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"The Slithering Bog moves slowly but heavily, accented
by echoing growls and slow, oftentimes psychedelic, guitars. It's an album that
just feels creepy, in the best way." -- Decibel
The Slithering Bog is the oppressive, six-track offering
from West Coast death doom collective SWAMP WITCH. Captured during July 2014 at
Earhammer Studios in Oakland, California by Greg Wilkinson (Brainoil,
Annihilation Time, Noothgrush, et al) and mastered at Trakworx in San Francisco
by Justin Weiss (Ludicra, Slough Feg, Cormorant, et al), the record was
initially released on cassette via Transylvanian Tapes and is now available on
vinyl via Tribunal Of The Axe.
In celebration of its release, Decibel is currently
streaming the record in full issuing, "What happens when you mix
suffocating death/doom with hallucinogenic elements and lyrics about
derealization then remaster it for vinyl? You get SWAMP WITCH's haunting The
Slithering Bog.... The Slithering Bog moves slowly but heavily, accented by
echoing growls and slow, oftentimes psychedelic, guitars. It's an album that
just feels creepy, in the best way."
The Slithering Bog comes available in three color variants
(black, purple haze, and swamp green). For orders visit THIS LOCATION.
SWAMP WITCH is the culmination of psychedelic substances,
occult practices, and a collective interest in dark, strange, and ultimately
hallucinogenic music originally devised with the sole intent to commit and
record ritualistic extremities through heavy music only for the night of
9/9/09. In the aftermath, members found themselves pressed to continue the
slow-burning drudgery sparked on that September ninth into the months that
followed, leading to shows, recordings, band members towing themselves out of
the smog from Central Valley, California and into Oakland (and Arcata,
respectively) and finally, the vinyl release that recollects the original
material of that evening: Gnosis.
The punishing, murky layers protruding from 2011's Gnosis
recordings drip with the trance-laden, drug-induced efforts of '70s psychedelia
compressed into the claustrophobic toil and painful repetition of '90s sludge.
This concept of Gnosis actually seems more akin to H. P. Lovecraft's ideas of
psychosis and derealization as the only thing the feeble human mind can
experience when confronting truth (cosmicism), as opposed to gnosis in the
classic, transcendental sense of the term. In other words, it's fucked up.
The Slithering Bog continues where Gnosis left off: massive
riffs and drug induced occult imagery dripping with psychedelia emphasized on tracks
like opener "Strange Cults" and the grim pursuit that is "The
Marsh of Delusion." The psychedelia evoked here by SWAMP WITCH is offset
by a painful and toiling death/doom; nasty, alienating, tempos filled with
otherworldly visions. Although description of this style range may seem
conflicting, the lyrical themes involving psychosis and derealization create an
obvious connection and intention between any supposed opposition of sound. The
sound SWAMP WITCH presents here is involved with channeling a period of doom,
before it broke big, that wasn't needlessly defined by sub genres: it's all
dark and heavy. Indeed, the end result of almost two years of writing proved
worthy, as warped landscapes and fungal textures resting somewhere between
dream-like and sleep paralysis culminated into The Slithering Bog.
"Managing a fine
balance between lumbering, sludgy doom metal and drug-fractured psychedelia,
the band brings to mind the likes of Yob, Electric Wizard, and Weedeater, but
there's something altogether deeper running through the proceedings than mere
sonic affiliations." - Rue Morgue
"This record literally creeps up on you, and traps you
slowly and imperceptibly, and when you realize that its slimy and vile
tentacles are already around your neck, it is too late, you're fucked." -
"...swampy, witchy, stinking psychotropic
sludge..." - Echoes And Dust
"Slow, nasty, compelling, and repugnant; The Slithering
Bog is the soundtrack to lost nightmares. You may not realize it yet, but this
means it's utterly essential." - Wonderbox Metal
Following the Small Stone Records release of their Sonic
Debris LP in May, Portugal's
MISS LAVA has just issued a new video from the record, created for the song
"Another Beast Is Born." The clip is an adaptation of 1971 French
film Don't Deliver Us From Evil (Mais Ne Nous Délivrez Pas Du Mal) by Joël
Offers vocalist Johnny Lee of the song, "In times like
these is unbelievable how often we see people losing their lives by the hands
of cold-hearted creatures who have no regard for human life. 'Another Beast Is
Born' is our trip to hell to meet those creatures. It's a song with a touch of
doom and black metal, a dark place we haven't explored before in MISS LAVA, a
song with a big riff that still blows my mind, and is one of my favorites in
See MISS LAVA's "Another Beast Is Born" video
MISS LAVA also begins a steady burst of Portuguese tour
dates this week in support of the album, with shows booked throughout their
home country from now through November, with many additional live shows to be
continually announced in the weeks ahead.
