos/Singles/Splits:

1. BÖLZER – ‘Aura’ *I have to thank Chad Remains for turning me on to these guys. Blackened death metal isn’t usually my thing, but this EP is otherworldly and it flat-out slays. Looking forward to the follow-up, ‘Soma’.

2. COUGH/WINDHAND – ‘Reflection of the Negative’ *Despite the differences in tone and style, this team-up totally works. Two killer tunes from Windhand nicely complements the dark and twisted direction that Cough has taken with “Athame”, their strongest tune to date.

3. DIRE FATE/ROTE MARE split *I’ll admit that I initially bought this split for the Rote Mare tunes and I ended up being blown away by Dire Fate. Both bands deliver some excellent slabs of traditional doom.

4. THE GATES OF SLUMBER – ‘Stormcrow’ *Probably the most disappointing story of 2013…the demise of venerable doomlords—The Gates of Slumber. But the band couldn’t have gone out with a stronger recording. Here’s looking forward to new creative endeavors from Simon and McCash…

5. ICE DRAGON – ‘Steel Veins b/w Queen of the Black Harvest’ *Ice Dragon still has it—a killer way to close out the year.


BEST LIVE PERFORMANCES

1. DENVER DOOM FEST III

2. SNOWBOARD ON THE BLOCK highlights: PENTAGRAM, KADAVAR, IN THE COMPANY OF SERPENTS, BLACK ACID DEVIL, DEAD TEMPLE

3. UZALA w/ MIKE SCHEIDT, SPACE IN TIME, & MUNIMULA

4. GOBLIN

BEST ALBUM COVERS:

1. LUMBAR – ‘The First & Last Days of Unwelcome’

2. TENTACLE – ‘Void Abyss’

3. BEELZEFUZZ – ‘Beelzefuzz’


OVERLOOKED ALBUM OF 2012

1. BEHOLD! THE MONOLITH – ‘Defender, Redeemist’ *I was a huge fan of the band’s self-titled debut, but somehow ‘Defender, Redeemist’ escaped me. The band was scheduled to play in Denver with support from In the Company of Serpents and I was stoked for this killer lineup. I began spinning ‘Defender, Redeemist’ and I was blown away. Unfortunately the band never made it to Denver as it was announced that Kevin McDade had passed away. The sky was the limit for this unique band and though things won’t be the same I’m glad that the other members have decided to press on…

MOST ANTICIPATED ALBUMS OF 2014

1. YOB – Untitled 7th full-length

2. THE WOUNDED KINGS – ‘Consolamentum’

3. NORTHWINDS – ‘Eternal Winter’

Other highly anticipated albums: SERPENT VENOM - 'Of Things Seen and Unseen', SLOMATICS – ‘Estron’, TRIPTYKON – ‘Melana Chasmata’, BÖLZER – ‘Soma’, STOIC DISSENTION, BURNING SAVIOURS, and hopefully a demo from Karl Simon’s WRETCH…

BEST REISSUES

1. YOB – ‘Catharsis’

2. SAINT VITUS – ‘C.O.D.’

3. INTERNAL VOID – ‘Standing on the Sun’

4. DARK – ‘Dark Round the Edges’

*Originally published at Temple of Perdition

…nothing now remains: ICE DRAGON – ‘Steel Veins b/w Queen of the Black Harvest’

It’s become exhaustive conjuring forth adjectives and explanations describing how Ice Dragon pretty much do whatever the fuck they want. Under a handful of monikers Ron, Carter, Joe, and recent addition Brad have covered Sabbathian doom, Cthulhu-inspired drone-terror, dream pop, and with this year’s masterful ‘Born a Heavy Morning’ AM radio influenced tunes that transcend the source material simply by being channeled through the subconscious collective that is Ice Dragon. Despite the occasional curveball Ice Dragon have yet to make a weak album. Though 2013 hasn’t been quite as productive as 2012, the band has released some of its trippiest, most far-out material and, as Tentacle, some of the most sinister and acerbic. With 2013 coming to an end Ice Dragon have unexpectedly unleashed ‘Steel Veins b/w Queen of the Black Harvest’, two tunes that delve into the doomier side of the band. For those who have missed the doomed-out heft and crawl of ‘The Burl, the Earth, the Aether’, ‘The Sorrowful Sun’, or ‘Tome of the Future Ancients’—prepare to rock-the-fuck-out.

It’s clear from the first few notes of the opening bassline that “Steel Veins” is going to be something special. After the brief bass intro signifying nothing short of impending doom the guitars come crashing in for a wholly enjoyable experience. The guys still have it. “Steel Veins” has everything that made early Ice Dragon releases so great—crawling mid-tempo guitar crunch, simple yet ominous Mark Adams’ styled basslines, and Ron’s ability to pair his vocals with virtually any type of cacophony the band is creating. On the flip-side, “Queen of the Black Harvest” trades in a bit of the guitar crunch for a stoner-doom groove that is embellished with moments of crashing percussive noise, backwards winding tape abuse, and a return to the darker, fantasy inspired lyrics that would have been right at home amongst the tracks of ‘Tome of the Future Ancients’.

One of the most impressive aspects of Ice Dragon is that they are not afraid to experiment or push their creative boundaries. The band is able to draw from a variety of influences and styles in order to create something new without resulting in mere pastiche. And they do it well. The only significant thread throughout the band’s discography is a heavy dose of psychedelia and ‘Steel Veins b/w Queen of the Black Harvest’ is no exception. Even though Ice Dragon has released a fair amount of material that could be considered doom, it had looked as if the heavier side of the band would be forever relegated to output from Tentacle. Again, Ice Dragon has thrown another curveball with “Steel Veins” and “Queen of the Black Harvest”—a Hell-of-a-way to close out the year. Highly recommended…

Words: Steve Miller
(Originally published at Temple of Perdition)

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…preparing for the Apocalypse: SEA OF BONES – ‘The Earth Wants Us Dead’

Few bands manage to match their chosen moniker with the music they play with such precision and accuracy as Connecticut three-piece Sea of Bones—a band whose name more than adequately describes the desolate, laid-to-waste atmospherics that is as suggestive of a great pestilence as it is of evoking visions of the remnants of a centuries old hecatomb. The band has also managed to release an album that rivals the malignant, misanthropic sludge/doom of Fister’s ‘Gemini’, an album that until this point was unmatched in terms of downtuned, acerbic sludgery in 2013. At six tracks and a runtime of over ninety minutes Sea of Bones’ ‘The Earth Wants Us Dead’ is a harrowing journey that tests the listener’s propensity for enduring prolonged exposure to seismic, gut-wrenching riffs, tortured vocals, and atmospheric blight on a grand scale.

The potent album opener “The Stone the Slave and the Architect” recalls the earth-quaking rumble found on Conan’s ‘Monnos’, and it relentlessly heaves and struggles under its own weight for nearly nine minutes. While ‘The Earth Wants Us Dead’ is, at its basest level, an exercise in monolithic, slow-motion drudgery, most of the tunes are embellished with enough subtle tempo changes and ambient textures to keep the album moving, albeit it at a glacial pace. “Failure of Light” is the best example of how the band deftly manages to include spacier moments into their uncompromising aural battery, particularly with the song’s intro. Despite the trippy calm, it doesn’t take long for “Failure of Light” to devolve into another writhing, unsettled beast of a track. Following in a similar vein to “Failure of Light” is the album standout “The Bridge”. Distant drums, calm, undulating noise, and clean guitar slowly build into what is one of the finest tracks on the album. After a four minute smolder, “The Bridge” launches into a mid-paced chug that is reminiscent of Neurosis’ “Through Silver in Blood”. If ‘The Earth Wants Us Dead’ gets released as a CD it’s going to be a two disc set, which leads to the closing title-track—an album in itself due to its forty minute runtime. As the entirety of ‘The Earth Wants Us Dead’ progresses so does the inclusion of ambient noise, a trend that peaks and ultimately conquers with the eponymous album closer—an instrumental tune wrought with a tension that falls somewhere between serenity and escalating dread.