MISS LAVA Tour Dates:
10/01/2016 Festival Bardoada e AJCOI - Pinhal Novo, PT
10/08/2016 Festival Faro Alternativo - Faro, PT
10/28/2016 DRAC - Figueira da Foz, PT
10/29/2016 Club de Vila Real - Vila Real, PT
11/19/2016 Bafo de Baco - Loulé, PT
See MISS LAVA's previously-released videos for"The
Silent Ghost Of Doom" RIGHT HEREand "In The Arms Of Freaks"
HERE, and stream Sonic Debris in its entirety HERE.
Sonic Debris is available on CD and 180-gram light blue
vinyl limited to 500 units at THIS LOCATION.
A true sonic voyage with a diversity beyond anything yet
evidenced by the band, Sonic Debris traverses unexplored auditory landscapes.
Throughout the record's ten consuming movements, MISS LAVA manifests explosive
sound textures, kaleidoscopic asteroids, and obscure beasts making for an
all-consuming listen that's difficult to overlook. Outlaws Of The Sun notes,
"Sonic Debris sounds like the stoned out offspring of Queens Of The Stone
Age, Kyuss, Monster Magnet and Truckfighters all vying for musical supremacy.
And for that you will be crazy to miss this superb album. Excellent and highly
recommended." Rock And Roll Fables hails the band's fusion of,
"Kyuss' wall of sound with Monster Magnet's psychedelia and a little of
Corrosion Of Conformity's Southern-fried jam sensibility," further
gushing, "Saying MISS LAVA could be the next Kyuss is a bold statement. I
know this. That band was the one that set me on the path to my musical
awakening when I was just a wee lad. If Kyuss followed up Blues For The Red Sun
with another album (and not the Sky
Valley concept), then
they'd be lucky to have it sound as good as Sonic Debris. Yep, I said it."
Sonic Debris was captured at Pentagon Audio Manufacturers,
JDB Showroom, and Estúdio Crossover in Lisbon at various times throughout 2014
and 2015, produced by Fernando Matias and MISS LAVA, engineered by Matias, José
Pedro Ataíde, and Ricardo Bravo, mixed by Benny Grotto at Mad Oak Studios in
Boston, Massachusetts, and mastered by Chris Goosman at Baseline Audio Labs in
Ann Arbor, Michigan. Sonic Debris follows 2013's Red Supergiant and 2009's
Blues For The Dangerous Miles, which was listed among Loud Magazine's Top Five
Portuguese albums of that year, and 2008's limited edition, self-titled EP.
Described as "a veritable orgy of garage metal and
stoner dropkicks that will leave you reaching for the whiskey" by Metal
Hammer, the fun-laden metal'n'roll 12-track piece was recorded and produced by
Chris Fielding at Skyhammer Studios.
XII BOAR's guitarist and vocalist Tommy Hardrocks provided a
full track-by-track guide for this new album, which you can hear in its
entirety RIGHT HERE.
XII BOAR "Beyond The Valley Of The Triclops"
"A veritable orgy of garage metal and stoner dropkicks
that will leave you
reaching for the whiskey." Metal Hammer
"Filthy as fuck and deliciously dirty, XII Boar's
Triclops is gonna find you
and fuck you
up." Rocknreel Reviews
"If you're into groovy party metal, this is an absolute
must-have." Merchants Of Air
Speeding at you like an out of control train, XII BOAR
(pronounced 'Twelve Boar') have been tearing a new one into the stoner/sludge/metal
scene over the last few years. The three-piece wrecking ball from Aldershot, Hampshire, blast their way into your skull
with ear-splitting leads, sonic riffs, filthy bass lines, whiskey drenched
vocals and a sweet southern groove.
Combining Motorhead’s swagger, Sabbath’s downtrodden doom
and the swinging crunch of Corrosion of Conformity – these Hampshire louts lay
down a colossal slab of rock'n'roll-infused groove metal, alongside a wild live
show to fuel even the greatest parties. Now the band is on a path to do great
things. With their debut album "Pitworthy" released in March 2015,
XII BOAR are rapidly becoming unstoppable. Their upcoming new album
"Beyond The Valley Of The Triclops" was produced by Chris Fielding at
the legendary Skyhammer Studios, who helped to drive the band to bold new
levels, creating some of their most epic and party-hearty material yet. Wrapped
up in some stunning, booty-tastic artwork done by quasi-legendary artist James
Hayball, "Beyond The Valley Of The Triclops" creates a total sonic
experience, the sort of thing that you can get utterly and beautifully lost in,
as you travel beyond the valley. After all...
This is pure rock and roll for the heavier generation.
trio The Well premiere the first track from their anticipated forthcoming album
Pagan Science today via Brooklyn Vegan. The song "Black Eyed Gods" is
available to hear and share HERE. (DirectSoundcloud).
The Well was also recently prominently featured on The
Walking Dead star's Ride with Norman Reedus TV show on AMC. Not only has the
band composed and recorded the series' original theme song, they also appeared
on a recent episode with Reedus, an avowed fan of the band and all things
The impressive crux of Pagan Science, the sophomore album by
Austin trio The
Well, is that It's a multiplicity of itself. From the band's dual male/female
vocals to their transcendently timeless sounds and erudite lyrical themes,
Pagan Science is crystalline in its complexity and clarity at the same time.
The Well walk an intriguing line between authentic early 70s
doom/heavy psych and the more frayed-edge-of-sanity weirdness of their
hometown's legendary noise rock scene, whilst also splicing in shades of
chamber choir vocals, occult rock and dark folk.
Sonically, Pagan Science picks up where The Well --
bassist/vocalist Lisa Alley, guitarist/vocalist Ian Graham and drummer Jason
Sullivan -- left off with their widely heralded 2014 RidingEasy debut Samsara.
Here, the band's heavy psych, proto-metal sound growing evermore vast, yet more
focused on hooks, and their lyrics more conceptually intricate. Part of a
running thread throughout the album's introspective lyrics is the notion that
the world outside of one's own mind is also a creation and reflection of the
interior world of that mind. And, just like the band's sound is one thing
(undeniably heavy) and simultaneously another (dark folk, blues... there's even
a Crosby, Stills & Nash cover, "Guinnevere"), it's this
multiplicity that makes Pagan Science such a captivating record.
Pagan Science was recorded with producer/engineer Chico
Jones at Micro Mega Studio in 2016. Jones also previously engineered the band's
debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.
Samsara, released late September 2014 was ranked the #1 debut album of 2014 by
The Obelisk and widely praised in the press. Likewise, the band's intense -
some even say "possessed" - live performances have earned them featured
slots at Austin's
Levitation Fest in 2015 & 2016, as well as tours with Kadavar, All Them
Witches, Black Tusk and more.
The album kicks off with a looped vocal harmony launching a
slithering guitar riff and thunderous drums on "Black Eyed Gods" in
which the band's dual vocalists sing in unison throughout like Byzantine monks.
"Skybound" starts with a fast churning riff with vocals run through
heavy delay and reverb until the drums cut out briefly, then, dropping to
half-time the song becomes a massive psychedelic throb as the vocals continue
to loop onto themselves above the proceedings. "A Pilgrimage" takes a
slower groove, accented by pulsing congas and single note Middle Eastern
sounding guitar progression. "Byzantine" begins with monk-like chants,
swelling cymbals and droning guitars building up to pounding toms until it all
coalesces in a massive eruption. "Choir of the Stars" slowly builds
over a lugubrious bass line as a snarling slide guitar weaves throughout, while
haunting sounds of yelping coyotes echo in the background. The song ends in a
pig-like guitar squeal as "Brambles" begins beneath. Syrupy guitars
merge with Alley's and Graham's unison vocals to form a slowly building
monolithic sound describing a paranoid chant. Throughout, Pagan Science
channels the supercharged no-frills hard blues of Blue Cheer and Deep Purple
while adding multiple layers of effects, entrancing vocals and the dark thrill
of a funhouse hall of mirrors.
Pagan Science will be available on LP, CD and download on
October 14th, 2016 via RidingEasy Records.
It gives me hope for humanity,
or at least musicians, when I hear albums like this. I didn't really know much
about this band so I didn't have a lot of expectations. After about 30 seconds
of listening to the opening track, I had a big smile on my face and I spent the
next 48 minutes banging my head with a dopey grin on my face. At least no one
saw me except for the cat, but I swear he puts things on You Tube.