Sea of Bones have released one of the ugliest sludge/doom albums of the year, not an easy feat considering some of the band’s competition from the likes of both Fister and In the Company of Serpents. Despite the album’s ugliness there are still fleeting moments of calm, though they are inevitably engulfed by heaving waves of distortion. If it wasn’t for the group’s deft handling of ethereal sounds and ambient textures, ‘The Earth Wants Us Dead’ could run the risk of falling prey to gratuitous, mind-numbing repetition. Instead, the band has crafted a subtly dynamic album that pays off in the long run. Fans of Neurosis, Conan, Yob, and even Gravecode Nebula should appreciate Sea of Bones’ brand of atmospheric sludge.

Words: Steve Miller
(Originally published at Temple of Perdition)

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…you hear the ancients call your name: BRIMSTONE COVEN – ‘II’

On the eve of the vinyl release of their excellent self-titled debut courtesy of STB Records, Brimstone Coven have conjured forth ‘II’, an album that expands on the vintage vibes that the band established on their 2012 release. Rather than simply going through the motions by trying to recreate past successes the band has expanded on their sound by incorporating a wider range of influences and seemingly spending more time translating their tunes into a final recorded product. The end result is that ‘II’ is a richer listening experience reflecting subtle nuances that were not as apparent on their debut. Overall ‘II’ is a more subdued album that foregoes the predominant doom-laden groove of its predecessor in favor of a singular, melancholic mood that is perfect for an autumn day. This isn’t to say that ‘II’ is devoid of heavy grooves—quite the contrary—but the album is masked by a monochromatic filter that produces an all-enveloping atmosphere that is forlorn and distant.

Where the self-titled album had an unwavering focus on proto-doom and 70’s inspired psychedelia—still a priority for the band—‘II’ seems to include within its gaze the entirety of 70’ hard rock and early metal which has yielded tunes that are more complex and varied. Album outlier “The Black Door”, “Blood on the Wall”, and “Vying” are examples of the band’s growth and willingness to experiment. The “retro-future” vocal effect during the chorus of “The Black Door” is a bit disarming at first, but the mesmerizing bassline and layered clean vocals more than make up for it. “The Black Door” is easily the catchiest track on the album due to the pulsating groove and layered vocal harmonies of John Williams who, again, does an outstanding job complementing the songs with a dose of soul. The morose “Blood on the Wall” has a dusty, road-weary feel that fits right in with the overall tone of the album. “Vying”, for the most part, is a scorcher where rhythm section swing is emblazoned with killer leads until the song fizzles to a slow-burn instrumental fadeout.

While the band has clearly expanded on their sound ‘II’ isn’t completely defined by songwriting progression. Brimstone Coven haven’t forsaken the doom and occult leanings that ran rampant on the debut. The second track “Behold, the Anunnaki”, is probably the best tune that Witchcraft or Burning Saviours never recorded. It’s a deceptively simple track that channels the best of 70’s inspired doom with catchy vocals and a shredding finale. Other album highlights in a similar vein include “The Grave” and “The Séance”—a tune that comes crashing in following the gentle denouement of “Vying”. “The Séance” flat-out rocks with an urgency unmatched by anything on the album and despite the fact that it’s one of the shortest tracks it still finds room to take a respite from the riffs for a breakdown that showcases the individual talents of the players. The ominous “Hades Hymn” is a simple, yet effective instrumental that features a lone organ accompanying a thunderstorm. At only a minute-and-a-half the instrumental doesn’t overstay its welcome and builds up perfectly to “The Folly of Faust”, an epic tale of woe and misery that finishes out ‘II’.

What’s interesting about Brimstone Coven’s ‘II’ is that though the songs are more varied, complex, and have greater depth, the album is united by an overarching mood that is cheerless and, at times, remote. And in a good way. While the self-titled album was instantly gratifying and familiar, ‘II’ is densely layered and rewards multiple listens. The band has minimized some of their more overt influences in favor of an all-inclusive approach to their songwriting allowing them to experiment and expand their sonic palette. Not only is ‘II’ a well-rounded, kickass record, but it also stands as a portal that gives a glimpse into the possibilities of prospective recordings. Brimstone Coven have made an impressive leap with their second outing and it will be interesting to see how the band further develops in the future. The vinyl of the band’s debut is about to be released through the excellent STB Records imprint. ‘II’ is available for download through the band’s Bandcamp page and on CD directly from the band upon request.

Words: Steve Miller
(Originally published at Temple of Perdition)

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