This is just good old sludgy,
heavy, doom goodness. These guys and gal have riffs for days and I think this
is what molasses would sound like if it came to life and played music. It is
dark and thick and a little bit sweet, thanks to the female vocals. For me,
there is something about that combination of heavy music and a light voice that
just does it to me every time. I love the way the vocals are doubled and tripled
and sometimes turned into a whole heavenly sounding chorus against the backdrop
of music that is just pummeling away.
This band hails from Wales, and I
don't speak Welsh but according to Google Translate the album title literally
means “The Prophet Fraud”, so I'm thinking a better translation would be “The
False Prophet”, but I'm no linguist. The press release mentions Druids and doom
and who knows what the Druids were like and what they listened to, as they seem
shrouded in mystery, but you can't say they wouldn't sound like this. Besides
the vocals, what really does it for me is the use of the synths. They always
seem to drop in just at the right time, and they seem to be playing just the
right thing. That judicious use is what really makes the album for me.
I really dig this album, and one
of the things that this band has going for them is the ability to write riffs
that don't all sound the same. You may think that is no big deal, but give it
some real thought and you may realize that your favorite band writes more
similar riffs than you think. Each song here is distinct and I found myself
thinking, “No way they're going to top that riff”. Then the next track kicked
in and I was still headbanging and grinning. “Valmasque”, the album opener, has
a chorus that somehow sounds major and poppy and quite beautiful actually, kind
of like how Kurt Cobain used to pull those types of choruses out of a dirgey
sounding song. “Testudo” has this nice acoustic opening thing going on for
about two and a half minutes, and then the hammer drops so hard I'm surprised I
still have a floor in my house. I also enjoyed “Osirian”, the synths are just
off the chain crazy, bouncing around and adding mayhem to a riff that crushes
Being a band and finding
elements of music and style that separate you from the pack is no small feat
these days, and Mammoth Weed Wizard Bastard definitely have the goods to
do just that. Hopefully this album will garner them some more well deserved
recognition so that more of you brothers and sisters who enjoy the heavy will
get a chance to hear them. Seek them out and reap your reward.
Polish prog masters RIVERSIDE
have just released a special 5.1 mix version of their current, 6th studio album
"Love, Fear and the Time Machine" (2015) via InsideOutMusic.
The release comes as CD+DVD Digipak with (slightly modified)
artwork by Travis Smith with the following tracklisting:
- "Love, Fear and the Time Machine - Hi-Res Stereo and 5.1 Surround
Disc 1 / CD (60:32): "Love, Fear and the Time
1. Lost (Why Should I Be Frightened By a Hat?)(05:51)
2. Under the Pillow (06:47)
3. #Addicted (04:52)
4. Caterpillar and the Barbed Wire (06:56)
5. Saturate Me (07:08)
6. Afloat (03:11)
7. Discard Your Fear (06:42)
8. Towards the Blue Horizon (08:09)
9. Time Travellers (06:41)
10. Found (The Unexpected Flaw of Searching)(04:03)
Disc 2 / DVD-AV (96:35);
"Love, Fear and the Time Machine" Album (60:31)
1. Heavenland (04:59)
2. Return (06:49)
3. Aether (08:43)
4. Machines (03:53)
5. Promise (02:43)
1. Love (Trailer)(01:38)
2. Fear (Trailer) (01:58)
3. Time Machine (Trailer) (01:07)
4. Found (Video Clip) (04:06)
The bonus DVD is a hybrid disc (DVD-AV), which has a
DVD-Audio and a DVD-Video session on the same disc. The DVD-A portion (audio
only!) contains the main album and "Day Session" as high resolution
24bit lossless stereo versions as well as the main album as MLP lossless 24bit
5.1 surround version. The DVD-V portion contains the main album and the
"Day Session" as high resolution 24bit lossless stereo versions as
well as the main album as high resolution 24bit DTS 5.1 surround version and 4
videos (The 3 album teasers and the promotional video clip for
The 5.1. CD+DVD Digipak release can be ordered here:
continue to be productive and have just announced the release of a
complementary instrumental album entitled "Eye Of The Soundscape" on
October 21st, 2016 via InsideOutMusic. The release again features cover artwork
by Travis Smith (see above!) and features 13 experimental and highly
atmospheric compositions, which showcase RIVERSIDE's
ambient electronic side.
"Eye Of The Soundscape" compiles all the special
instrumental RIVERSIDE tracks previously used as bonus material for the
"Shrine Of New Generation Slaves" and "Love, Fear and the Time
Machine" albums, alongside rare cuts as well as 4 new songs ("Where
The River Flows", "Shine", "Sleepwalkers" and
"Eye Of The Soundscape") into a massive playing time of +100 minutes,
which will be available as 2CD-Mediabook, 3LP (With both CD's as bonus) or
But read what RIVERSIDE's
Mariusz Duda had to say about the upcoming release:
"I had a feeling that the sixth RIVERSIDE
album might be the last chapter of a story. That the future releases might have
a different sound, a different character... Unofficially, I called our latest
three albums "the crowd trilogy". Each subsequent title was longer by
one word - four, five, six. Six words was long enough as a title and I thought
that was the one to finish it off with...
Before we started a new chapter, perhaps a "new
trilogy", I had an idea to release a complementary album. An album in
between. An album we had always wanted to record. It wouldn't be just new music
but in our case and in such configuration it would definitely be a new quality
because we hadn't released such an album before.
For years, we have accumulated a lot of material, a part of
which was released on bonus discs. I know that some of our listeners still
haven't heard those pieces and do not realise that RIVERSIDE, basically right from the start,
have been experimenting with ambient and progressive electronic music. And
that's always been a part of our music DNA.
So I presented the idea to the rest of the band and the
decision was unanimous.
We decided to make a compilation of all our instrumental and
ambient pieces, and release it this year as an independent album. Some of the
songs would be re-mixed to make them sound better, but most of all, we'd add
At the beginning of the year, we locked ourselves in the
studio and we started to compose. We even published a picture on our facebook
page, in which Grudzień is holding a small keyboard as a joke. That was that
recording session. We were working with smiles on our faces, genuinely excited,
knowing that this time it wasn't just a bonus disc or an addition to something "bigger"
but a fully fledged, independent release with that kind of music, full of
space, trance, melodies and electronics. The day before I got a text message
from Grudzień, "I really can't wait for this release, I have always had a
dream for RIVERSIDE
to release such an album."
More details about "Eye Of The Soundscape" to
Formed in Arizona’s Sierra Vista in 2014, Fuzz Evil is a
riff propelled power trio founded by brothers Wayne and Joseph Rudell of heavy
desert stoners Powered Wig Machine.
With two singles currently to their name – last year’s ‘Born
Of Iron’ and 2014’s 7” split with fellow Arizonans, Chiefs – this September
sees the official release of their self-titled debut on the Washington-based
label Battleground Records.
Joined by newest member and fellow Powered Wig Machinist
Daniel Graves on drums, Fuzz Evil serves up a thunderous blast of rock 'n' roll
reverie indebted to the likes of MC5, The Stooges, Clutch and Black Sabbath.
Recorded, mixed and mastered at Primrose Studio by Brian Gold, from the opening
crunch of ‘Good Medicine’ (featuring Unida/House Of Broken Promises’ Arthur Seay)
to the progressively harbingered ‘Black Dread’, the album flows like the
diaries of a cosmic nomad. Swirling and psychedelically enhanced with
storylines spun from the mind’s eye of vocalist Wayne Rudell and his obsession
with comic books, science fiction and cult cinema.
Fuzz Evil also embark on US West Coast Tour this October in
support of the new album, which will receive an official release on 30th
September via Battleground Records.For
the full list of dates take a look below.
Wayne Rudell – Vocals/Guitar
Joseph Rudell – Bass Guitar
Daniel Graves – Drums
Arthur Seay (House Of Broken Promises/Unida) – Lead Guitar
on ‘Good Medicine’
Marlin Tuttle – Drums
Brian Gold – Keys
Fuzz Evil Live:
1/10 – Silver Dollar Saloon – El Monte, CA
2/10 – Golden Bull – Oakland,
3/10 – TBC – San
4/10 – Starlite Lounge – Sacremento, CA
6/10 – Kenton Club – Portland,
7/10 – Valley's – Tacoma,
8/10 – Tim's – Seattle,
9/10 – Sam Bonds – Eugene,
Artist: Fuzz Evil
Title: Fuzz Evil
Release Date: 30th September 2016
Label: Battleground Records
All songs written by Fuzz Evil
Recorded/Mixed/Mastered by Brian Gold at Primrose Studio, Sierra Vista, Arizona
Artwork by Joseph Rudell & Carrie Olaje of Ghosttown
Graphic Art –